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4 episodes with caine mutiny court martial
2 episodes with caine mutiny court martial
2 episodes with caine mutiny court martial
2 episodes with caine mutiny court martial
2 episodes with caine mutiny court martial
2 episodes with caine mutiny court martial
2 episodes with caine mutiny court martial
2 episodes with caine mutiny court martial
2 episodes with caine mutiny court martial
Get ready for a Locher Room reunion! Daytime Emmy winner John Wesley Shipp and actor/writer David A. Gregory sat down to talk about their recent stage collaboration and their time as father & son on One Life to Live.Fans will remember John and David as the troubled father-son duo Eddie and Robert Ford on One Life to Live. Their on-screen chemistry continued with the award-winning Western-noir podcast Powder Burns, and they recently teamed up again for the Judson Theatre Company's production of The Caine Mutiny Court-Martial by Herman Wouk.John is a daytime television icon, earning two Emmy wins for As the World Turns and Santa Barbara, and later starring as Mitch Leery on Dawson's Creek. He's also known for playing The Flash—both in the 1990s series and as Jay Garrick in the CW's Flash universe.David made his mark as Robert Ford on One Life to Live before going on to roles in The Good Fight, Insatiable, and more. An accomplished writer and creator, his podcast Powder Burns won critical acclaim for its unique storytelling.Don't miss this lively and personal chat about their careers, collaborations, and what's ahead.
We're staying Down Under this week as we cover the career of Jason Clarke, one of Hollywood's great journeyman character actors. From supporting parts in Zero Dark Thirty and Oppenheimer to his leading roles in Everest, Pet Sematary and The Caine Mutiny Court Martial, we talk about his ability to play lawyers both good and bad, fishing simulators and Earth's highest mountain. Andrew Twitter: @Andrew_Carroll0 Stephen Twitter: @StephenPorzio I Know That Face Twitter: @IKnowThatFaceP1 / Instagram: @iknowthatface / Facebook: @iknowthatfacepod Edited by Andrew Carroll and Stephen Porzio Intro and Outro Music: No Boundaries (motorik groove) by Keshco. Licence Learn more about your ad choices. Visit megaphone.fm/adchoices
Liam may be working through William Friedkin's movies on his own time but he's not here today so Corey and Mitch go back to the well of his TV movies to find out how dramatically things can go wrong on a naval minesweeper.Mitch is desperate to figure out who broke the coffee maker.Art by Jade Dickinson: @jadesketches on Instagram | @jadesketches on TikTokListen to Liam's Weezer podcast hereListen to "Like the Weather," the new EP from Liam's band Guest Room StatusFind the show on InstagramFind Corey and Liam on TwitterFind MK Podquest and Strat 2 hereReach us via email: tmaopodcast@gmail.comMusic from filmmusic.io "Eighties Action" by Kevin MacLeod (incompetech.com) License: CC BY (creativecommons.org/licenses/by/4.0/)
The Caine Mutiny Court Martial has the same issue I've had with this story since reading it in high school. Read more at: https://scottsself-indulgentmovieblog.blogspot.com/
pWotD Episode 2607: Kiefer Sutherland Welcome to popular Wiki of the Day where we read the summary of a popular Wikipedia page every day.With 266,081 views on Friday, 21 June 2024 our article of the day is Kiefer Sutherland.Kiefer William Frederick Dempsey George Rufus Sutherland (born 21 December 1966) is a Canadian actor and musician. He is best known for his starring role as Jack Bauer in the Fox drama series 24 (2001–2010, 2014), for which he won a Primetime Emmy Award and a Golden Globe Award.Born to actors Donald Sutherland and Shirley Douglas, he got his first leading film role in the Canadian drama The Bay Boy (1984), which earned him a Genie Award nomination. He has since appeared in such films as Stand by Me (1986), The Lost Boys (1987), Young Guns (1988), Flatliners (1990), A Few Good Men (1992), The Three Musketeers (1993), Freeway (1996), A Time to Kill (1996), Dark City (1998), Phone Booth (2002), Melancholia (2011), Pompeii (2014), and The Caine Mutiny Court-Martial (2023).He has also starred in the Fox drama Touch (2012–2013), and provided the facial motion capture and voice for Venom Snake in the video games Metal Gear Solid V: Ground Zeroes (2014) and Metal Gear Solid V: The Phantom Pain (2015). From 2016 to 2019, he starred in the ABC/Netflix political drama series Designated Survivor. Sutherland has been inducted to the Hollywood Walk of Fame and to Canada's Walk of Fame, and has received a Lifetime Achievement Award at the Zurich Film Festival.This recording reflects the Wikipedia text as of 02:30 UTC on Saturday, 22 June 2024.For the full current version of the article, see Kiefer Sutherland on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Amy Neural.
Objection! Drop what you're listening to and check this out instead! Pete and Martha look at legal thrillers and courtroom dramas, and ask the question: are they back? Why did they leave? Why are production companies cowards about mid-budget adult dramas? Homework for the episode: My Cousin Vinny (1992, dir. Jonathan Lynn); Runaway Jury (2003, dir. Gary Fleder), The Caine Mutiny Court-Martial (2023, dir. William Friedkin), Anatomy of a Fall (2023, dir. Justine Triet)
The Caine Mutiny (1954) is based on Herman Wouk's bestselling Pulitzer Prize winning novel of the same name. The film, directed by Edward Dmytryk and produced by Stanley Kramer, portrays the fictitious events on board the U.S.S. Caine, a Navy destroyer-minesweeper in the Pacific during World War II. Executive officer, Lt. Stephen Maryk (Van Johnson), relieves the seemingly unstable Lt. Commander Philip Francis Queeg, Captain of the USS Caine, of his command after Queeg (Humphrey Bogart) endangers the ship and its crew during a cyclone. The ship returns to the U.S. and Maryk is court-martialed for mutiny. He is represented by Navy lawyer, Lt. Barney Greenwald (José Ferrer), who despite disapproving of Maryk's actions, believes Maryk was misled by the ship's communications officer, Lt. Tom Keefer (Fred MacMurray), into believing Queeg was mentally unfit for command. Maryk is acquitted after Greenwald effectively places Queeg on trial by his exposing Queeg's erratic and paranoid behavior. The Caine Mutiny Court-Martial (2023), directed by the late William Friedkin, is based on Wouk's adaption of his own 1951 novel for the stage. In contrast to the 1954 film, The Caine Mutiny Court-Martial covers only the court-martial. The cast includes Jake Lacy as Maryk, Jason Clarke as defense attorney Greenwald, Monica Raymund as prosecutor Lt. Commander Katherine Challee, the late Lance Reddick as the presiding judge Captain Luther Blakley, and Kiefer Sutherland in a phenomenal performance as Queeg. The films are not only gripping courtroom dramas, but also explore larger themes around military justice, ethics, and morality. With me to discuss these films is Eugene (Gene) Fidell, a visiting Lecturer in Law at Yale Law School and co-founder of the National Institute of Military Justice.Timestamps:0:00 Introduction3:58 What's a court-martial?9:14 The crime of mutiny17:48 Relieving Queeg of his command27:36 Putting Queeg on trial29:33 Taking some poetic license with a court-martial34:44 The defense lawyer's post-trial critique of the mutiny41:21 The dramatic changes in the Navy and armed forces since the original movie 47:12 More context for the two Caine Mutiny movies50:21 Other great movies about military justice Further reading:“The Humphrey Bogart Blogathon: ‘The Caine Mutiny' (1954),” Dec. 23, 2016, https://back-to-golden-days.blogspot.com/2016/12/the-humphrey-bogart-blogathon-caine.htmlKelly, Kevin M., “You Murdered Queeg: Lawyers, Ethics, Military Justice, and ‘The Caine Mutiny,'” 1991 Wis. L. Rev. 543 (1991)Melville, Herman, Billy Budd (1924)Rosenberg, Norman L., “‘The Caine Mutiny': Not Just One But Many Legal Dramas,” 31 J. Mar. L. & Com. 623 (2000)Wouk, Herman, The Caine Mutiny (1951)Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. For more information about Jonathan, here's a link to his bio: https://law.shu.edu/faculty/full-time/jonathan-hafetz.cfmYou can contact him at jonathanhafetz@gmail.comYou can follow him on X (Twitter) @jonathanhafetz You can follow the podcast on X (Twitter) @LawOnFilmYou can follow the podcast on Instagram @lawonfilmpodcast
D.B. stars in the newest Francis Ford Coppola film, Megalopolis - to be released in 2024.Before breaking through as an actor on Broadway in The Caine Mutiny Court Martial, D.B. Sweeney played baseball, worked in construction, drove cabs and cooked in some of America's finest restaurants. His many stage appearances led to movies and television where he's played dozens of memorable roles including Shoeless Joe Jackson in Eight Men Out, Doug Dorsey in The Cutting Edge, Travis Walton in Fire in the Sky, and Dish Boggett in the landmark Lonesome Dove miniseries.During his time in the New York Theatre, D.B. was discovered by directing legend Francis Ford Coppola and offered the leading role of Jackie Willow in Gardens of Stone opposite James Caan and James Earl Jones. This indelible and critically acclaimed performance led to a series of major parts in studio films including No Man's Land with Charlie Sheen, the World War II hit Memphis Belle, the star studded Eight Men Out and the enduring romantic comedy The Cutting Edge. Other films include Roommates with Peter Falk, Hear No Evil with Marlee Matlin, Blue Desert with Courtney Cox, A Day in October, Spawn, Heaven is a Playground, Spike Lee's Miracle at St Anna, Hardball with Keanu Reeves and Yellow. Sweeney also made his debut as screenwriter, director and producer with Two Tickets to Paradise. The film stars John C. McGinley, Ed Harris, Moira Kelly and D.B. in the tale of three high school buddies who try to re-capture their long gone glory days in a hilarious road trip adventure. The story strikes a chord among viewers who invariably see themselves or their hometown friends as one or more of the film's deeply resonant and archetypical characters. D.B. has received dozens of accolades and awards for creating Two Tickets to Paradise including Best Narrative Feature at the Savannah Film Festival, the Audience Choice Award at The Vail Film Festival, Best Director at the Boston Film Festival and many more.On television, D.B. starred in four series: as the mysterious Chance Harper in Strange Luck, Special Agent Scott Stoddard in C-16 FBI, mercenary Mike Pinocchio in Chris Carter's Harsh Realm and as the clueless Mr. Whitman on Life As We Know It. TV films include the Emmy winning Miss Rose White with Kyra Sedgewick and the Emmy and Golden Globe winning Introducing Dorothy Dandridge opposite Halle Berry. D. B. has guest starred on some of television's greatest shows from NYPD Blue to House, CSI to Jericho and The Event.He continues to perform on stage regularly, especially at Hollywood's Blank Theatre, where he is a founding board member.One of the preeminent voice talents in the industry, D.B. created characters for the animated Disney films Dinosaur and Brother Bear and is the signature promotional performer for the Oprah Winfrey Network. He will soon be heard on Finneas and Ferb and in the film Boxcar Children. He currently narrates All Access for Showtime, Discovery Channel's Mountain Men and Ice Pilots for Nat Geo. Past and present advertising accounts include Bud Lite, Lincoln Cars, Coca Cola, Major League Baseball, John Deere, NFL Network, Direct TV, Hallmark, Conocco Phillips and the NHL.
It's our last movie of the 80s, and Bob's final TV movie. We also compare this with the 2023 adaptation by William Friedkin, talk about him and Altman's careers, court room thrillers, military jargon, naval ships, Eric Bogosian's incredible acting. This one's got it all! Salute bobbleheads Music: The Supreme Jubilees - It'll All Be Over The Supreme Jubilees - We'll Understand Mac Demarco - Publix Warren Zevon - Lawyers, Guns, Money (live)
Kiefer Sutherland joins the podcast this week to discuss his scene-stealing work in William Friedkin's final film, The Caine Mutiny Court-Martial, and the ways he's been rethinking his prolific career. Then, Ambika Mod stops by for a chat about her wrenching performance in Netflix's chart-topping limited series, One Day.Follow us on Twitter and Instagram @vfawardsinsiderFollow our hosts: @rilaws, @beccamford, @davidcanfield97Our editor and producer is Brett Fuchs
Kiefer Sutherland joins the podcast this week to discuss his scene-stealing work in William Friedkin's final film, The Caine Mutiny Court-Martial, and the ways he's been rethinking his prolific career. Then, Ambika Mod stops by for a chat about her wrenching performance in Netflix's chart-topping limited series, One Day.Follow us on Twitter and Instagram @vfawardsinsiderFollow our hosts: @rilaws, @beccamford, @davidcanfield97Our editor and producer is Brett Fuchs
Collin reviews the remake of the well-beloved movie The Caine Mutiny from 1954 which was based on the novel and play of the same name. Jason Clarke and Monica Raymund both were very good in their roles as a Naval defense attorney and Naval prosecutor. Whereas the main character was not so good sadly. In Memory of Lance Reddick. --- Send in a voice message: https://podcasters.spotify.com/pod/show/collin-sugg/message
David discuss the movies he's been watching lately, including Wonka, All Dirt Roads Taste of Salt, American Symphony, Going to Mars: The Nikki Giovanni Project, The Sweet East, The Misfits, Disco Boy, Bushman, Amélie, The Promised Land, The Holdovers, M3GAN, The Wonderful Story of Henry Sugar, The Caine Mutiny Court-Martial, Monster, Drift, Tótem, Dream Scenario, Fist of the Condor, Mutt, Here, Nyad, Nimona, Ponniyin Selvan: Part II, 20 Days in Mariupol, The After, Red, White and Blue, Knight of Fortune, Invincible, The Wonderful Story of Henry Sugar, Albert Brooks: Defending My Life, Our Uniform, Letter to a Pig, Pachyderm, Ninety-Five Senses, WAR IS OVER! Inspired by the Music of John & Yoko, Wild Summon, I'm Hip, About Dry Grasses, Problemista, Bird Box Barcelona, Nāi Nai & Wài Pó, The Barber of Little Rock, Island in Between, The ABCs of Book Banning & The Last Repair Shop.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 38 of the Director Watch Podcast, the boys discuss the final film in their William Friedkin series, The Caine Mutiny Court-Martial (2023). After a 12-year absence from making a feature film, William Friedkin returned with a faithful, reverent adaption of one of the most celebrated plays of all time, The Caine Mutiny Court-Martial. Being a movie he'd wanted to make his entire career, the film came together over the course of two months in early 2023; a modern, relevant version of Herman Wouk's classic text, only to sadly pass away before the film premiered at the 2023 Venice Film Festival. For a final film, it is a perfect end to a celebrated career by one of Hollywood's most unique directorial talents. With an extraordinary cast lead by incredible performances from Kiefer Sutherland and Jason Clarke, Ryan and Jay break down Friedkin's last film, the modern setting of his adaption, Lance Reddick's career, the film's explosive ending, favorite court room dramas, and they give their definitive rankings of William Friedkin's filmography. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 1h48m. The guys will be back next week to begin their new series covering the films of Sofia Coppola with a review of her debut film, The Virgin Suicides. You can stream the film on Pluto TV. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).
Harvey Brownstone conducts an in-depth Interview with John Rubinstein, Iconic Stage, Movie & TV Star About Harvey's guests: Today's guest, John Rubinstein, is a highly acclaimed, multi-award winning actor, composer and director whose illustrious career and body of work have made him a respected and beloved icon. He made his Broadway debut starring in “Pippin”, for which he won a Theatre World Award, followed by “Children of a Lesser God”, for which he won a whole slew of awards including a Tony and a Drama Desk Award. He also starred in “The Caine Mutiny Court Martial”, for which he received a Drama Desk Award nomination, “M. Butterfly”, “Love Letters”, “Ragtime” and “Charlie and the Chocolate Factory”. Off-Broadway, he starred in “Rosencrantz and Guildenstern are Dead” and “Counsellor at Law”, for which he received the Lucille Lortel Award for Best Lead Actor in a Play, as well as nominations for both the Outer Critics' and Drama League Awards. He's appeared in over 200 movies, TV shows, made-for-TV movies and miniseries. Some of his most popular feature films are “Getting Straight”, “The Boys From Brazil”, “Someone to Watch Over Me”, “Another Stakeout”, “21 Grams”, “The Candlelight Murders” and “Being the Ricardos”. On TV you've seen him in dozens of TV shows including “Family”, for which he received an Emmy Award nomination, “Crazy Like a Fox”, “Bureau of Alien Detectors”, “Star Trek Enterprise”, “The Young and the Restless”, “Desperate Housewives”, “Dear White People”, “Claws” and many more. His TV movies include “The American Clock”, for which he received a Cable Ace Award nomination for Best Supporting Actor, “M.A.D.D.: Mothers Against Drunk Drivers”, “The Gift of the Magi”, “Norma Jean and Marilyn”, and “Liberace”. And some of his noteworthy miniseries are “The French Atlantic Affair”, “Roots: The Next Generations”, “The Two Mrs. Grenvilles”, “When we Rise”, “Feud”, and “Headless: A Sleepy Hollow Story”. He's directed many stage productions, including “Les Liaisons Dangeureuses”, “Macbeth”, “Wait Until Dark”, “Brigadoon”, “Guys and Dolls” and many other shows. Our guest is also a brilliant composer, which comes as no surprise, given that he's the son of the greatest pianist of all time, in my opinion, Arthur Rubinstein. And he's the grandson of the renowned Polish violinist, conductor and composer Emil Młynarski. He's written the music scores for a number of movies and TV shows including “Jeremiah Johnson”, “The Candidate”, “Family”, “The Ordeal of Patty Hearst”, “Johnny Belinda”, “China Beach” and “A Walton Wedding”. And believe me, I'm just scratching the surface of this man's prodigious body of work. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about John Rubinstein and the film, go to: https://www.imdb.com/name/nm0748270/https://www.playbill.com/person/john-rubinstein-vault-0000020233 #JohnRubinstein #harveybrownstoneinterviews
Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 37 of the Director Watch Podcast, the boys discuss the latest film in their William Friedkin series, Killer Joe (2011). After the successful collaboration with screenwriter Tracey Letts on his last film Bug, Freidkin went right back to work with him on an adaptation of Letts's debut play about a family who hire a corrupt police detective with a side career as a contract killer to take out their estranged mother for her insurance policy. Based in a small Texas town, Killer Joe is slowly unfolds into a twisted, violent American Southern Gothic crime drama that explodes with one of the craziest endings in the acclaimed director's career. Ryan and Jay break down their reactions to the film, if the ending justifies it's grizzly conclusion, the overall journey of the McConaissance, fried chicken legs and so much more. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 1h35m. The guys will be back next week to conclude their series covering the films of William Friedkin with a review of his last film, The Caine Mutiny Court-Martial. You can stream the film on Paramount+. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).
Hallo zusammen! Heute besprechen wir Dune: Part Two. Shownotes: Geschaut, gespielt, gelesen, gehört, gefühlt: Speak No Evil, Bist du da, Gott? Ich bin's, Margaret, Mr. & Mrs. Smith, The Caine Mutiny Court-Martial, Geliebte Köchin, True Detective, The Greatest Night in Pop, Barbie (09:05) Review – Dune: Part Two (52:30) Review – SPOILERPART Dune: Part Two […] More
We go back to 1979 to take a look at Steve Martin's big screen debut in the hilarious The Jerk as our deep dive. In the main reviews Andy shares his thoughts on Wicked Little Letters, The Caine Mutiny Court Martial, and 20 Days In Mariupol. News, neat things, and our question of the week, as always, round things off. Get In Touch BlueSky @filmfileuk.bsky.social Mastodon @filmfileuk@mastodonapp.uk Twitter (because we refuse to call it X) @FilmFileUK Instagram FilmFileUK Youtube https://tinyurl.com/yv5skc42 Email podcast@filmfile.uk --- Send in a voice message: https://podcasters.spotify.com/pod/show/filmfileuk/message
In this episode of Scenecraft, we break down the "Baked Alaska" scene from The Taste of Things (2023), directed by Tran Anh Hung. Drop us a line at contact@scenecraftpodcast.com, or follow us on Instagram, X, TikTok, and Threads @scenecraftpodcast for the latest news on the show. — Show Notes — Quick Takes ~ 00:01:00 The Greatest Night in Pop (2024), Society of the Snow (2023), After Hours (1985), Anselm (2023), Argylle (2024), The Caine Mutiny Court-Martial (2023) The Taste of Things (General Review) ~ 00:15:59 Scene Selection ("Baked Alaska") ~ 00:21:02 Thanks for listening!
Danny and Kevin catch-up on a handful of movies from last year that they saw and wanted to talk about. This first 2023 recap episode focuses on alleged crowd pleasers, such as the highest grossing film from last year: The Caine Mutiny Court-Martial. Time stamps for the reviewed movies are: 1. Cocaine Bear 00:01:28 2. Knock at the Cabin 00:10:12 3. Meg 2: The Trench 00:23:03 4. The Pope's Exorcist 00:26:00 5. Evil Dead Rise 00:32:30 6. Talk to Me 00:40:27 7. Thanksgiving 00:45:43 8. John Wick: Chapter 4 00:56:54 9. Sisu 01:05:00 10. The Caine Mutiny Court-Martial 01:06:22 Follow us on Instagram at Coffee and Deathsticks send us an email at coffeeanddeathsticks@gmail.com
Une grosse déception et de très (très) belles choses dans les sorties cinéma de ce début d'année. Programme riche, décortiqué en duo par Thibaud Ducret et Alexandre Caporal. TIME-CODES (02:13) ARGYLLE (20:24) MAY DECEMBER (30:38) PAUVRES CRÉATURES (43:15) VERMINES (52:47) LE CERCLE DES NEIGES (01:06:32) THE ZONE OF INTEREST (01:18:14) THE CAINE MUTINY COURT-MARTIAL (01:27:45) LES CHAMBRES ROUGES Le passé (01:37:35) BIRTH de Jonathan Glazer (2004) (01:46:23) LA PLANÈTE SAUVAGE de René Laloux (1973)
The Marvels (2023) Thanksgiving (2023) Anatomy of a Fall (2023) The Caine Mutiny Court Martial (2023) The Killer (Netflix) (2023) Indian Runner (1991) Kentucky Fried Movie (1977) CROOKLYN 1994 The post Extra Features 325 appeared first on Extra Features.
Zack Snyder, we just can't seem to quit you. Not out of any particular affection, but because you just won't stop making movies. This one (technically) qualifies. We talk about Star W-- sorry, "Rebel Moon."Want to see our faces? Check out our season of streaming shows, FLOP TV, or get tickets for a stop on our January 2024 West Coast Tour.Wikipedia page for Rebel Moon: Part One - A Child of FireRecommended in this episode:Caine Mutiny Court Martial (2023)Anatomy of a Fall (2023)You Are Not I (1981)
Trifulca Media presenta: Charlando de Cine y TV, con Geraldo y Omar quienes califican y discuten la película The Caine Mutiny Court-Martial. Sigan a Trifulca Media en: Facebook: https://www.facebook.com/TrifulcaMedia?mibextid=LQQJ4d Instagram Jt https://instagram.com/u latrifulcawrestlingmedia?igshid=dhkuulk3mb5x Twitter https://mobile.twitter.com/TrifulcaMedia YouTube https://youtube.com/channel/UCVZ0 #charlandodecineytv #TheCaineMutinyCourtMartial #Netflix #movie #trifulcamedia #enlaclaraconlatrifulca #trifulcawrestlingpodcast --- Support this podcast: https://podcasters.spotify.com/pod/show/trifulcamedia/support
It's always the greatest joy to spend the last few episodes of a phenomenally busy season just chatting about movies hangout-style with some of my closest friends & this year was no exception. I'm so lucky that in the middle of award-season deadlines, one of my funniest cinephile pals, the great Sean Burns joined me for two evenings after Thanksgiving, first to discuss CARLITO'S WAY alongside S.A. Cosby & William Boyle, & then logging back onto Zoom the next night for his latest solo episode on four of director Robert Altman's many terrific under-discussed films: BREWSTER MCCLOUD, THE CAINE MUTINY COURT MARTIAL, COOKIE'S FORTUNE, & THE COMPANY.This is the final installment of Watch With Jen for 2023. It's been an incredibly ambitious & exciting year for the podcast. The show reached a few great milestones I never thought I'd achieve when I launched it in the winter of 2020 & I want to thank you for your listenership & support as I continue to learn & grow with each passing year. I'll be taking a handful of weeks off to rest, recharge, & start recording episodes I'm truly excited to bring you in Season 4, but don't worry because you'll still be finding brand new shows in your Watch With Jen feed. Launching next week in both my feed & our co-producer Blake Howard's One Heat Minute Productions, you'll begin exploring our years-in-the-making passion project MIDNIGHT RUN-THROUGH, which is devoted to the 1988 movie MIDNIGHT RUN. It was a joy to create & I know you'll love it!Note: Originally, I was going to wait to upload this episode until the end of next week but this year has been super stressful for so many people in my life (including myself) & I want to make sure you have enough to distract & delight you during your winter break &/or holiday travels. Wishing you & yours a peaceful & relaxing week & the happiest 2024.Sean's Bio:A film critic for WBUR's Arts & Culture and a contributing writer at North Shore Movies and Crooked Marquee, he was Philadelphia Weekly's lead film critic from 1999-2013 and worked as contributing editor at the Improper Bostonian from 2006-2014. His reviews, interviews, and essays have also appeared in Metro, The Village Voice, Rolling Stone, The Boston Herald, Nashville Scene, Time Out New York, Philadelphia City Paper, and RogerEbert.com.Originally Posted on Patreon (12/22/23) here: https://www.patreon.com/posts/95121862Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music ArchiveShop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless Shop
The Centers for Disease Control and Prevention is raising concerns about increasing hospitalizations for COVID-19, RSV and the flu. The group says infections are on the rise as fewer people are getting their vaccinations. CBS News' Lilia Luciano reports.Actor Jonathan Majors was found guilty of two counts of assault and harassment in New York on Monday. Marvel has announced it is dropping him from all future projects. CBS News' Jericka Duncan reports.A CBS News investigation found that more than 29,000 U.S. service members were denied honorable discharges before 2011, when the military overturned "don't ask, don't tell," the policy banning gay and lesbian troops from serving openly. CBS News' Jim Axelrod reconnects with a veteran we first sat down with over a year ago and found a lot has changed in his life since then.Emmy Award-winning actor Kiefer Sutherland joins "CBS Mornings" to discuss his role in "The Caine Mutiny Court-Martial" and working with renowned director William Friedkin on his final film."CBS Mornings" co-host Gayle King sits down with Kennedy Center Honoree Billy Crystal. He revisits many iconic moments from throughout his career, including a visit to Katz's Deli in New York City for the first time since filming "When Harry Met Sally."On this edition of CBS Mornings Deals powered by Shopify, lifestyle expert Elizabeth Werner shows us items that might just become essentials in your everyday life, including a cordless snowblower that could help you prepare for snowy days ahead. Visit cbsdeals.com to take advantage of these exclusive deals today. CBS earns commissions on purchases made through cbsdeals.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
(00:00) Critica alla critica di The Killer di Fincher(04:05) Intro ai film di dicembre e il film May December(08:17) Prendi Il Volo e Aldo L'Anatra(09:13) Il Mondo Indietro - Leave The World Behind di Sam Esmail (quello di Mr. Robot per intenderci)(14:23) Ferrari e il naso di Aldo contro quello di Adam Driver(20:43) Adagio di Stefano Sollima (23:15) Wonka con Timothée Chalamet e la polemica degli esercenti americani molto preoccupati(33:15) Galline In Fuga - L'Alba Dei Nugget(34:03) Le uscite di Paramount+: Finestkind e The Caine Mutiny Court-Martial(37:40) Aquamen E Il Regno Perduto: il film non atteso da nessuno considerato il reboot del DC Universe(41:05) Maestro e la polemica sul naso finto di Bradley Cooper(46:55) One Life: lo Schindler's List inglese con Anthony Hopkins(49:25) La Disney sgancia Wish(50:54) La tanto attesa nuova pellicola di Zack Snyder per Netflix: Rebel Moon - Parte 1: Figlia Del Fuoco
We get vaporized by Godzilla Minus One plus we also discuss Love Has Won: The Cult of Mother God, My Animal, The Caine Mutiny Court-Martial, Dumb Money and Dream a Little Dream. 0:00 - Intro 19:40 - Review: Godzilla Minus One 46:50 - Other Stuff We Watched: Love Has Won: The Cult of Mother God, Sick, My Animal, Monarch: Legacy of Monsters, Dream a Little Dream, The Caine Mutiny Court-Martial, Mister Organ, Dumb Money 1:33:55- This Week on DVD, Blu-ray and VOD 1:39:05 - Outro 1:40:34 - Spoiler Review: Godzilla Minus One
The 2023 ReFlicktions Finale is here! The final roundup of all the movies seen, all in one episode, for the year, as Mikey, d$, and #XLessDrEarl not only discuss and review nearly 50 films this time, they also give their final Top 5 of the year. In this ep, a triple shot of King right off the bat... homicidal stuffed animals... drug films... my pony (ride it, ride it, my pony)... bad, bad King... yelling comics... whining Bill Burr... Ridley Scott's French history... hold over movies... the latest hunger games... lip syncing docs... Australian mystery docs... and Lady Ballers. Up next... Kaufman returns for her annual Christmas venture... Garrison helps us give out the gifts... the annual look at the worst of the year... and then onto 2024! The films discussed, and where to find them (at time of recording) Salem's Lot (1979) (for rental) Salem's Lot (2004) (for rental) A Return to Salem's Lot (1979) (for rental) The Bible Collection: Jeremiah (Amazon Prime; TubiTV) Five Nights at Freddy's (Peacock Premium) Winnie-the-Pooh: Blood & Honey (Peacock Premium) Killers of the Flower Moon (in theaters) Pain Hustlers (Netflix) The Town that Dreaded Sundown (1976) (Amazon Prime; AMC+; TubiTV) The Town that Dreaded Sundown (2014) (TubiTV) Good Time (Netflix) War Pony (for rental) Trucks (Amazon Prime; TubiTV) Sam Kinison: Why Did We Laugh (TubiTV) I Am Sam Kinison (for rental) Fingernails (AppleTV+) Old Dads (Netflix) The Royal Hotel (for rental) The Marvels (in theaters but nearly gone) Last Stop Larrimah (MAX) Napoleon (in theaters) Killer (Netflix) Hunger Games: A Ballad of Songbirds & Snakes (in theaters) The Holdovers (in theaters) Pricilla (in theaters) Internal Affairs (Amazon Prime) Forgotten Love (Netflix) Fair Play (Netflix) You're Killing Me (Showtime) The Shift (in theaters) The Caine Mutiny Court Martial (2023) (Showtime; Paramount+) The Caine Mutiny Court Martial (1988) (TubiTV) Run.Hide.Fight (Daily Wire) Dream Scenario (in theaters) The Retirement Plan (for rental) Freelance (for purchase) Milli Vanilli (Paramount+) Sly (Netflix) Wish (in theaters) A Haunting in Venice (Hulu) Michael Fassbender: Road to LeMan/The Film (YouTube) Bye Bye Barry (Amazon Prime) David Holmes: The Boy Who Lived (MAX) Quiz Lady (Hulu) Waitress (Starz) May December (Netflix) Lady Ballers (Daily Wire) Silent Night (in theaters)
Andrew and Shane talk Titans and Turkeys with their Winners and Losers of the Thanksgiving Break. From Box Office successes to the latest streaming options, they've got you covered!Films Reviewed: Napoleon, Thanksgiving, The Holdovers, Wish, Next Goal Wins, The Caine Mutiny Court Martial, Rustin, Leo, May December, Best Christmas Ever, KandaharTV Shows: Monarch (Apple TV+), A Murder at the End of the World (FX on Hulu), Fargo Season 5Follow the podcast on social media @recentactpod
This week on the InSession Film, we catch up on some other 2023 releases and give some brief thoughts on NYAD, NEXT GOAL WINS, THE BURIAL, WINGWOMEN, FINGERNAILS and THE CAINE MUTINY COURT MARTIAL! Plus, a small debate on putting up Christmas lights before Thanksgiving. - Open / Holiday Discussion (1:05) - Nyad / Next Goal Wins / The Burial (9:44) - Wingwomen / Fingernails / Caine Mutiny (1:23:43) Visit https://insessionfilm.com for merch and more! Visit this episode's sponsor: https://koffeekult.com - Get 15% OFF with the code: ISF Thanks for listening and be sure to subscribe on your podcast app of choice! https://insessionfilm.com/subscribe Follow us on Twitter! @InSessionFilm | @RealJDDuran | @BrendanJCassidy
Jeremy and Aaron have found some things to recommend to you.1) Small Recommends:Anatomy of a Fall (1:30)The Caine Mutiny Court Martial (4:26)Nyad (9:00)Blue-Eyed Samurai (12:05)2) The Big Recommend: Nimona (16:20)3) Surprise Double Feature: ???????? (44:01)4) Questions from You! (47:03)If you'd like to join the LIVE conversation each week, become a member of the SinClub at Patreon.com/cinemasins!Thanks to lorangeproductions.com for the theme song!Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
New this month to Paramount Plus is “The Caine Mutiny Court-Martial.” Michael McNeely shares his review of the legal drama. From the November 8, 2023, episode.
THP Episode 39 where we review Priscilla, The Caine Mutiny Court-Martial, The Marsh Kings Daughter, The Burial, Mr. Dress-Up: The Magic of Make Believe, Divinity, Royal Hotel, You Hurt My Feelings, Nyad, and The Beatles Short "Now and Then". Timestamps: (0:00) - Intro, follow us on youtube, Patreon (3:45) - Movie News (Sag-Aftra, Priscilla Controversy, and more) (16:30) - Box Office Weekend Numbers (20:00) - Priscilla (37:30) - The Caine Mutiny Court-Martial (45:00) - The Marsh Kings Daughter (52:15) - The Burial (1:04:30) - Mr. Dressup: The Magic of Make-Believe (1:08:45) - Divinity (1:17:45) - The Royal Hotel (1:23:40) - You Hurt My Feelings (1:26:55) - NYAD (1:33:15) - Little Black Box of Movies - Sleeping Dogs (1977) (1:37:35) - Coming to Theatres, Streaming and VOD Join our Patreon: patreon.com/TheHollywoodPersona Follow us @TheHollywoodPersona on Facebook and Instagram and Youtube @mitchydaily on Twitter and Letterboxd Ant on Letterboxd: https://letterboxd.com/antsmovies/ More of Mitch's stuff on Linktree https://linktr.ee/Mitchburns Email us questions or comments at: thehollywoodpersona@gmail.com Join the CinemAddicts Facebook Group and the Film Vault Fan group Facebook Page
In this episode, Nicole and Rolando dive headfirst into the world of the military and courtroom dramas. They put the 1954 film "The Caine Mutiny" and the 2023 Showtime film "The Caine Mutiny Court Martial" on trial and deliver their own verdicts on both properties. All rise, court is in session! FOLLOW US: Be sure to follow us on social media for news, polls, and fun behind the scenes content. FACEBOOK: facebook.com/remakesrebootsrevivals INSTAGRAM: instagram.com/remakesrebootsrevivals YOUTUBE: https://www.youtube.com/channel/UCEw7r_fZuVfxLNo3uEwlPJQ And we always want to hear from you! Email us at remakesrebootsrevivals@gmail.com
William Friedkin's final film, The Caine Mutiny Court-Martial, feels just a little thin. Despite what we know is in his bag of directing tricks from his previous films, this one lacked a dramatic vision and alienates the audience with its desire to be completely objective.
It's Randy's birthday as he's back in the Bay and on the loose. He and Clark saw a couple of flicks and Russ has some polarity with his two picks. Films: The Fall of the House of Usher (Series), Anatomy of a Fall (2023), Killers of the Flower Moon (2023), Dicks: The Musical (2023), Army of One (2016), The Caine Mutiny Court-Martial (2023), Project Eerie (2023), Chicken Surprise (2023), Girlz Night (2020), Dear David (2023), Dark Harvest (2023), Money Plane (2020), Unfriended (2014), Unfriended: Dark Web (2018), Inland Empire (2006), Grieve (2023), Midnight Mass (Series), Gerald's Game (2017), The Score (2001), American Horror Story (Series), Dead Ringers (Series), The Conference (2023) Hey, we're on YouTube! Listening on an iPhone? Don't forget to rate us on iTunes! Fill our fe-mailbag by emailing us at OverlookHour@gmail.com Reach us on Instagram (@theoverlooktheatre) Facebook (@theoverlookhour) Twitter (@OverlookHour)
Bryan and Anderson review MIster Organ, Totally Killer, The Caine Mutiny Court-Martial, and Flora and Son (from assigner Tam Smith). Then the boys get out the safety pins and eyeliner as they count down Top 5 Female Musicians. VOTE FOR MITCH The Film Vault on Youtube TFV Patreon is Here for Even More Film Vault Anderson's new doc: Loaded for Bear Atty's Antiques COMEDY CONFESSIONAL Listener Art: Rand Courtney Featured Artist: Mr. Nissness The Film Vault on Twitch Buy Bryan's Book Shrinkage Here The Film Vaulters “Kubrick is Everywhere” Shirt CONNECT WITH US: Instagram: @AndersonAndBryan Facebook.com/TheFilmVault Twitter: @TheFilmVault HAVE A CHAT WITH ANDY HERE ATTY & ANDY: DIRECTED BY A FOUR-YEAR-OLD Subscribe Atty and Andy's Youtube Channel Here THE COLD COCKLE SHORTS RULES OF REDUCTION MORMOAN THE CULT OF CARANO Please Give Groupers a Rotten Tomatoes Audience Score Here Please Rate It on IMDB Here The Blu-ray, US The Blu-ray, International Groupers is now available on these platforms. On Amazon On Google Play On iTunes On Youtube On Tubi On Vudu Learn more about your ad choices. Visit megaphone.fm/adchoices
Today on Art of the Cut, we speak with Darrin Navarro, ACE, who started his career with the legendary Roger Corman and has edited films including The Lovers, The End of the Tour, Killer Joe and I Love Dick. Darrin has worked with legendary director William Friedkin for years, starting as an assistant editor. Novarro talks about The Caine Mutiny Court Martial - his final collaboration with Friedkin - who passed away recently. Check out the blog of this podcast here: https://borisfx.com/blog/aotc/caine-mutiny-court-martial/
David, Devindra, and Jeff cross examine the legal drama of The Caine-Mutiny Court Martial, discuss the behind the scenes insights of RoboDoc: The Creation of RoboCop, and break into the bank heist fun of The Gold. Then, Chris Rudd joins us for our review of When Evil Lurks. Check out Chris' podcast Streaming Things and his TikTok page, Movies Are Therapy. We're making video versions of our reviews! Be sure to follow us on the following platforms: YouTube Tiktok Instagram Threads Weekly Plugs David - Weekend Box Office: Taylor Swift's Eras Tour Devindra - Engadget Podcast on Quest 3 with Norm Chan from Tested Jeff - DLC's Spider-Man 2 review Shownotes (All timestamps are approximate only) What we've been watching (11:41) David - The Caine-Mutiny Court Martial, The Burial, The Fall of the House of Usher Devindra - RoboDoc: The Creation of RoboCop, Ahsoka, Loki S2, The Fall of the House of Usher Jeff - The Gold, Lessons in Chemistry Featured Review (~1:01:47) When Evil Lurks SPOILERS (~1:21:22) Support David's artistic endeavors at his Patreon and subscribe to his free newsletter Decoding Everything. Check out Jeff Cannata's podcasts DLC and We Have Concerns. Listen to Devindra's podcast with Engadget on all things tech. You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Also, follow us on Twitter @thefilmcastpod. Credits: Our theme song is by Varsity Blue, the newest project byTim McEwan from The Midnight. Our weekly plugs and spoiler bumper music comes from Noah Ross. Our Slashfilmcourt music comes from Simon Harris. If you'd like advertise with us or sponsor us, please e-mail slashfilmcast@gmail.com. You can support the podcast by going to patreon.com/filmpodcast or by leaving a review on Apple Podcasts.
On this bonus episode of Out Now with Aaron & Abe, the guys play a bit of catch-up, covering a variety of recent releases. There are thoughts on Wes Anderson's short film adaptations of Roald Dahl stories, thoughts on Prime's Kelce documentary, and talk of a couple of worthwhile courtroom dramas. We Live Entertainment's Peter Paras also stops by to provide his two cents on the Taylor Swift concert film. Plus, a look back at Pacific Rim, thoughts on The Iron Claw trailer and how to spoil biopics, and, finally, a review for Hulu's sci-fi home invasion flick, No One Will Save You. So now, if you've got an hour or so to kill… Get yourself a free audiobook and help out the show at AudibleTrial.com/OutNowPodcast! Follow all of us on Twitter: @Outnow_Podcast, @AaronsPS4, @WalrusMoose, @Pajamo Check out all of our sites and blogs: TheCodeIsZeek.com, Why So Blu?, We Live Entertainment Read Aaron's reviews for No One Will Save You, The Caine Mutiny Court-Martial, Anatomy of a Fall, and Monsters of California Also read Aaron's Pacific Rim Retrospective Trailer: The Iron Claw Next Week: Killers of the Flower Moon #WesAnderson #NoOneWillSaveYou #TaylorSwift #RoaldDahl #PacificRim #TheIronClaw #Kelce #TheCaineMutintyCourtMartial #AnatomyOfAFall #MonstersOfCalifornia #movie #film #entertainment #outnowpodcast #outnowwithaaronandabe
Émission mutinerie, baroud d'honneur et grosse baise. Comme le Capitaine Queeg, on se demande ce qu'est notre petite folie, notre petit grain de fantaisie, toi qui bouleverses, toi qui renverses, tout ce qui était notre vie.ACHTUNG: Cette émission a été montée à la zob, elle démarre au bout de 3'40.Dispo sur le tube, sans cette intro musicale soyeuse:Au programme cette semaine:* The Caine Mutiny Court-Martial, dernier film (dans tous les sens) de William "Hurricane" Friedkin, toujours énervé et c'est sempiternelle, qu'est-ce qui est juste ?* Sex and Zen II, de Man Kei Chin, comédie polissonne made in HK, édité chez Spectrum Films. Coups de cœur:THOMAS: Jawaan (Altee) + revoir Les Patriotes (Rochant)THIBAUT: Element of Crime (LVT)DOC ERWAN: L'Histoire secrète de Twin Peaks (Mark Frost)SIMON L'ANCIEN: Les Maitres (Luigi Zampa)PLAYLISTPrégénérique / Friedkin vs RefnJohn Cale / Ship Of Fools (Fragments)Chatelaine / Puisqu'on fait l'amour ensemble
John Wayne, Petey, and Stew check out the No. 1 Netflix Movie in America - Reptile - plus the final William Friedkin film, "The Caine Mutiny Court Martial," streaming on Paramount+. Plus, tales from the Renaissance Fair, and some tough stuff out of Israel.
Movies reviewed for the week of October 13 include: Mister Organ, Dear Daddy, The Royal Hotel, Shock Corridor, In The Fire, No Accident, The Burial and The Caine Mutiny Court-Martial**Check out our CinemAddicts/Find Your Film merch site: https://www.findyourfilmpodcast.com/**Support CinemAddicts by shopping on Amazing using our SiteStripe or our purchase links (we receive a slight commission).**October's Bonus Episode for our CinemAddicts Patreon members will spotlight the year 2013.**Rate/review CinemAddicts on Apple Podcasts to support our show. Thank you!Timestamps(0:00) - Intro(10:10) - The Caine Mutiny Court-Martial - directed by William Friedkin. Starring Jason Clarke and Kiefer Sutherland.(15:30) - The Royal Hotel trailer(17:52) - The Royal Hotel review (stars Julia Garner and Jessica Henwick)(27:41) - Mister Organ - Documentary directed by David Farrier. Reviewed by Eric, Bruce, and Greg.(40:23) - Review of Dear David. From directorJohn McPhail.(46:28) - Divinity - movie starring Stephen Dorff and Scott Bakula. Reviewed by Eric.(51:15) - In the Fire - stars Amber Heard. Reviewed by Greg.(54:06) - Eric and Greg recommend the HBO documentary No Accident.(60:40) - Shock Corridor review from Bruce, Eric and Greg. Directed by Samuel Fuller.(72:14) - The Burial trailer(74:50) - The Burial review. Stars Jamie Fox and Tommy Lee Jones.1. Subscribe to our CinemAddicts YouTube Channel2. Like Our CinemAddicts Facebook Page3. Join our CinemAddicts Facebook Group for daily movie recommendations!4. Questions/comments on CinemAddicts email Greg Srisavasdi at info@findyourfilms.com.5. Our website for entertainment news, reviews, and podcast coverage is Find Your Film: https://findyourfilms.com/6. Contact Bruce Purkey for some What's in the Box recommendations: brucepurkey@gmail.com8. Eric Holmes can be reached at hamslime@gmail.com9. Anderson Cowan's latest project is Loaded for Bear: The Documentary. For info and support: https://loadedforbeardoc.com/10. Atty's Antiques is on Facebook MarketplaceSupport the show
This week, we're comparing the most beloved movie ever made by William Friedkin and one of the last movies made by William Friedkin. That's right, The Exorcist: Believer came out recently as a reboot sequel of The Exorcist, which ignores all the subsequent sequels in true Halloween (2018). In addition to our review of that film, we discuss Friedkin's The Caine Mutiny Court-Martial, an adaptation of a 50s play (originally a novel and also a film) set in the modern day. Despite being a "TV movie," it's actually fantastic? Show Notes 00:00:00 – The Exorcist: Believer 00:30:15 – The Caine Mutiny Court-Martial The Exorcist: Believer was directed by David Gordon Green, who co-wrote the screenplay with Peter Sattler and story credits that include Green, Scott Teems, and Danny McBride. The cast includes Leslie Odom Jr., Lidya Jewett, Olivia O‘Neill, Jennifer Nettles, Norbert Leo Butz, Ann Dowd, and Ellen Burstyn. The film came out on October 6 through Universal Pictures and Blumhouse Productions, and it has a 111-minute runtime. The Caine Mutiny Court-Martial was directed and written by William Friedkin, based on Herman Wouk's eponymous 1953 play, itself based on Wouk's 1952 novel The Caine Mutiny. The cast includes Kiefer Sutherland, Jason Clarke, Jake Lacy, Monica Raymund, and Lance Reddick. Additionally, the film premiered at the Venice International Film Festival on September 3 and came out on Paramount+ with Showtime on October 6. It has a 109-minute runtime. Our intro music this week is “Which One?” by Glimlip & .multibeat. Links: Email your feedback for the show to cinemaholicspodcast [at] gmail.com Join our Discord! We have a Cinemaholics channel here. Follow us on Twitter: Jon Negroni, Will Ashton Check out our Cinemaholics Merch! Check out our Patreon to support Cinemaholics! Connect with Cinemaholics on Facebook and Instagram. Support our show on Patreon: https://www.patreon.com/cinemaholicsSee omnystudio.com/listener for privacy information.
The latest screen adaptation of The Caine Mutiny Court-Martial was directed by the late William Friedkin and premiered on Paramount+ With Showtime, which means we can claim it as TV and we have; certified film critic Tim Grierson returns to discuss it! Around The Dial takes us through Our Flag Means Death S02, comedy specials from John Mulaney and (separately) Taylor Tomlinson, The Restaurant, and The Devil's Plan. Bezoar Laura presents the Scrubs episode "My Screw Up" for induction into The Canon. Then, after naming the week's Winner and Loser, we kick off a new season of Game Time by regarding some TV stars who crossed over into the movies. Put on your dress blues and join us! GUESTS
Steve Hudson joins Kova and Spoiler Steve to discuss The Royal Hotel, Prime Video's Totally Killer and SHOWTIME's The Caine Mutiny Court-Martial! 00:01:39 - Intro | Last Week in Hollywood and The Weekend Box Office Estimates 00:59:59 - The Caine Mutiny Court-Martial 01:41:37 - Totally Killer 02:05:14 - The Royal Hotel 02:21:00 - The Banter Corner | The X-Men Franchise, Prison Break, House, The Office, The Shield, Justified, Only Murderers in the Building, Crapopolis, The Gold, Our Flag Means Death, Casper, Chevalier, & Dumb Money Support us on Patreon HERE Send us emails and feedback to info@sceneitcast.com Check out our website
The Bloody Awesome Movie Podcast delivers a spoiler-free review of a film, usually a new release with some exceptions, every week. Then Matt Hudson (@wiwt_uk) from What I Watched Tonight and Jonathan Berk (@berkreviews) from Berkreviews.com will introduce a variety of movies or pop-culture-related topics in a series of segments. For some movies, a bonus episode that is full of spoilers will drop a few days later. Review of The Exorcist: Believer Director, writer, and cast provided by IMDb.com IMDb.com Synopsis: When two girls disappear into the woods and return three days later with no memory of what happened to them, the father of one girl seeks out Chris MacNeil, who's been forever altered by what happened to her daughter fifty years ago. RATINGS: 24% RT critic 58% RT audience 39 Metascore, 5.2 IMDb user score 2.3 Letterboxd, RELEASE location / DATE: In theaters everywhere Chuffed Headlines Movie/Pop culture news that caught our attention Matt's Headline: Horror Movie Havoc Update #2 Jon's Headline: Horror Movie Havoc Update #2 Media Consumption Movies, TV, Video Games, Music, Podcasts (not ours), etc that we use to pass the time Matt's consumption Nightmare on Film Street (Goosebumps: Haunted Mask) Terrified, The Medium, V/H/S/85, The Caine Mutiny Court-Martial, Flora and Son, Totally Killer Jon's consumption Blank Check Freelance, Hell House LLC, Ginger Snaps, Daniel Isn't Real, Revenge, Terrified, Magic, What Josiah Saw, Dead & Buried, The Mortuary Collection, The Medium, The Mill, Only Murders finale Listen on Spotify | Apple Podcast | Stitcher BAMP on Twitter | BAMP on Instagram | TeePublic Merchandise Jon on Twitter | Jon on IG | Jon on Letterboxd.com Matt on Twitter | Matt on IG | Matt on Letterboxd.comBerkreviews.com | WhatIWatchedTonight.co.uk --- Send in a voice message: https://podcasters.spotify.com/pod/show/bloody-awesome/message Support this podcast: https://podcasters.spotify.com/pod/show/bloody-awesome/support
A return to the weekly movie reviews brings ten new films into the fold for Erik Childress & Steve Prokopy. They include a documentary on an Oscar-winning producer (The Storms of Jeremy Thomas) and a baffling story of love featuring Peter Dinklage and two Oscar winners (She Came To Me). The horrors of October are starting to come out with another chapter in the long-running anthology (V/H/S/85), the first of two tales of families and possession this week (When Evil Lurks) plus what happens when you mix Scream with Back to the Future (Totally Killer). There is more real life horror revisiting the shifting power dynamics of a Sundance relationship (Fair Play), the true-life tale of when to remain silent (Miranda's Victim) and the true-life-inspired tale of vacationing women and the toxic bar they get jobs in (The Royal Hotel). Finally it seems fitting that on the week that David Gordon Green attempts his own follow-up to one of the greatest horror films ever (The Exorcist: Believer), the late director of that classic would see the debut of his final film about how a new generation thinks they know more than the one they follow (The Caine Mutiny Court-Martial). 0:00 - Intro 1:31 - Fair Play 16:08 - Miranda's Victim 24:56 - The Storms of Jeremy Thomas 29:56 - She Came To Me 38:24 - V/H/S/85 44:43 - When Evil Lurks 53:24 - The Royal Hotel 1:05:47 - Totally Killer 1:19:37 - The Caine Mutiny Court-Martial 1:34:52 - The Exorcist: Believer 1:55:12 - Outro
William Friedkin always loved the gray area and characters who couldn't be defined in just one simple way, and here he masterfully explores that through a trial that forces us to consider mental illness (and specifically how that is defined), ego, and leadership experience as they relate to a major conflict in decision-making between Naval Officers that has resulted on one of them being accused of mutiny. Riveting, fantastic work here all-around, and a perfect companion piece to my beloved THE CAINE MUTINY (1954).Follow & SubscribeAaronTwitterFacebookLetterboxdPatrickTwitterAn Original Series Podcast TwitterFeelin' FilmFacebookTwitterWebsiteLetterboxdYouTubeEmail feelinfilm@gmail.comFeelin' Film on Apple PodcastsFeelin' Film on SpotifyFeelin' Film on RepodFeelin' Film on StitcherFeelin' Film on PodchaserNow Playing NetworkJoin the Facebook Discussion GroupJoin the DiscordMusic: Upbeat Party - Scott Holmes MusicRate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you.Support this podcast at — https://redcircle.com/feelin-film/donationsAdvertising Inquiries: https://redcircle.com/brands
Holes spent more than 20 years investigating crimes in California and played a critical role in identifying the so-called Golden State Killer. His memoir Unmasked is out in paperback.Also, John Powers reviews The Caine Mutiny Court-Martial.
Andy Farnsworth joins KSL-TV to help audiences decipher #WhatToWatch for the weekend of October 6, 2023. There is a lot to watch this week, headlined by "The Exorcist: Believer," which is a direct sequel to the original movie, including a return by Ellen Burstyn to her role for the first time in 50 years. Season 2 of "Loki" in the Marvel Cinematic Universe deals with more time-travel shenanigans. "She Came to Me" is an odd yet humorous movie with Peter Dinklage as an opera writer with writer's block until a spontaneous one-night stand."Totally Killer" on Prime video is a surprisingly entertaining movie that is like a cross between "Back to The Future," and "Frequency," and a teen slasher film. I couldn't believe I enjoyed it. A military courtroom drama movie that's coming to streaming is "The Caine Mutiny Court Martial," based on a classic novel but set in modern times. "Monster High 2" brings back the live-action musical version of the Mattel toys, and "Fright Krewe" is a cartoon for older kids about using magic to defend New Orleans from monsters. The most uplifting thing I've watched in a while is "Break the Mold: The Zach Bates Story," a documentary about a young adult with autism from Arizona who decides to run a 100-mile ultramarathon. You will shed emotionally healing tears watching this. Beyond Sci-Fi, Fantasy, Gaming, and Tech, the brains behind Fan Effect are connoisseurs of categories surpassing the nerdy. Brilliant opinions and commentary on all things geek, but surprising knowledge and witty arguments over pop culture, Star Trek, MARVEL vs. DC, and a wide range of movies, TV shows, and more. Formerly known as SLC Fanboys, the show is hosted by KSL Movie Show’s Andy Farnsworth and KellieAnn Halvorsen, who are joined by guest experts. Based in the beautiful beehive state, Fan Effect celebrates Utah’s unique fan culture as it has been declared The Nerdiest State in America by TIME. Listen regularly on your favorite platform, at kslnewsradio.com, or on the KSL App. Join the conversation on Facebook @FanEffectShow, Instagram @FanEffectShow, and Twitter @FanEffectShow. Fan Effect is sponsored by Megaplex Theatres, Utah's premiere movie entertainment company.
Holes spent more than 20 years investigating crimes in California and played a critical role in identifying the so-called Golden State Killer. His memoir Unmasked is out in paperback.Also, John Powers reviews The Caine Mutiny Court-Martial.
Sfruttiamo la recente presentazione dell'ultimo film di William Friedkin all'80° Mostra del cinema di Venezia per fare un confronto con altri due adattamenti della stessa vicenda realizzati da Edward Dmytryk e Robert Altman. Argomenti: "The Caine Mutiny" Edward Dmytryk (1954) "The Caine Mutiny Court-Martial" Robert Altman (1988) "The Caine Mutiny Court-Martial" William Friedkin (2023) Il nostro canale Telegram per rimanere sempre aggiornati e comunicare direttamente con noi: https://t.me/SalottoMonogatari Anchor: https://anchor.fm/salotto-monogatari Partecipanti: Marco Grifò Dario Denta Matteo Arcamone (Ospite) Simone Malaspina Spotify: https://open.spotify.com/show/2QtzE9ur6O1qE3XbuqOix0?si=mAN-0CahRl27M5QyxLg4cw Apple Podcasts: https://podcasts.apple.com/it/podcast/salotto-monogatari/id1503331981 Google Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xNmM1ZjZiNC9wb2RjYXN0L3Jzcw== Logo creato da: Massimo Valenti Sigla e post-produzione a cura di: Alessandro Valenti / Simone Malaspina Per il jingle della sigla si ringraziano: Alessandro Corti e Gianluca Nardo
Ep. 203: Venice 2023 with Glenn Kenny: The Killer, Caine Mutiny, Orson Welles TV, Making Of, Restorations Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. For the last day of the 80th Venice Film Festival. I'm back again with Glenn Kenny of The New York Times and RogerEbert.com to chat about a cavalcade of films. Titles include: David Fincher's The Killer; William Friedkin's final film, The Caine Mutiny Court Martial; Orson Welles's Portrait of Gina, a 1958 documentary about Gina Lollobrigida for an unrealized TV series; Cedric Kahn's Making Of; the documentary Frank Capra: Mr. America; and restorations of Tarkovsky's Andrei Rublev and Arturo Ripstein's Deep Crimson. He also shares his thoughts on other films like Poor Things, and on the Biennale College film funding program. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass
The Lobby:WB to loose $500 to $600 million due to the strike.Venice Film Festival:MAESTRO reactionsTHE BIKERIDERS reactionsFERRARI reactions SALTBURN reactions THE WONDERFUL WORLD OF HENRY SUGAR reactions ORIGIN reactionsTHE KILLER reactions POOR THINGS reactions PRISCILLA reactions AGGRO DRIFT reactions MAY-DECEMBER reactions HIT MAN reactions THE CAINE MUTINY COURT MARTIAL reactions ALL OF US STRANGERS reactions What Have You Watched Latel [...]
Michela Gorini che ha vissuto la prima settimana della Mostra Internazionale d'Arte Cinematografica di Venezia ci racconta alcuni film e documentari che ha visto: "The Caine Mutiny Court-Martial" di William Friedkin, "Povere creature" (Poor Things) di Yorgos Lanthimos, "Ferrari" di Michael Mann, "El Conde" di Pablo Larrain, "Finalmente l'alba" di Saverio Costanzo, "Aggro Dr1ft" di Harmony Korine, "Panico" il documentario su Dario Argento di Simone Scafidi, “The Wonderful Story of Henry Sugar” di Wes Anderson. E in chiusura qualche accenno a "Thank You Very Much" il documentario su Andy Kaufman di Alex Braverman "Hollywoodgate" di Ibrahim Nasth'at, "Dogman" di Luc Besson
Interview with Kirk Petruccelli, production designer of "The Caine Mutiny Court-Martial", a new version of the classical play directed for the screen by the late William Friedkin The post “The Caine Mutiny Court-Martial”, interview with production designer Kirk Petruccelli appeared first on Fred Film Radio.
Interview with Kirk Petruccelli, production designer of "The Caine Mutiny Court-Martial", a new version of the classical play directed for the screen by the late William Friedkin The post “The Caine Mutiny Court-Martial”, interview with production designer Kirk Petruccelli appeared first on Fred Film Radio.
Interview with Kirk Petruccelli, production designer of "The Caine Mutiny Court-Martial", a new version of the classical play directed for the screen by the late William Friedkin The post “The Caine Mutiny Court-Martial”, interview with production designer Kirk Petruccelli appeared first on Fred Film Radio.
Interview with Kirk Petruccelli, production designer of "The Caine Mutiny Court-Martial", a new version of the classical play directed for the screen by the late William Friedkin The post “The Caine Mutiny Court-Martial”, interview with production designer Kirk Petruccelli appeared first on Fred Film Radio.
Interview with Kirk Petruccelli, production designer of "The Caine Mutiny Court-Martial", a new version of the classical play directed for the screen by the late William Friedkin The post “The Caine Mutiny Court-Martial”, interview with production designer Kirk Petruccelli appeared first on Fred Film Radio.
Interview with Kirk Petruccelli, production designer of "The Caine Mutiny Court-Martial", a new version of the classical play directed for the screen by the late William Friedkin The post “The Caine Mutiny Court-Martial”, interview with production designer Kirk Petruccelli appeared first on Fred Film Radio.
"The Caine Mutiny Court-Martial, originariamente scritto da uno dei maestri del suo tempo, Herman Wouk, è un film che ho a lungo atteso di realizzare. Sapevo di voler creare una situazione molto tesa e concitata, in grado di svilupparsi con la velocità di un fulmine.Ho scelto di proposito di lasciare avvolta nella massima ambiguità la questione di cosa sia giusto e cosa sia sbagliato" - William Friedkin
Interview with Annabelle Dunne, producer of "The Caine Mutiny Court-Martial", a new version of the classical play directed for the screen by the late William Friedkin The post “The Caine Mutiny Court-Martial”, interview with producer Annabelle Dunne appeared first on Fred Film Radio.
Interview with Annabelle Dunne, producer of "The Caine Mutiny Court-Martial", a new version of the classical play directed for the screen by the late William Friedkin The post “The Caine Mutiny Court-Martial”, interview with producer Annabelle Dunne appeared first on Fred Film Radio.
Interview with Annabelle Dunne, producer of "The Caine Mutiny Court-Martial", a new version of the classical play directed for the screen by the late William Friedkin The post “The Caine Mutiny Court-Martial”, interview with producer Annabelle Dunne appeared first on Fred Film Radio.
Interview with Annabelle Dunne, producer of "The Caine Mutiny Court-Martial", a new version of the classical play directed for the screen by the late William Friedkin The post “The Caine Mutiny Court-Martial”, interview with producer Annabelle Dunne appeared first on Fred Film Radio.
Interview with Annabelle Dunne, producer of "The Caine Mutiny Court-Martial", a new version of the classical play directed for the screen by the late William Friedkin The post “The Caine Mutiny Court-Martial”, interview with producer Annabelle Dunne appeared first on Fred Film Radio.
Interview with Annabelle Dunne, producer of "The Caine Mutiny Court-Martial", a new version of the classical play directed for the screen by the late William Friedkin The post “The Caine Mutiny Court-Martial”, interview with producer Annabelle Dunne appeared first on Fred Film Radio.
Venezia 2023: I denne første episoden fra årets Venezia-festival snakker vi om våre forventninger til programmet og setter fokus på den nylig avdøde amerikanske regissøren William Friedkin, som hylles på Lido med posthum premiere på sin siste film The Caine Mutiny Court Martial og jubileumsvisninger av Eksorsisten (1973). Da Venezia-programmet ble offentliggjort for en måneds tid siden, merket vi oss straks at William Friedkin var aktuell med en ny fiksjonsfilm – hans første siden Killer Joe (2011). Men 7. august døde Friedkin, og det som skulle vært en gjenforening med en festival han har et nært bånd til, blir i stedet en minnestund. Friedkins bortgang blir også markert med visninger av Eksorsisten i nyrestaurert versjon, og idet vårt panel samlet seg rundt bordet på Lido for denne introepisoden kom Friedkin i fokus. Det viste seg nemlig at noen «i hemmelighet» har valgt bort å se denne klassikeren, av frykt for hva opplevelsen vil bringe. Etter Friedkin-praten snakker vi også litt om hvilke filmer vi ser spesielt frem til på årets program, både i og utenfor konkurranse, og i det alltid innholdsrike retrospektivet Venice Classics – der japanske Shinji Sômai bl.a. er representert med Moving («Ohikkoshi», 1993). Ved mikrofonene sitter Karsten Meinich, Lars Ole Kristiansen, Hedda Robertsen og Benjamin Yazdan. God lytting!
On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- From Los Angeles, California, the Entertainment Capital of the World, it’s The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- From Los Angeles, California, the Entertainment Capital of the World, it’s The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
Act II of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 12th (?) Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices
Act II of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 12th (?) Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices
Act I of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 13th Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices
Act I of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 13th Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode, Clinton Johnston and Alejandro go back to 1988 to watch a made for tv movie directed by the award winning Robert Altman. The film stars Eric Bogosian, Jeff Daniels, Brad Davis, Peter Gallagher and Michael Murphy. --- Send in a voice message: https://podcasters.spotify.com/pod/show/rememberthatmovie/message
Act I of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 12th (?) Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices
Act II of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 12th (?) Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices
Act I of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 12th (?) Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices
Act II of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 12th (?) Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices
It's a veritable extravaganza of new movie reviews!This week on CRITICALLY ACCLAIMED, film critics William Bibbiani and Witney Seibold review David Gordon Green's THE EXORCIST: THE BELIEVER, as well as the final film from the director of The Exorcist, THE CAINE MUTINY COURT-MARTIAL! Plus, reviews of the sci-fi film THE CREATOR, the horror sequel SAW X, the sci-fi drama FOE, the horror time travel comedy TOTALLY KILLER, the brutally violent WHEN EVIL LURKS, the raunchy DICKS: THE MUSICAL, and all four of Wes Anderson's new Roald Dahl short films: THE WONDERFUL STORY OF HENRY SUGAR, POISON, THE SWAN and THE RAT CATCHER!It's another epic episode of film reviews, and it's AD-FREE just for patrons!The Exorcist: Believer - 2:43The Caine Mutiny Court-Martial - 35:24The Creator - 48:26Saw X - 1:01:50Foe - 1:23:45Totally Killer - 1:32:53When Evil Lurks - 1:44:52Dicks: The Musical - 1:53:48Wes Anderson's Roald Dahl Shorts - 2:04:05Review Round-Up - 2:28:00 Subscribe on Patreon at www.patreon.com/criticallyacclaimednetwork for exclusive content and exciting rewards, like bonus episodes, commentary tracks and much, much more!Join the new SALTCATSOAP OF THE MONTH CLUB at Patreon.com/SaltCatSoap today! You can also buy soaps at our Ko-fi store!Email us at letters@criticallyacclaimed.net, so we can read your correspondence and answer YOUR questions in future episodes!Our Sponsors:* Check out Factor 75 and use my code criticallyacclaimed50 for a great deal: https://www.factor75.com/Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
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