Podcast appearances and mentions of David Caruso

This week on Forgotten Cinema, the Mikes take a ride back to the grimy streets of mid-90s New York with "Kiss of Death" (1995), starring David Caruso, Samuel L. Jackson, and a wildly unhinged Nicolas Cage with a bench press and a metal grill.Mike Field and Mike Butler dig into why this crime thriller—despite its strong cast and moody atmosphere—never quite sticks the landing. Is it a protagonist issue? Or does the story itself just not really hold up under further investigation?Either way, there's plenty to talk about: Cage's wild energy, Caruso's post-NYPD Blue movie pivot, or Ving Rhame's character's hatred of the color red.So, grab your popcorn and soda, please notice the exits to the left and right of you and settle down for Forgotten Cinema. What's your favorite 90's crime film? Let us know in the comments below!

Friend of the pod and glamor-trash gay man-about-town Billy Weston joins Torie and Maggie to unpack three of the sexiest, messiest, and most titillatingly trashy erotic thrillers of the 1990s.
 Jesse Spano trades textbooks for stripper poles to dance her way through a 24/7, nipple tweaking tantrum in Paul Verhoeven's infamous, eternally iconic TRASHterpiece, SHOWGIRLS (1995). Neve Campbell and Denise Richards, whose aquatic escapades inaugurated a million Millennial boners, continue to masterfully mindf**k us in WILD THINGS (1998). Sick of bad sex and surmised of murder, smoky siren Linda Fiorentino is suspected by CSI's OG sunglasses guy, David Caruso, in William Friedkin's convoluted, surprisingly sterile flop, JADE (1995).

April 18-24: Leo plays basketball, David Caruso gets the kiss of death, Sandra Bullock becomes a star, Psychonauts go forth, Father Ted deserves better than its creator, there's a new pope (again), Nicole Kidman interprets, the Enterprise has a goatee, everyone's mad at Turkey, Michael Scott dribbles and domestic terrorists are jerks. All that and more from 30, 20 and 10 years ago this week.

This episode, what if Christopher Walken was New York City sleazecore Robin Hood? We are talking about King of New York (1990).   Written By Abel Ferrara & Nicholas St. John. Directed By Abel Ferrara. Starring Christopher Walken as Frank White, Larry Fishburne, David Caruso, Wesley Snipes, Victor Argo, Giancarlo Esposito and Janet Julian (swoon) as Jennifer.   Weird Kid Video is hosted by Keean Murrell-Snape, Kira Jade Oppitz and Brodie McDonald.  Each sold separately.   New full-length episodes every two weeks. Don't follow us on Instagram @weirdkidvideo This podcast was recorded on Dharawal Country.

Welcome, you depraved ghouls and ghost enthusiasts, to another episode of Sitting in the Dark—the podcast where we ask the truly vital horror questions, like, “Is this house cursed by restless spirits, or is it just what happens when unresolved trauma and black mold get into a knife fight?” This week, host Tommy Metz III is joined by fellow ghost provocateurs Pete Wright, Kynan Dias, and Kyle Olson to dig into haunted house horror—though not just your average “the walls are bleeding, but let's still stay the night” tales. No, we're talking haunted spaces—as in, Session 9, Ouija: Origin of Evil, and The Others—three films that prove the scariest thing in any building isn't the wallpaper peeling off the walls… it's the emotional wreckage you brought with you.Tommy kicks things off with a haunted homage to asbestos removal (yes, really), leading a deep dive into Brad Anderson's Session 9—the only film that will make you afraid of abandoned hospitals and David Caruso's dramatic whisper-acting. Then it's on to Mike Flanagan's miraculous studio rescue, Ouija: Origin of Evil—the rare horror prequel that's smarter than its brand deal, sharper than its title suggests, and way too good to be based on a board game. Finally, the gang closes the coffin lid on Alejandro Amenábar's The Others, Nicole Kidman's masterclass in weaponized repression, ghostly guilt, and why sunlight is overrated anyway.Along the way, expect critical mass levels of hot takes on ghost psychology, asbestos-based metaphors, PG-13 trauma horror, and why the real haunted house is sometimes the one you build inside your own mind. So pull the blackout curtains tight, polish your crucifixes, and maybe call your therapist—because tonight, we're not just sitting in the dark. We are the dark.Film SundriesThe List on LetterboxdWatch the movies discussed:Session 9: Apple • Amazon • LetterboxdOuija: Origin of Evil: Apple • Amazon • LetterboxdThe Others: Apple • Amazon • Letterboxd (00:00) - Welcome to Sitting in the Dark (07:32) - Do you LOVE Ghost Stories (10:02) - Thinking about Haunted House Tales (16:28) - Session 9 (24:20) - Mysterious Peanut Butter (26:04) - Session 9 (35:43) - Ouija: Origin of Evil (55:16) - The Others Learn how to support our show and The Next Reel's family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel's family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastJoin the conversation with movie lovers from around the world in our Discord community!Here's where you can find us around the internet:The WebLetterboxdPeteKyleTommyKynanWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we've discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we've discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

Fear is a place.Session 9 is a 2001 American psychological horror film directed by Brad Anderson and written by Anderson and Stephen Gevedon. It stars David Caruso, Peter Mullan, Brendan Sexton III and Josh Lucas.An asbestos abatement crew who take a clean-up job at an abandoned mental asylum amid an intense work schedule, growing tensions, and mysterious events occurring around them. Its title refers to a series of audio-taped sessions with an asylum patient that run parallel to the crew's experiences.00:00 Intro 23:30 Horror News 33:30 What We've Been Watching54:14 Film Review2:02:57 Name Game2:08:22 Film Rating2:12:27 Outrowww.horrorhangout.co.ukhttps://princecharlescinema.com/savethepcc/Podcast - https://fanlink.tv/horrorhangoutPatreon - http://www.patreon.com/horrorhangoutFacebook - http://www.facebook.com/horrorhangoutpodcastX - http:/x.com/horror_hangout_TikTok - http://www.tiktok.com/@horrorhangoutpodcastInstagram - http://www.instagram.com/horrorhangoutpodcastBen - https://x.com/ben_errington​​​Andy - https://www.instagram.com/andyctwrites/Guy - https://www.instagram.com/guy_pearson0/Audio credit - Taj Eastonhttp://tajeaston.comSupport this show http://supporter.acast.com/thehorrorhangout. Hosted on Acast. See acast.com/privacy for more information.

National Pass Gas day. Entertainment from 1980. Galileo discovered 3 of Jupiter's moon, Francium discoverd, Typewriter invented. 15" of snow fell on Sahara Desert. Todays birthdays - Millard Fillmore, Jack Greene, Kenny Loggins, David Caruso, Linda Kozlowski, David Lee Murphy, Nicolas Cage, Jeremy Renner, John Rich, Dustin Diamon. Nikola Tesla died.Intro - Pour some sugar on me - Def Leppard     http://defleppard.com/Achy Breaky Fart - Bryan AlbrandtPlease don' go - KC & the Sunshine BandCoward of the country - Kenny RogersBirthdays - In da club - 50 Cent     http://50cent.com/Until my dreams come true - Jack GreeneI'm alright - Kenny LogginsParty crowd - David Lee MurphyLost in this moment - Big & RichSaved by the bell TV themeMagic garbage ride - Salty the PocketknifeExit - In my dreams - Dokken   https://www.dokken.net/ 

A Navy Aviation Officer Candidate with a bad attitude (Richard Gere) must learn to be a team player or risk his chance to make a better life for himself.  Co-starring Debra Winger, Louis Gossett Jr., David Keith, Robert Loggia, Lisa Eilbacher, Harold Sylvester and David Caruso.  Directed by Taylor Hackford and features the hit song "Up Where We Belong" performed by Joe Cocker and Jennifer Warnes.

Four Play's Scary Deep Cuts arc begins with a brooding, psychological horror film that few have seen: Session 9 by director Brad Anderson. Filmed at the derelict Danvers State Medical Hospital in Massachusetts using props left in the building, the movie tells the story of an asbestos removal team losing their sanity in an apparently haunted building. Anchored by solid performances by Peter Mullan and David Caruso, alongside a host of talented character actors, Session 9 delivers a slow burning plot dripping with dread. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This Week Will is BACK in America. Ian & Nora welcome him back, politely but firmly by saying welcome back, but also get out of town, now. There's a Diner 30 miles down the road. But if you don't leave right now we shall definitely be drawing- FIRST BLOOD (1982) R 93minutes (currently available on Paramount+) Directed by: Ted Kotcheff. Starring: Sylvester Stallone, Brian Dennehy, Richard Crenna, Bill McKinney, Jack Starrett, Chris Mulkey, David Caruso, Patrick Stack and Many Other Talented People! 00:00:45- Mandela Effect 00:01:50- Watching Movies with Friends 00:04:40- Frist Thoughts 00:09:00- Whatcha Been Watchin'? (ian- DIsney's Peter Pan, Nobody, Land of Bad, Tinker Bell. Will- The Penguin, Agatha All Along- Nora- The Faculty, Disturbing Behavior, Nobody Wants This) 00:19:00- FIRST BLOOD (1982) 00:24:00- Tasty Morsels 00:26:00- Rating/Review 01:02:45- Totals 01:03:45- Next Week, God Damnit!/ Bye Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/THELastActionCritics⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: @TheLastActionCritics Twitter:     @THE_Lastcritics email:   Thelastactioncritics@gmail.com Next Week: The Burbs (available on prime)

Ep #54 With David Caruso, Dominion Advisory Group In this episode of Regulatory Ramblings, David Caruso, a former U.S. Secret Service agent turned global financial crime fighter, shares insights from his 30-year journey in AML and financial crime compliance. With an impressive career, including time as chief compliance officer at Riggs Bank, David recounts his pivotal role in uncovering corruption scandals involving Equatorial Guinea and former Chilean dictator Augusto Pinochet. These investigations sparked significant U.S. regulatory and legal actions, influencing AML enforcement on a global scale. David reflects on the evolution of financial crime compliance, pointing to key regulations like the Bank Secrecy Act, USA PATRIOT Act, and FATCA. He critiques how the increasingly regulatory-driven focus has distracted AML teams from their primary mission. He also shares his concerns about international policy-setting bodies, such as the Financial Action Task Force (FATF), questioning whether new rules are truly effective in preventing financial crime or unintentionally stifling economic growth. The discussion wraps up with David's views on the limited success of sanctions against Russia, the potential of AI in AML/KYC compliance, and his policy recommendations moving forward. David Caruso is the founder and managing director of Dominion Advisory Group, helping banks across the U.S., Europe, and Asia navigate financial crime risk and compliance. With a background as a U.S. Secret Service agent and a degree from George Washington University, he has been at the forefront of shaping financial crime compliance since 1996, advising global institutions and building AML programs at major banks. For more details about the contents of this podcast, please visit: www.hkufintech.com/regulatoryramblingsHKU FinTech is the leading fintech research and education in Asia. Learn more at www.hkufintech.com.

This week, we wrap up our David Caruso movie marathon with the 1995 neo-noir thriller "Kiss of Death." We talk about Caruso, Nicolas Cage, Samuel L. Jackson, and how this underseen gangster flick feels like "The Sopranos." Listen now.

Send us a Text Message.In this episode Troy demands the release of Hudson Hawk: The Little Eddie Cut, while Mike soft-shoes his way past second act blues, as they both attempt to spring Hudson Hawk from bad movie jail. ►Connect with 'Bald Guys & Bad Movies':-Facebook: / baldguysbadmovies -Instagram - / baldguysbadmovies -Twitter/X - / baldmovies ►Experience their unique takes on films of all stripes:- Apple Podcasts - ...

This week, we finally live out our fantasy of watching 1995's "Jade." We talk about William Friedkin, David Caruso, Linda Fiorentino, erotic thrillers of the '90s and more. Listen now.

This Week's Panel - Big Ell, wildwest08, KooshMoose   This Week's Discussion - A. Nonymous asks - Are there games you want to love but just can't for some reason? What are the games, why can't you get into them, and do achievements play a part?   Show Discussion - A fun question starts the show off! Koosh played a Game Pass game with some totally impressive voice acting by some amazing celebrities! Just don't ask who they are. We forgot. wildwest played DEATHLOOP! wildwest played DEATHLOOP! wildwest played DEATHLOOP! wildwest played DEATHLOOP! wildwest played DEATHLOOP! wildwest played DEATHLOOP! wildwest played DEATHLOOP! wildwest played DEATHLOOP! wildwest played DEATHLOOP! wildwest played DEATHLOOP! wildwest played DEATHLOOP! wildwest played DEATHLOOP! Ell hit his head writing these show notes.   Games Mentioned: Koosh - KooshMoose Plays Open Roads, The Only Ones That I Have Ever Known wildwest08 - Don't Know Where DEATHL00P Goes, But Montana Is Home To wildwest And I Eat Alone Ell - I Walk This Empty Street, Just To Find Subway Where I Can Eat, Give Me Cookies Please , With My Veggie Delite, I Eat Alone Return of the VSS - After … how long has it been? … TOO DAMN LONG, Exe & Elroy have reunited, and it feels so good! For their return segment, they discuss the top 5 achievements that sound like something David Caruso would say after putting his sunglasses on in the beginning of an episode of CSI Miami. And if you think that title is a mouthful, you've forgotten just how much tangential conversation occurs when Exe & Elroy work together. We hope you enjoy listening to our reunion as much as we enjoyed making it! (1:33:42) Ell Eats Alone - I have no words. (2:43:30) ----- AH101 Podcast Show Links - https://tinyurl.com/AH101Links Year of the Veiner spreadsheet - https://docs.google.com/spreadsheets/d/1VkAvMjmVmXLjRWS61eoMimaoovUz7fr7uPsD6DQPIz4/edit?usp=sharing Intro music provided by Exe the Hero. Check out his band Window of Opportunity on Facebook and YouTube

We're kicking off Nicholas Cage month by reviewing the 1995 crime/thriller "Kiss of Death" starring the Cageman himself and David Caruso. There's jokes, stories, lots of talk about pale Irish chests, and of course our review!   MP Links: - patreon.com/mediumpopcorn   - youtube.com/@MediumPopcornPodcast   - https://www.teepublic.com/stores/medium-popcorn   Hosts: Brandon Collins Justin Brown Medium Popcorn Podcast   "Medium Popcorn" is a production of Casa de Collins LLC.    Special thanks as always to our producer Lluvia Gilliam. 

Welcome back to the Coming of Cage podcast, your Nicolas Cage movie review podcast, home of the Wheel-O-Cage, Cage-O-Meter, and CAGE-O Bingo! This is Episode 45 of the show and we're talking Nicolas Cage's 1995 remake Kiss of Death where we see his as the lead big bad along side co-stars like David Caruso, Samuel L. Jackson, Stanley Tucci, Ving Rhames, Helen Hunt, Michael Rapaport, and more! Thanks for joining us. Let's hit it.Then we run our little computer system thingy to find out what movie joins the Wheel-O-Cage next!Don't forget to check out our social media pages to see the next Wheel-O-Cage spin and find out what movie we're reviewing next on the show! Plus, CAGE-O Bingo!Subscribe & Support Our ShowLinks: comingofcage.comMerch Store: https://www.teepublic.com/stores/derricostudios?ref_id=7261Apple Podcasts: https://podcasts.apple.com/us/podcast/coming-of-cage/id1625687655Spotify: https://open.spotify.com/show/1mVw6A52QjbMeQicIlj4i7Spreaker: https://www.spreaker.com/podcast/coming-of-cage--6057154RSS Feed: http://derricostudios.com/feed/podcast/comingofcageJoin our Film Forum for news, memes, spoiler conversations, tournaments, polls, and more: Facebook.com/groups/ScreenHeroesComing of Cage Podcast CreditsA Derrico Studios ProductionHosted by Derreck Mayer & Ryan CoutureExecutive Producer & Editor: Derreck Mayer

This is a new series of the show called The Design Messengers. A Monday episode of the show sharing design trade info you need to know. Sometimes it's not really what you need to know but should know. This is an audio essay shining a light on a few simple ideas that make this industry so amazing. I have a long held passion for and fascination with the set decorators that craft the sets for some of our favorite TV shows, movies, live performances and yes, even commercials. I'm not sure if I told you this before, but Hollywood set design runs in my family. Not as set decorators but as prop house owner, purveyor and provider of objects meant to decorate sets. My Uncle Earl was the founder and owner of EC Props. Now known as E. C. Prop Rentals. They provide the less glamorous, gritty objects you might find on an industrial set, a back alley, commercial environment or city street.  I remember him telling me how he got into the business. He was a Teamster driving for CBS. He found a few dirt mats. These are rollable rugs that look like dirt, the ground that set decorators would use to dress an outdoor set, like a campground. A much younger me asked if I could see one, he laughed and said no, because he never sees them. They are always rented out. They went from one set decorator to the next, always rented, always making money. I never even thought that was away to make money. But he did. And instead of finding beautiful objects you might find decorating the sets of the time, like Hart to Hart or Designing Women, he was the purveyor of objects like dumpsters, transformers, tools and lockers for a 1988 episode of Ohara starring Pat Morita and decorated by Robin Royce or Crime Story, a show starring Dennis Farina, featuring the acting talents of Gary Sinise, David Caruso, Andrew “Dice” Clay, Pam Grier, Ving Rhames and Miles Davis, as himself of course!  Produced by Michael Mann with set decoration by Linda Lee Sutton. Sutton, by the way…still a working set decorator with 2023 credits that include NCIS: Hawaii. My Uncle Earl is sadly no longer with us, but his legacy and prop house remain. That is one thing I find so interesting. Legacy as it pertains to design and architecture. Architecture is a little different because a Falling Water or Disney Concert Hall will always garner attention while the interior design of an amazing Manhattan apartment, unless published, might get no such love. I want to share the stories of some incredible set decs with you. How they do what they do, why they do it, where you might have seen their work, what they love about it and what they would like you to know.If you love entertainment, this will be enjoyable for you…If you are a designer, this will be invaluable. To change the thought process from work to lasting legacy. From a project, to a story telling set that makes better the characters who inhabit a real-life environment.  What I find so incredible about set decs is their ability to read literally between the lines to uncover the true essence of each character as defined by their environments. What does the decor say about the character? How does the character live, why, how does that affect their relationships with the other characters. Without set design, there is no story. You can have dialogue. You can have stage direction and acting,  but there is no context. Set decs create the environment, often in very difficult and challenging situations. Can you derive a set through AI? Sure.Can you create a piece of graphic art through AI? Yes, but 2 things to consider. Those are a complex derivative of many other preexisting works and it is based on prompts, not soul. Set decs are truly givers-of-life in very much the same way as the writer or actor. They create the environment for a director to mold and craft their vision for a finished product. But we don't celebrate the set decorators the same way, with the same passion as actors, directors or even writers.

Don't "keep pushin' me".  Instead, please push the 'play' button and listen to our latest episode. We're joined by Alan Stuart, who has chosen the 1982 action thriller that launched a questionable franchise: FIRST BLOOD.END CREDITS- Presented by Robert Johnson and Christopher Webb- Produced/edited by Christopher Webb- "Still Any Good?" logo designed by Graham Wood & Robert Johnson- Crap poster mock-up by Christopher Webb- Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission(c) 2023 Tiger Feet ProductionsFind us:Twitter @stillanygoodpodInstagram @stillanygoodpodEmail stillanygood@gmail.comSupport the show

We're back on track! Thanks for sticking with us. Govier is blown away that OJ Simpson is frequently featured on Come And Talk 2 Me which is a sports show hosted by Cam'ron & Ma$e in suits. Bizarro. Dan Campbell is blowing the minds of the locals here in metro Detroit. Have you heard the rumors about black male actors being coerced into dressing in drag? It's not just a one-off. The Katt Williams interview with Shannon Sharpe offers up this juicy tale plus the derision of Joe Rogan's army of unfunny comedians. Who's funnier: Joe Rogan or Bill Maher? Luke watched Killers of the Flower Moon, but Steve hasn't yet so we offer nothing to you about that film. David Caruso become iconically funny while attempting to do drama on CBS. Is Jim Carrey impersonating Caruso less, the same or more funny? We got your emails! Mr. Pink chimes in about our unintended hiatus. Sid wants to know if Luke thinks voting for Biden in Wisconsin purely for the Supreme Court cause is reason enough. Govier asks Steve for a throwback about the frequent anthrax attacks from 2002 related to diaper shits. We do the BBC proud! Joe checks in with an email about his clarification about Aesop Rock. Joe enlightens us about producer Blockhead. Govier wants to know if he has collaborated with Buckethead yet. Luke listened to over Aesop Rock songs to report to you all on the matter. Finn Gurrer has a crisis related to Sbarro credit cards, the Social Security Administration and TGI Friday's gift card. It's a doozy! Mr. Pink writes in briefly to thank the fellas for the show existing. Thank you Mr. Pink! Can Yao Ming be the lead villain in a new Rocky movie? We love you all! This talk show is not the same without you listening and emailing us your highly entertaining thoughts. We close the show with Wilma's Rainbow by Helmet. If any of our nonsense provokes your thoughts, please share them with us at isitsafepod@gmail.com or check out our Discord:https://discord.gg/wXPdgujdSj

National pass gas day. Entertainment from 1957. Galileo discovered 3 of Jupiter's moon, Francium discoverd, Typewriter invented. 15" of snow fell on Sahara Desert. Todays birthdays - Millard Fillmore, Jack Greene, Kenny Loggins, David Caruso, Linda Kozlowski, David Lee Murphy, Nicolas Cage, Jeremy Renner, John Rich, Dustin Diamon. Nikola Tesla died. Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Redd Foxx liveSinging the blues - Guy MitchellSinging the blues - Marty RobbinsBirthdays - In da club - 50 Cent http://50cent.com/Until my dreams come true - Jack GreeneI'm alright - Kenny LogginsParty crowd - David Lee MurphyLost in this moment - Big & RichSaved by the bell TV themeMagic garbage ride - Salty the PocketknifeExit - It's not love - Dokken

Michael B. Jordan crashes his Ferrari. Is this why he missed his big night with Oprah? Then, Lady O stuns in purple sequins as nearly every star in Hollywood steps out for one of the most glamourous events of the year. All the amazing looks. Plus, where we found the one star banned from attending. How Will Smith is trying to turn the conversation back to his acting. And, how Florence Pugh got hit in the face by a fan. Then, Robert Downey Jr. making an Iron Man return? We get a definitive answer. Plus, Taylor Swift's weekend with Travis Kelce and the meaning behind their matching looks. And, Ryan Gosling eyeing Grammy gold. Then, where “CSI: Miami” star David Caruso and “Home Improvement” star Jonathan Taylor Thomas are now. Plus, why Usher broke down on stage. And, Julia Roberts on the death of her ex, Matthew Perry. Then, how Jay Leno and Meg Ryan turned Billy Crystal's Kennedy Center Honor into a roast.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Detroit Lions back on track, Eli Zaret joins us as Michigan is #1 heading into the playoffs, Felicity Huffman had to break the law, Bhad Bhabie knocked up, influencing killed a Disney executive, and Britney Spears reconciling with her mom & hanging with Jim Bentley. We go LIVE on YouTube with Eli Zaret to discuss the Detroit Lions victory over the New Orleans Saints, rip apart the terrible Detroit Pistons, Michigan's Big Ten Championship, the #1 Wolverines vs the Crimson Tide, the Heisman favorites, Bronny is back, Angel Reese drama, the Dr. Pepper Halftime Challenge and much more. Please join us Friday at Killer Cares. Jim ‘JJ' Johnson hung up his cans and Eli was there for the sendoff…. but no Drew. Karl and Andy Q. Public break down the latest with that oaf, Stuttering John. Drew recommends Blind Mike's latest show. Britney Spears is making amends with some of her family. She's posting Instagram videos with a Jim Bentley look-a-like. Pauly Shore discussed his incident with Britney. Billie Eilish is queer now in case you didn't get it the first time she told the world. 40% of Brown University students are LGBTQ+. Felicity ‘First' Huffman just had to break the law to get her brat into college. Parents are now in serious student loan debt for their kids. Boomers are incredibly selfish. The sad tale of ex-Disney exec, Dave Hollis. Bowen Yang is whining about his ailments again. George Santos BLOWN OUT. George Santos movie coming soon. Paris Hilton likes her children. Back to jail for Jussie Smollett… unless he takes his case to the Supreme Court. Bhad Bhabie is knocked up. Why You Look Different?: David Caruso. Christina Aguilera. Jennifer Aniston. Julianna Margulies can't stop putting her foot in her mouth. Drew did a deep dive on 900 numbers. Use our Amazon portal for all Amazon needs. Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company If you'd like to help support the show… please consider subscribing to our YouTube Page, Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon).

The guys discuss David Caruso, actors who haven't aged well, Emma Stone's induction into the SNL 5-Timers Club, Deion's breakup, the first Husker to hit the portal, break down the food at the World's Largest Truck Stop, and more

Jon and I sum up the trivial, divisive and occasionally controversial acting chocies (on-screen and behind the scenes) of the one, the only David Caruso.   Was it karma that he ended up being a hothead fired from TV and later fired from film?    Was he the right choice for CSI's Horatio Caine?    Is he an awesomely bad/trashy much akin to the Bill Shatner/Lorenzo Lamas/Hasselhoffs of the world or is he a solid tough guy who can do the grit but doesn't have much charm/charisma?    Find out tonight!!                    MAIN LINKS:  LinkTree: https://linktr.ee/JURSPodcast Facebook Page: https://www.facebook.com/JackedUpReviewShow/ Facebook Group: https://www.facebook.com/groups/2452329545040913 Twitter: https://twitter.com/JackedUpReview  Instagram: https://www.instagram.com/jacked_up_podcast/          SHOW LINKS: YouTube: https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ   iHeartRadio: https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/   Podbean: https://jackedupreviewshow.podbean.com   Spotify: https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M   Apple Podcasts: https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218   RadioPublic: https://radiopublic.com/the-jacked-up-review-show-We4VjE   Overcast: https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast   Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz   Anchor:  https://anchor.fm/s/a46297c/podcast/rss   PocketCasts: https://pca.st/0ncd5qp4   CastBox:  https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222       #MovieReview #FilmTwitter #PodFamily #PodcastersOfInstagram #Movies #Film #Cinema #Music #Reviews #Retrospect #Podcasts #MutantFam #MutantFamily #actionmystery #bmovies #scifihorror #truecrime #historydramas #warmovies #podcastcollabs #hottakes #edgy #cultmovies #nsfw #HorrorFam #badass             

Today on the show, Paul and Ben talk about Veteran's Day, venting anger, money for food, commuter trains, gifs, David Caruso, Hudson Hawk is brilliant, Wes Anderson's Roald Dahl's Netflix adaptations, AI lawsuits, remote work, the ex-president's poll numbers, rhymes with Benjamin, Ben's mic issues, the weather, and finally night … Continue reading →

Remembering some of Hollywood's worst decisions...David Caruso's CSI Miami moments...Country music stars Maren Morris and Ryan Hurd file for divorce...Vogue magazine's contributing editor-at-large Gabriella Karefa-Johnson is in hot water with her pro-Palestinian comments.

Episode 275:   Episode 275: The Snobs rant, rave, review, mention in passing and briefly discuss these things: Starfield, AI art, police procedural shows, Dennis Franz, David Caruso, physical altercations, Classic Art by Reiner Knizia and much more, enjoy!   To Join Our Patreon: https://www.patreon.com/bgsnobs For merch: https://sirmeeple.com/collections/board-game-snobs For questions, comments or general adulation: Send voice memos to boardgamesnobs@gmail.com Special thanks to Ben Maddox for the intro and outro. Check him out for further podcasting goodness at https://fivegamesfordoomsday.com/ and his fantastic YouTube videos for Dice Tower, "Design Notes" at The Dice Tower's Design Notes with Ben Maddox

This special three-episode bundle is available for continuing medical education credit, if desired. Dr. Marie Angele Theard, Dr. Kyle Harwell, Dr. Jong Sung Yoon, and Dr. David Caruso speak about the growth mindset and courage and curiosity, deliberate practice of skills, and emotions as data. We can use deliberate practice to interrogate and develop courage and curiosity rather than fear and shame. Dr. Marie Angele Theard, MD, is an anesthesiologist with over 20 years of experience in the field of neuroanesthesiology. She was educated at the University of Illinois where she also completed her residency, and she then went on to complete a fellowship at Washington University in St. Louis.  Dr. Theard is certified by the American Board of Anesthesiology and is a member of The Society of Education in Anesthesia, American Society of Anesthesiologists, and she is on the Board of Directors of the Society for Neuroscience in Anesthesiology and Critical Care. She is currently a neuroanesthesiologist in the Department of Anesthesiology at the University of Washington, and an Associate Director of the Education Training Core at Harborview Injury Prevention Center in Seattle, WA. She has a very well-written article on the growth mindset (10.1016/j.eclinm.2021.100972). Dr. Jong-Sung Yoon PhD is an Assistant Professor of Psychology at the University of South Dakota. He received his PhD in Cognitive Psychology from Florida State University in 2015, during which time he overlapped a little bit with Kyle. He has both an MA and BA degrees from Yonsei University in South Korea. His research interests include memory, cognitive aging, human factors, and the development of expertise. Dr. Kyle Harwell, received his MA from Florida State University and his PhD in Cognitive Psychology. His undergraduate degree is from the University of West Florida. Both doctors Yoon and Harwell are grounded in the study of expert performance, the essence of deliberate practice, and applying the ideas of deliberate practice and the expert performance approach to the study of human performance in various fields, including in healthcare.  Dr. David Caruso, PhD, is a management psychologist who develops and conducts emotional intelligence training around the world. He co-authored the Mayer, Salovey, Caruso Emotional Intelligence Test; he co-wrote several books including The Emotionally Intelligent Manager with Dr. Peter Salovey and A Leader's Guide to Solving Challenges with Emotional Intelligence with Lisa Rees.  He has been an executive coach to leaders around the world.

Our special guest today is Dr. David Caruso, author of The Emotionally Intelligent Manager. Dr. Caruso is a management consultant who is known for his work with leaders on leveraging emotional intelligence. Tune into this podcast for a lively conversation between two psychologists about the value of EI in the workplace.To Order Doug's Books: The Resiliency QuestMad About UsVisit Doug's Website: DougMcKinley.comTo Listen to Leadership Currency Podcast: Leadership Currency Podcast

Today the boys review Kiss of Death from 1995, a relatively unknown ganger movie starring David Caruso, Nicholas Cage, Samuel L. Jackson, Ving Rhames, and Michael Rapaport. Jimmy (David Caruso) is an ex-con trying to stay on the straight and narrow. As hard has he tries though, he can't elude the temptations of the criminal underworld. While doing "one last job" with his cousin Ronnie (Michael Rapaport), he gets busted and begins the downward spiral for not only himself, but his entire family. Can Jimmy claw his way out of his life of crime? Can a movie starring David Caruso and Michael Rapaport possibly score well? And who in their right mind picked this movie?Catch new episodes of the Where to Stick It Podcast every Tuesday and Thursday. If you like the show, please consider supporting us on Patreon where we upload exclusive content each month for only $3 a month.

Recorded 5.22.23 at the world-famous Hollywood Improv in Los Angeles, CAOn the first Summer Break episode of the season, the guys are live in Los Angeles tackling the outrageous Ivan Reitman comedy, Twins! Why is it that Arnold's character knows a ton of science-related facts, but has no idea what a phone or seatbelt is? Did they really have to go that hard on Danny in the screenplay? And what is with that Fast & Furious-esque third act? PLUS: The guys wear flammable shirts live on stage! Twins stars Arnold Schwarzenegger, Danny DeVito, Kelly Preston, Chloe Webb, Bonnie Bartlett, David Caruso, Tony Jay, Nehemiah Persoff, Maury Chaykin, and Trey Wilson as Beetroot McKinley; directed by Ivan Reitman. Want more WHM? Join our Patreon fam today and instantly unlock hours and hours of exclusive bonus content, starting as low as $2 a month! We'll be releasing new Patreon content all throughout August, so it's the perfect time to join!Be sure to get in early and get your tickets for the WHM Holiday Extravaganza where we're talking The Santa Clause! Check out the WHM Merch Store featuring new Skeleton Juice, Spring Tour 2023, KONG & DILF Den designs!This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/whm and get on your way to being your best self.Unlock Exclusive Content!: http://www.patreon.com/wehatemoviesSee omnystudio.com/listener for privacy information.

GFA406. Discover David's remarkable journey of building and expanding a vast portfolio of 600+ e-commerce sites across 32 countries, with a dedicated warehouse in Thailand, earning the prestigious title of Thailand DHL's No.1 exporter. The post Growing a Global Ecommerce Empire from Thailand with David Caruso appeared first on Global From Asia.

For full show notes go to https://www.globalfromasia.com/thailand-ecommerce/ The post GFATV 406 Growing a Global Ecommerce Empire from Thailand with David Caruso appeared first on Global From Asia.

RMR 0219: Join your Hosts Dustin Melbardis, Lizzy Haynes and Chad Robinson for the Retro Movie Roundtable as they revisit King of New York (1990) [R] Genre: Crime, Thriller, Suspense Starring: Christopher Walken, David Caruso, Laurence Fishburne, Victor Argo, Wesley Snipes, Janet Julian, Joey Chin, Giancarlo Esposito, Paul Calderon, Steve Buscemi, Theresa Randle, Leonard L. Thomas, Roger Guenveur Smith Carrie Nygren, Ernest Abuba, Frank Adonis, Vanessa Angel, Frank Aquilino, David Batiste, Michael Battin, Frankie Cee, Lia Chang, Endira, Erica Gimpel, Frank Gio Director: Abel Ferrara Recorded on 2023-06-08

Hosts Sonia Mansfield and Margo D. get stuck in the world's slowest car chase and dork out about 1995's JADE, starring David Caruso, Linda Fiorentino, Chaz Palminteri, Michael Biehn, and Richard Crenna. Dork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsGoogle PlaySpotify LibsynTune In Stitcherhttp://dorkingoutshow.com/https://twitter.com/dorkingoutshowThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5406530/advertisement

In today's episode Mel meets John Rambo for the first time and realizes she had him all wrong. First Blood proves to be more than just a brainless action movie, thanks to Sylvester Stallone's (pre-accent) convincing portrayal of PTSD and the exquisite facial expressions of Brian Dennehy (pre-Cocoon). We'll discuss all the important questions: Is that really David Caruso? Would we like to see Rambo vs. Predator? Could we apply Rambo skills to our next camping trip? If you answered ‘Yes' to any of our questions, you're going to enjoy listening along!

This week G-Baby and the Usual Suspect Steve once again welcome back returning champion and fellow "unctuous philistine" Chris from Channel 83.  This time we find ourselves in Gotham to discuss Abel Ferrara's seminal vesicle, King of New York from 1990 starring Chris Walken, a scene-stealing performance by Laurence "Don't Call Me Larry" Fishburne, David Caruso and minor roles for Wesley Snipes, Giancarlo Esposito and Steve Buscemi. Join us as we sip on a few adult beverages and discuss why Jade is the better David Caruso vehicle, get treated to a Freddie "Rock Me Tonight (for Old Time's Sake)" Jackson appearance that G-Baby was particularly fond of and discuss the importance of fusion cuisine through the lens of the burrito in an ever-evolving world. A nickel bag gets sold in the park, we want in. Let's wax this King of New porpoise. https://linktr.ee/waxtheporpoise #nyc #christopherwalken #kingofnewyork #waxit Huge thanks again to Chris for joining us once again and be sure to check out his show Channel 83 for all your obscure cinematic cravings wherever you get your podcasts. https://channel83.video/ Follow us on Twitter & instagram and leave us a rating/review on Apple Podcasts or wherever you listen, let us know how we're doing and thank you!

Tom and Jenny talk about Abel Ferrara’s 1990 neo-noir crime film, which stars Christopher Walken, Laurence Fishburne, David Caruso, Victor Argo, Wesley Snipes, Giancarlo Esposito, and Steve Buscemi. Thanks Xánada for sending us the movie! Audio version: Video version: Please support us on Patreon! Don't forget to subscribe to our YouTube channel, like us on Facebook, and follow … Continue reading Movie Time LIVE: King of New York (1990)

Gay homosexuals Nick and Joseph discuss Thief of Hearts - a 1984 American erotic drama film written and directed by Douglas Day Stewart, starring Steven Bauer, Barbara Williams, John Getz and David Caruso.⁠ Additional topics include: Swarm and Donald Glover Justin Timberlake's appearance Benzino's foolishness And too many films to mention Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046 Find merch here: https://fishjellyfilmreviews.myspreadshop.com/all Venmo @fishjelly Find them on Letterboxd: ⁠⁠⁠https://letterboxd.com/ragingbells/⁠⁠⁠, ⁠⁠⁠https://letterboxd.com/joroyolo/⁠⁠⁠ Nick's Apple Music playlist: https://music.apple.com/us/playlist/lamour-de-nico/pl.u-PDb4zlpsLVrvqE1 Joseph's Apple Music playlist: https://music.apple.com/us/playlist/josephs-vibe/pl.u-6mo448yuBWzNE1 Check them out on YouTube: https://www.youtube.com/channel/UChVV6ezEYnPv9XaLZtUlZdw Nick's IG: ragingbells Joseph's IG: joroyolo --- Support this podcast: https://podcasters.spotify.com/pod/show/fish-jelly/support

Welcome to The B-Side, from The Film Stage. Here we usually talk about movie stars and not the movies that made them famous or kept them famous, but the ones they made in between. Today is a very special episode with a very special guest. Karina Longworth of the incredible You Must Remember This podcast joins us - ahead of the release of her new season “Erotic 90s” - to discuss Erotic 90s B-Sides like Sliver, Boxing Helena, and Jade.  We discuss the era of Joe Eszterhas, the appeal of Sliver, the failure of Jade, and the fractured ambition of Boxing Helena. We also discuss the famous Kim Basinger lawsuit that goes along with the film. Basic Instinct and its ignored sequel (Basic Instinct 2: RISK ADDICTION) are also discussed, and this line read gets a lot of time. Oh and, just for fun, enjoy this clip of Jim Carrey impersonating David Caruso on CSI: Miami. It'll brighten your day. Be sure to give us a follow on Twitter at @TFSBSide. Also enter our giveaways, get access to our private Slack channel, and support new episodes by becoming a Patreon contributor. We are also now on Spotify and Stitcher. Enjoy!

Welcome back to purgatory!!!! The boy's hit off ARNIE month with Tron's pick, Twins from 1988 Directed by the great Ivan Reitman and staring Arnold Schwarzenegger, Danny DeVito, Chloe Webb, Kelly Preston, Marshall Bell, Trey Wilson, Bonnie Bartlett and David Caruso!!! Thanks for checking us out! and if you like to find our back catalogue go to podbean.com Outro song "Twins" By Philip Bailey and Little Richard https://youtu.be/Q8jSVd0_1DQ  

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   TRANSCRIPT 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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

CBS Sports/Voice of the Nets Ian Eagle tells Rich why Kyrie Irving declined a long-term extension with Brooklyn and forced a trade to the Dallas Mavericks, why he thinks Patrick Mahomes' ankle injury could be a deciding factor in the Chiefs vs Eagles Super Bowl, and has some fun doing fake TV show promo reads featuring Tom Brady, CSI's David Caruso, and that ubiquitous Paul Giamatti/Cecily Strong commercial.  Lions QB Jared Goff and Rich discuss Detroit's “really fun” season that saw them nearly make the playoffs, what impressed him most about rookie DE Aidan Hutchinson, why he wants to remain in the Motor City for a long time, and offers his advice for Eagles QB Jalen Hurts on making his first Super Bowl start.  Rich and the guys break down the Lakers missing out on a trade for Kyrie Irving and what it means for LeBron and company's outlook for the rest of the season. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Summary episode! Some themes...CONNECT! HAVE GOOD RELATIONSHIPS! USE EMOTIONAL INTELLIGENCE TO CREATE THEM! SELF-CARE IS IMPORTANT! To save you time, if you missed any of these, each name is hyperlinked back to the relevant episodes. Thank you to Drs. Dirk Elston, Philip LeBoit, David Caruso, Henry Yang, Marie Angele Theard, Kevin Pho, Itiel Dror, Casey Schukow, Will Bynum, Gabriel Robles, Susan Ko, Ade Adamson, Robert Smith, Ian Katz, Eunice Yuen, Allison Osmond, and Thomas Helm!

I know...dialectical behavior therapy sounds complicated - but it is DBT for short, and Dr. Osmond does a great job of summarizing a key concept - wise mind being a combo of rational mind and emotion mind. This is an important concept for us all, relevant to home life and any decision-making task, including diagnostic work for physicians. DBT (first brought up to me by David Caruso in a prior episode) can also give insights into burnout (consider listening in to Michi Shinohara, if you haven't yet!). Dr. Allison Osmond is an Assistant Professor of Pathology and Laboratory Medicine at the University of Saskatchewan. Dr. Osmond completed residency in Anatomic Pathology at Western University in London, Ontario Canada in 2015, followed by a Surgical Pathology Fellowship at Western, with a focus in gastrointestinal pathology. She then worked in a general Anatomical Pathology practice for one year and then completed Dermatopathology fellowship at the University of Toronto in 2018. Dr. Osmond has a keen interests include digital pathology and teaching dermatopathology to residents and medical students at the microscope and in particular via the global #dermpath Twitter community. You can find her on Twitter @redsnapperpath. Her colleague. Dr. Katelynn Campbell is on Twitter @KCampbellMD. 

This week I chat with Paul Cowsill of late-60s/early-70s hitmakers, The Cowsills. The Cowsills had a string of Top 40 hits back in the day and have just released a new album filled with fun pop songs full of the harmonies you remember. Check out “Rhythm of the World” on your favorite streaming music site. Plus, Greg Russ joins me to talk about current and past pop culture topics; Howard Stern, Atlanta radio, Stuttering John, smoking pot with comedians, the origins of shock TV (Morton Downey, Jr), Twitter discourse and online hate, crazy Kanye, Elvis Presley, the Brady Bunch and awful TV wardrobes (Big Bang Theory!), CBS is Boomer TV heaven, David Caruso's poor career choices, the new Hellraiser sucks, Mike Tyson Mysteries & R.I.P. Adult Swim.

Tensions rise when an asbestos removal company is hired to clean out an abandoned mental institution with a horrific past. On this week's episode… Join the crew as we discuss Danvers State Hospital, mental health and Brad Anderson's hauntingly effective, Session 9 (2001).   Show Notes: Housekeeping (2:52) Back of the Box/Recommendations (9:07) Spoiler Warning/Full Review (13:34) Rotten Tomatoes (81:53) Cooter of the Week (90:36) What We've Been Watching (95:06) Hotline Scream (107:25)   Connect with us: Support us on Patreon Website Facebook Instagram Twitter YouTube Shop

Paul, June, and Jason discuss the 1995 erotic thriller Jade starring David Caruso, Linda Fiorentino, and Chazz Palminteri. They talk about pubic hair lockets, terrible car chases, David Caruso's green outfits, sex pillows, and much more. Get Paul's 'Sex Pillow' shirt at Tee Public: https://www.teepublic.com/t-shirt/19762968-sex-on-a-sex-pillow?store_id=120640For more Matinee Monday content, check out Paul's Youtube pagehttps://www.youtube.com/channel/UC5CwY39OY22_1eFqUNTyIFAFor upcoming HDTGM info visit https://www.hdtgminfo.com/HDTGM Discord: discord.gg/hdtgmPaul's Discord: https://discord.gg/paulscheerCheck out Paul and Rob Huebel live on Twitch (https://www.twitch.tv/friendzone) every Thursday 8-10pm ESTSubscribe to The Deep Dive with Jessica St. Clair and June Diane Raphael here: listen.earwolf.com/deepdiveSubscribe to Unspooled with Paul Scheer and Amy Nicholson here: listen.earwolf.com/unspooledCheck out The Jane Club over at www.janeclub.comWhere to Find Jason, June & Paul:@PaulScheer on Instagram & Twitter@Junediane on IG and @MsJuneDiane on TwitterJason is Not on Twitter