Podcasts about exorcist ii

We've got Linda Blair! Pioneer Scream Queen, 70s and 80s Hollywood Trailblazer, Golden Globe Winner, cult classic icon, animal rights activist and humanitarian, Linda joins us for an exclusive conversation about her path to self discovery in a terrifying lane she navigated solo, carving her way towards light and purpose. Linda and Fritz share a history in philanthropy. They catch up on The Linda Blair Worldheart Foundation, dedicated to rehabilitating and rehoming abused, neglected and abandoned animals. We then trace Linda's groundbreaking history from her work as a child model to landing the controversial role of a child possessed by the devil in the film adaption of THE book of the decade, The Exorcist. Linda then faced the bumpy task of discovering self while convincing friends, fans and reporters that she was not actually demonic. She went on to define the message-driven TV movie genre in Sarah T. Portrait of a Teenage Alcoholic and  Born Innocent. But how could she say no to Exorcist II, co-starring Richard Burton?Raised in the Protestant faith, charity, benevolence and helping the voiceless were ingrained in Linda from childhood. For the past several decades she has been dedicated to animal welfare and she shares the most pressing concerns on that front: 1) Corporate owned veterinary clinics pricing pet owners out of spaying and neutering, 2) Mass euthanasia in dog shelters and 3) The outlawing and extermination of breeds deemed to be “dangerous.”We delve into Linda's experience on the set of The Exorcist where much of what was asked of her by director, William Friedkin was not healthy or appropriate for a child actor. She did share a close bond with writer, William Peter Blatty and she describes how Max Von Sydow would often hear the lines given to Linda, stop the scene, pull Billy Friedkin aside and say, “What are you doing!?” But Friedkin got what he wanted, a terrifyingly controversial film that stunned and horrified the world. A household name since the age of 14, Linda matured into a young actress with head turning, Rick themed romantic relationships, such as Rick Springfield and Rick James! Linda shares how her Pumpkin headed turn on The Masked Singer helped her solve a medical mystery. She describes her heroic rescue of 51 dogs after Hurricane Katrina and she takes on a challenging round of IMDB Roulette. Plus, Fritz and Weezy are recommending Bad Sisters on Apple TV + and the Telepathy Tapes podcast.Path Points of Interest:Linda BlairLinda Blair on WikipediaLinda Blair on InstagramLinda Blair on FacebookGoing Vegan by Linda BlairLinda Blair World Heart FoundationLinda Blair World Heart Foundation on FacebookLinda Blair World Heart Foundation on IGLinda Blair World Heart Foundation on YouTubeThe Telepathy TapesBad Sisters Trailer

Check Playlist This episode of The Five Count featured an exclusive interview with musician Steve Ramsey. Steve is best known as the founder and guitarist for the band Satan. He's also a member of the band Skyclad. During the show he discussed the early years of Satan, being part of the new wave of British heavy metal, and the new Satan album Songs in Crimson. Get your copy today!During the rest of the show we discussed Chuck Norris' stretchy pants, shared our thoughts on Siskel & Ebert, and mourned the recent death of James Earl Jones. Exorcist II is Ton's favorite film! https://youtu.be/vTQMkC7i_x0?si=V2U9J88UrIKj9XLl

Welcome to the Savage Horror Creeps Podcast! We are guides through the world of horror films past, present, and future! Narrating years, decades, sub-genres, subjects, and themes with honest reviews and rankings, no film (or listener) will be spared!   In this episode, the Savage Horror Creeps groove back to 1977 and cover one of the best years of horror they have done so far on the podcast! There is a lot of good reccomendations, but before they dive head first into the year, they cover horror news, what they've been watching, and read Metal Mitch's email! Also... Cory explains why Exorcist II makes the Savage Ten this episode................   Episode 38: Savage Top Ten Suspiria The Hills Have Eyes House (Hausu) Rabid Martin The Sentinel Eraserhead Exorcist II: The Heretic Death Game The Car   with Honorable Mentions, Horror Awards and nominees, and MORE!   Be sure to subscribe to the Savage Horror Creeps Podcast on: Apple Spotify Or wherever you listen   You can email our show at savagehorrorcreeps@gmail.com and interact with us on: Instagram: @savagehorrorcreeps Facebook: The Savage Horror Creeps Podcast Page     Stay tuned for our next episode, Episode 39: The Phantasm Franchise 

Voor aflevering 222 bespreken we 3 stand alone sequels! De klassiekers Dawn Of The Dead en Aliens reviewen we en we koppelen er ook Exorcist 2 aan vast, omdat Anthony een grote fan is van die film.

Our first episode returning from paternity leave takes us back to 1983, and one of two sequel bombs Universal made with Jackie Gleason that year, Smokey and the Bandit Part 3. ----more----   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.   On this episode, we'll be covering one of the oddest Part 3 movies to ever be made.   Smokey and the Bandit 3.   But before we do, I owe you, loyal listener an apology and an explanation.   Originally, this episode was supposed to be about the movies of H.B. “Toby” Halicki, who brought car chase films back to life in the mid-70s with his smash hit Gone in 60 Seconds. Part of the reason I wanted to do this episode was to highlight a filmmaker who doesn't get much love from film aficionados anymore, and part because this was the movie that literally made me the person I became. My mom was dating Toby during the making of the movie, a spent a number of days on the set as a five year old, and I even got featured in a scene. And I thought it would be fun to get my mom to open up about a part of her life after my parents' divorce that I don't remember much of.   And it turned into the discussion that made me question everything I became. Much of which I will cover when I find the courage to revisit that topic, hopefully in time for the 50th anniversary this July.   So, for now, and to kind of stick with the car theme this episode was originally going to be about, we're going to do a quick take on one of the most bizarre, and most altered, movies to ever come out of Hollywood.   As you may remember, Smokey and the Bandit was a 1977 hit film from stuntman turned director Hal Needham. Needham and Burt Reynolds has become friends in the early 1960s, and Needham would end up living in Reynolds' pool house for nearly a dozen years in the 60s and 70s. Reynolds would talk director Robert Aldrich into hiring Needham to be the 2nd unit director and stunt coordinator for the car chase scene Aldrich's 1974 classic The Longest Yard, and Reynolds would hire Needham to be his 2nd Unit Director on his own 1976 directorial debut, Gator. While on the set of Gator, the two men would talk about the movie Needham wanted to make his own directorial debut on, a low-budget B movie about a cat and mouse chase between a bootlegger and a sheriff as they tried to outwit each other across several state lines.   As a friend, Reynolds would ask Needham to read the script. The “script” was a series of hand-written notes on a legal pad. He had come up with the idea during the making of Gator, when the Teamster transportation captain brought some Coors beer to the production team. And, believe it or not, in 1975, it was illegal to sell or transport Coors beer out of states West of the Mississippi River, because the beer was not pasteurized and needed constant refrigeration.   Reynolds would read the “script,” which, according to Reynolds' 1994 autobiography My Life, was one of the worst things he had ever read. But Reynolds promised his friend that if he could get a studio involved and get a proper budget and script for the film, he would make it.   Needham would hire a series of writers to try and flesh out the notes from the legal pad into a coherent screenplay, and with a verbal commitment from Reynolds to star in it, he would soon get Universal Studios to to agree to make Smokey and the Bandit, to the tune of $5.3m. After all, Reynolds was still one of the biggest box office stars at the time, and $5.3m was small potatoes at the time, especially when Universal was spending $6.7m on the Super Bowl assassin thriller Two-Minute Warning, $9m on a bio-pic of General Douglas MacArthur, and $22m on William Friedkin's Sorcerer, an English-language version of the 1950 French novel The Wages of Fear.   Reynolds would take the lead as The Bandit, the driver of the chase car meant to distract the authorities from what the truck driver is hauling.    Jerry Reed, a country and western star, would get cast as The Snowman, the truck driver who would be hauling the Coors beer from Texarkana TX to Atlanta. Reed has only co-starred in two movies before, both starring Burt Reynolds, and even if they have almost no scenes together in the final film, their rapport on screen is obvious.   Sally Field, a television star who needed a big movie on her resume, would take the role of Carrie, the runaway bride who joins the Bandit in his chase car. Field had just completed Sybil, the dramatic television movie about a woman with multiple personality disorder, which would break Field out of the sitcom world she had been stuck in for the past decade.   Richard Boone, the star of the long-time television Western Have Gun - Will Travel, would be considered as the sheriff, Buford T. Justice, in pursuit of the Bandit throughout the movie, but Reynolds wanted some who was a bit more crazy, a bit more dangerous, and a heck of a lot funnier. And who wouldn't think of comedy legend Jackie Gleason?   Shooting on the film would begin in Georgia on August 30th, 1976, but not before some pencil pusher from Universal Studios showed up two days before the start of production to inform Needham and Reynolds that they needed to cut $1m from the budget by any means necessary. And the guys did exactly that, reducing the number of shooting locations and speaking roles.   The film would finish shooting eights weeks later, on schedule and on budget… well, on reduced budget, and when it was released in May 1977, just six days before the initial release of Star Wars, it bombed.   For some reason, Universal Studios decided the best way to open a movie about a bunch of good old boys in the South was to give it a big push at the world famous Radio City Music Hall in the heart of Manhattan, along with an hour long Rockets stage spectacular between shows.   The Radio City Music Hall could accommodate 6,000 people per show. Tickets for the whole shebang, movie and stage show, were $5, when the average ticket price in Manhattan at the time was $3.50. And in its first six days, Smokey and the Bandit grossed $125,000, which sounds amazing, until your told the cost of running Radio City Music Hall for a week, stage show and all, was $186,000. And in its second week, the gross would fall to $102,000, and to $90,000 in week three. And Universal would be locked in to Radio City for several more weeks.   But it wouldn't all bad news.   Universal quickly realized its error in opening in New York first, and rushed to book the film into 381 theatres in the South, including 70 in the Charlotte region, 78 in and around Jacksonville, 97 theatres between Oklahoma City and Dallas, another 57 between Memphis and New Orleans, and 79 in Atlanta, near many of the locations the film was shot. And in its first seven days in just those five regions, the film would gross a cool $3.8m. Along with the $102k from Radio City, the film's $3.9m gross would be the second highest in the nation, behind Star Wars. And despite bigger weekends from new openers like The Deep, The Exorcist II and A Bridge Too Far, Smokey and the Bandit would keep going and going and going, sticking around in theatres for more than two years in some areas, grossing more than $126m.   Naturally, there would be a sequel. But here's the funny part. Smokey and the Bandit II, a Universal movie, would be shot back to back with Cannonball Run, produced by the Hong Kong film company Golden Harvest as a vehicle to break their star Jackie Chan into the American market, which would also star Burt Reynolds and be directed by Hal Needham.    Filming on Smokey and the Bandit II was supposed to start in August 1979, but would be delayed until January 1980, because the film Reynolds was working on in the late summer of 1979, Rough Cut, went way over schedule.   While the budget for the sequel would be $10m, more than double the cost of the original film, the overall production was not a very pleasant experience for most involved. Needham was feeling the pressure of trying to finish the film ahead of schedule so he'd have some kind of break before starting on Cannonball Run in May 1980, because several of the other actors, including Roger Moore, were already locked into other movies after shooting completed on that film.   Burt Reynolds and Sally Field had started dating during the making of Smokey and the Bandit in 1976, and both of them signed their contracts to appear in the sequel in 1979, but by the time shooting started in 1980, the pair had broken up, and they were forced to pretend to be in love and be side by side in the Bandit's Trans Am for a couple months.   One of the few things that would go right on the film was a complex chase scene that could only be shot one time, for the end of the sequence would be the destruction of a 64 year old rollercoaster in suburban Atlanta.   They got the shot.   Needham would get a few weeks between the end of shooting Smokey and the Bandit II and the start of Cannonball Run, but the production on the latter film would be put on hold a couple times for a few days each, as Needham would have to go back to Los Angeles to supervise the editing of the former film.   Smokey and the Bandit II would make its planned August 15th, 1980 release, and would have a spectacular opening weekend, $10.8m from 1196 theatres, but would soon drop off, barely grossing half of the first film's box office take. That would still be profitable, but Needham, Reynolds and Field all nixed the idea of teaming up for a third film. Reynolds had been wanting to distance himself from his good old boy 1970s persona, Field was now an Oscar winning dramatic actress, and Needham wanted to try something different. We'll talk about that movie, Megaforce, another time.   But despite losing the interest of the main principles of the first two movies, Universal was still keen on making a third film. The first mention would be a line item in the Los Angeles Times' Calendar section on August 28th, 1981, when, within an article about the number of sequels that were about to gear up, including Grease 2 and Star Wars 3, aka Return of the Jedi, that Universal was considering a third Smokey movie as a cable television movie. In May 1982, Variety noted that the reduced budget of the film, estimated at under $5m, would not accommodate Reynolds' asking price at that time, let alone the cost of the entire production, and that the studio was looking at Dukes of Hazzard star John Schneider as a possible replacement as The Bandit. In the end, it was decided that Jackie Gleason would return not only as Sheriff Buford T. Justice, but that he would also be, in several scenes, playing The Bandit as well.   Thus would begin the wild ride of the third film in the Smokey and the Bandit Cinematic Universe, Smokey IS the Bandit: Part 3.   It would take 11 different versions of the script written over the course of six months to get Gleason to sign off, because, somehow, he was given script approval before filming would begin.   Paul Williams and Pat McCormick would return for a third time as Little Enos and Big Enos, and the storyline would find the Burdette father and son making a bet with Sheriff Justice. Justice and his son Junior must deliver a big stuffed swordfish from Florida to a new seafood restaurant they are opening in Texas. If Justice can get the big stuffed swordfish from Point A to Point B in the time allotted, the Burdettes will give him $250,000, which Justice could use towards his impending retirement. If he doesn't, however, Justice will have to surrender his badge to the Burdettes, and he'd retire in disgrace.   Dick Lowry, who had been directed episodic television and TV movies for several years, including three episodes of Buck Rogers in the 25th Century and the TV movie adaptation of Kenny Rogers' hit song The Gambler, would make his feature directing debut on Smokey Is the Bandit Part 3.   Production on the film would begin in Florida on October 25, 1982, and lasted two months, ending two days after Christmas, mostly in Florida.   Lowry and his team would assemble the film over the course of the next three months, before Universal held its first test screening on the studio lot in March 1983.   To say the screening was a disaster would be an understatement.   The audience didn't understand what the hell was going on here. They wondered how Justice, as The Bandit, could bed a character credited only as Blonde Bombshell, who looks at him the way women in 1982 would have looked at Burt Reynolds. They wondered why a plot twist in the very last scene was presented, that Dusty was really Big Enos's daughter, when it affected nothing in the story before or after its reveal. But, mostly, they were confused as to how one actor could play both title characters at the same time. Like, is Justice seeing himself as The Bandit, seeing himself behind the wheel of the Bandit's signature black and gold Pontiac Trans Am, and a beautiful country music DJ played by Colleen Camp as his companion, all while actually driving his signature sheriff's car with his son Junior as his constant companion?   The studio had two choices…   One, pony up a few extra million dollars to rewrite the script, and try to lure Reynolds back to play The Bandit…   Or, two, bury the movie and take the tax write off.   The second choice was quickly ruled out, as a teaser trailer for the film had already been released to theatres several weeks earlier, and there seemed to be some interest in another Smokey and the Bandit movie, even though the trailer was just Gleason, as Justice, standing in a military-style uniform, standing in front of a large America flag, and giving a speech to the camera not unlike the one George C. Scott gave at the start of the 1970 Best Picture winner, Patton. You can find a link to the teaser trailer for Smokey is the Bandit Part 3 on our website, at The80sMoviePodcast.com.   So the studio goes down to Jupiter, FL, where Reynolds had been living for years, and made him a sizable offer to play The Bandit for literally a couple of scenes. Since Gleason as Bandit only had one line in the film, and since most of the shots of Gleason as Bandit were done with wide lenses to hide that it wasn't Gleason doing any of the driving during the number of scenes involving the Trans Am and stunts, they could probably get everything they needed with Reynolds in just a day or two.   Reynolds would say “no” to that offer, but, strangely, he would agree to come back to the film, as The Bandit, for an extended sequence towards the end of the film. We'll get to that in a moment.   So with Reynolds coming back, but not in the capacity they wanted him in, the next thought was to go to Jerry Reed, the country singer and actor who had played Bandit's partner, The Snowman, in the first two films. Reed was amiable to coming aboard, but he wanted to play The Bandit. Or, more specifically, Cledus pretending to be The Bandit.   The film's screenwriters, Stuart Birnbaum and David Dashev, were called back in to do yet another rewrite. They would have only three weeks, as there was only a short window in April for the production team to get back together to do the new scenes with Reed and Colleen Camp. Dusty would go from being a country radio station DJ to a car dealership employee who literally walks off the job and into Cledus as Bandit's Trans Am. Reed's role as Cledus as Bandit was greatly expanded, and Dusty's dialogue would be altered to reflect both her new career and her time in the car with Cledus.   The reshoots would only last a few weeks, and Lowry would have a final cut ready for the film's planned August 12th theatrical release.   It is often stated, on this podcast and other sources, that in the 1980s, August was mostly the dumping ground of the studio's dogs, hoping to get a little bit of ticket sales before Labor Day, when families look at going on a vacation before the kids go back to school.   And the weekend of August 12th through 14th in 1983 was certainly one way to prove this argument.   Smokey and the Bandit Part 3 would be the second highest grossing new release that weekend, which is surprising in part because it would have a smaller percentage of prints out in the market compared to its competition, 498 prints, almost exclusively in the southern US. The bad news is that the film would barely make it into the Top Ten that weekend. Cujo, the adaptation of the 1981 Stephen King novel, would be the highest grossing new opener that weekend, grossing $6.11m, barely missing the top spot, which was held for a third week by the Chevy Chase film Vacation, which had earned $6.16m. Risky Business, which was making its young lead actor Tom Cruise a movie star, would take third place, with $4.58m. Then there was Return of the Jedi, which had been out three months by this point, the Sylvester Stallone-directed Saturday Night Fever sequel Staying Alive, the Eddie Murphy/Dan Aykroyd comedy Trading Places, the god-awful Jaws 3-D, WarGames and Krull, which all had been out for three to eleven weeks by now, all grossing more than Smokey and the Bandit 3, with $1.73m in ticket sales.   Having it much worse was The Curse of the Pink Panther, Blake Edwards' attempt to reboot the Inspector Clouseau series with a new American character who may or may not have been the illegitimate son of Clouseau, which grossed an anemic $1.64m from 812 theatres. And then there was The Man Who Wasn't There, the 3-D comedy featuring Steve Guttenberg that was little more than a jumbled copy of Foul Play and North by Northwest that arrived too late in theatres to ride the now-dead stereoptic movie craze, which took in $1.38m from 980 theatres.   In its second week, Smokey and the Bandit Part 3 would only lose five screens, but lose 52% of its opening weekend audience, bringing in just $830k that weekend.   Week three would see the film lose nearly 300 screens, bringing in just $218k.   Week four was Labor Day weekend itself, with its extra day of ticket sales, and you'd think Universal would just cut and run since the film was not doing great with audiences or critics. Yet, they would expand the film back to 460 theatres, including 47 theatres in the greater Los Angeles metro area. The gambit worked a little bit, with the film bringing in $1.3m during the extended holiday weekend, bringing the film's four week total gross to $5.02m.   And it would slowly limp along for a few more weeks, mostly in dollar houses, but Universal would stop tracking it after its fifth weekend in theatres, giving the film a final box office total of $5,678,950.   Oh, I almost forgot about Burt Reynolds. Burt did film his scene, a four minute or so cameo towards the end of the film, where Justice finally catches up to Cledus as The Bandit, but in Justice's mind's eye, he sees Cledus as Burt as The Bandit, where Burt as The Bandit does nothing more than half-ass read off his lines while sitting behind the wheel of the Trans Am.   I watched the movie on Paramount Plus back in January, when I originally planned on recording this episode. But it's no longer available on Paramount Plus. Nor is it available on Peacock, which is owned and operated by Universal, and where the film was once available. In May 2024, the only way to see Smokey and the Bandit is on long out-of-print low quality DVDs and Blu-Rays. JustWatch.com says the film is available on Apple TVs Showtime channel, but I can't find any Showtime channel on Apple TV, nor can I find the movie doing a simple search on Apple TV. The first two are on Apple TV, as part of the AMC+ channel. It's all so darn complicated.   But like I said, I watched it for the first and probably last time earlier this year. And, truth be told, it's not a totally painful film. It's not a good film in any way, shape or form, but what little good there is in it, it's thanks to Colleen Camp, who was not only gorgeous but had an amazing sense of comic timing. Anyway who saw her as Yvette the Maid in the 1985 comedy Clue already knows that.    Like a handful of film buffs and historians, I am still wildly interested in seeing the original cut of the film after more than forty years. If Universal can put out three different versions of Orson Welles' Touch of Evil, including a preview cut that was taken away from Welles and re-edited without his consent, in the same set, certainly they can release both versions of Smokey and the Bandit Part 3. But let's face facts. Dick Lowry is no Orson Welles, and there is practically zero calls for this kind of special treatment for the film.   I just find it odd that in this day and age, the only thing that's escaped from the original version of the film after all this time is a single image of Gleason as The Bandit, which you can find on this episode's page at our website.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Smokey and the Bandit Part 3, including links to Smokey and the Bandit fan sites that have their own wealth of materials relating to the movie, and a video on YouTube that shows about 20mins of deleted and alternate scenes used in the television version of the movie, which may include an additional shot from the original movie that shows Dusty riding in the back of Big Enos's red Cadillac convertible.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Our first episode returning from paternity leave takes us back to 1983, and one of two sequel bombs Universal made with Jackie Gleason that year, Smokey and the Bandit Part 3. ----more----   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.   On this episode, we'll be covering one of the oddest Part 3 movies to ever be made.   Smokey and the Bandit 3.   But before we do, I owe you, loyal listener an apology and an explanation.   Originally, this episode was supposed to be about the movies of H.B. “Toby” Halicki, who brought car chase films back to life in the mid-70s with his smash hit Gone in 60 Seconds. Part of the reason I wanted to do this episode was to highlight a filmmaker who doesn't get much love from film aficionados anymore, and part because this was the movie that literally made me the person I became. My mom was dating Toby during the making of the movie, a spent a number of days on the set as a five year old, and I even got featured in a scene. And I thought it would be fun to get my mom to open up about a part of her life after my parents' divorce that I don't remember much of.   And it turned into the discussion that made me question everything I became. Much of which I will cover when I find the courage to revisit that topic, hopefully in time for the 50th anniversary this July.   So, for now, and to kind of stick with the car theme this episode was originally going to be about, we're going to do a quick take on one of the most bizarre, and most altered, movies to ever come out of Hollywood.   As you may remember, Smokey and the Bandit was a 1977 hit film from stuntman turned director Hal Needham. Needham and Burt Reynolds has become friends in the early 1960s, and Needham would end up living in Reynolds' pool house for nearly a dozen years in the 60s and 70s. Reynolds would talk director Robert Aldrich into hiring Needham to be the 2nd unit director and stunt coordinator for the car chase scene Aldrich's 1974 classic The Longest Yard, and Reynolds would hire Needham to be his 2nd Unit Director on his own 1976 directorial debut, Gator. While on the set of Gator, the two men would talk about the movie Needham wanted to make his own directorial debut on, a low-budget B movie about a cat and mouse chase between a bootlegger and a sheriff as they tried to outwit each other across several state lines.   As a friend, Reynolds would ask Needham to read the script. The “script” was a series of hand-written notes on a legal pad. He had come up with the idea during the making of Gator, when the Teamster transportation captain brought some Coors beer to the production team. And, believe it or not, in 1975, it was illegal to sell or transport Coors beer out of states West of the Mississippi River, because the beer was not pasteurized and needed constant refrigeration.   Reynolds would read the “script,” which, according to Reynolds' 1994 autobiography My Life, was one of the worst things he had ever read. But Reynolds promised his friend that if he could get a studio involved and get a proper budget and script for the film, he would make it.   Needham would hire a series of writers to try and flesh out the notes from the legal pad into a coherent screenplay, and with a verbal commitment from Reynolds to star in it, he would soon get Universal Studios to to agree to make Smokey and the Bandit, to the tune of $5.3m. After all, Reynolds was still one of the biggest box office stars at the time, and $5.3m was small potatoes at the time, especially when Universal was spending $6.7m on the Super Bowl assassin thriller Two-Minute Warning, $9m on a bio-pic of General Douglas MacArthur, and $22m on William Friedkin's Sorcerer, an English-language version of the 1950 French novel The Wages of Fear.   Reynolds would take the lead as The Bandit, the driver of the chase car meant to distract the authorities from what the truck driver is hauling.    Jerry Reed, a country and western star, would get cast as The Snowman, the truck driver who would be hauling the Coors beer from Texarkana TX to Atlanta. Reed has only co-starred in two movies before, both starring Burt Reynolds, and even if they have almost no scenes together in the final film, their rapport on screen is obvious.   Sally Field, a television star who needed a big movie on her resume, would take the role of Carrie, the runaway bride who joins the Bandit in his chase car. Field had just completed Sybil, the dramatic television movie about a woman with multiple personality disorder, which would break Field out of the sitcom world she had been stuck in for the past decade.   Richard Boone, the star of the long-time television Western Have Gun - Will Travel, would be considered as the sheriff, Buford T. Justice, in pursuit of the Bandit throughout the movie, but Reynolds wanted some who was a bit more crazy, a bit more dangerous, and a heck of a lot funnier. And who wouldn't think of comedy legend Jackie Gleason?   Shooting on the film would begin in Georgia on August 30th, 1976, but not before some pencil pusher from Universal Studios showed up two days before the start of production to inform Needham and Reynolds that they needed to cut $1m from the budget by any means necessary. And the guys did exactly that, reducing the number of shooting locations and speaking roles.   The film would finish shooting eights weeks later, on schedule and on budget… well, on reduced budget, and when it was released in May 1977, just six days before the initial release of Star Wars, it bombed.   For some reason, Universal Studios decided the best way to open a movie about a bunch of good old boys in the South was to give it a big push at the world famous Radio City Music Hall in the heart of Manhattan, along with an hour long Rockets stage spectacular between shows.   The Radio City Music Hall could accommodate 6,000 people per show. Tickets for the whole shebang, movie and stage show, were $5, when the average ticket price in Manhattan at the time was $3.50. And in its first six days, Smokey and the Bandit grossed $125,000, which sounds amazing, until your told the cost of running Radio City Music Hall for a week, stage show and all, was $186,000. And in its second week, the gross would fall to $102,000, and to $90,000 in week three. And Universal would be locked in to Radio City for several more weeks.   But it wouldn't all bad news.   Universal quickly realized its error in opening in New York first, and rushed to book the film into 381 theatres in the South, including 70 in the Charlotte region, 78 in and around Jacksonville, 97 theatres between Oklahoma City and Dallas, another 57 between Memphis and New Orleans, and 79 in Atlanta, near many of the locations the film was shot. And in its first seven days in just those five regions, the film would gross a cool $3.8m. Along with the $102k from Radio City, the film's $3.9m gross would be the second highest in the nation, behind Star Wars. And despite bigger weekends from new openers like The Deep, The Exorcist II and A Bridge Too Far, Smokey and the Bandit would keep going and going and going, sticking around in theatres for more than two years in some areas, grossing more than $126m.   Naturally, there would be a sequel. But here's the funny part. Smokey and the Bandit II, a Universal movie, would be shot back to back with Cannonball Run, produced by the Hong Kong film company Golden Harvest as a vehicle to break their star Jackie Chan into the American market, which would also star Burt Reynolds and be directed by Hal Needham.    Filming on Smokey and the Bandit II was supposed to start in August 1979, but would be delayed until January 1980, because the film Reynolds was working on in the late summer of 1979, Rough Cut, went way over schedule.   While the budget for the sequel would be $10m, more than double the cost of the original film, the overall production was not a very pleasant experience for most involved. Needham was feeling the pressure of trying to finish the film ahead of schedule so he'd have some kind of break before starting on Cannonball Run in May 1980, because several of the other actors, including Roger Moore, were already locked into other movies after shooting completed on that film.   Burt Reynolds and Sally Field had started dating during the making of Smokey and the Bandit in 1976, and both of them signed their contracts to appear in the sequel in 1979, but by the time shooting started in 1980, the pair had broken up, and they were forced to pretend to be in love and be side by side in the Bandit's Trans Am for a couple months.   One of the few things that would go right on the film was a complex chase scene that could only be shot one time, for the end of the sequence would be the destruction of a 64 year old rollercoaster in suburban Atlanta.   They got the shot.   Needham would get a few weeks between the end of shooting Smokey and the Bandit II and the start of Cannonball Run, but the production on the latter film would be put on hold a couple times for a few days each, as Needham would have to go back to Los Angeles to supervise the editing of the former film.   Smokey and the Bandit II would make its planned August 15th, 1980 release, and would have a spectacular opening weekend, $10.8m from 1196 theatres, but would soon drop off, barely grossing half of the first film's box office take. That would still be profitable, but Needham, Reynolds and Field all nixed the idea of teaming up for a third film. Reynolds had been wanting to distance himself from his good old boy 1970s persona, Field was now an Oscar winning dramatic actress, and Needham wanted to try something different. We'll talk about that movie, Megaforce, another time.   But despite losing the interest of the main principles of the first two movies, Universal was still keen on making a third film. The first mention would be a line item in the Los Angeles Times' Calendar section on August 28th, 1981, when, within an article about the number of sequels that were about to gear up, including Grease 2 and Star Wars 3, aka Return of the Jedi, that Universal was considering a third Smokey movie as a cable television movie. In May 1982, Variety noted that the reduced budget of the film, estimated at under $5m, would not accommodate Reynolds' asking price at that time, let alone the cost of the entire production, and that the studio was looking at Dukes of Hazzard star John Schneider as a possible replacement as The Bandit. In the end, it was decided that Jackie Gleason would return not only as Sheriff Buford T. Justice, but that he would also be, in several scenes, playing The Bandit as well.   Thus would begin the wild ride of the third film in the Smokey and the Bandit Cinematic Universe, Smokey IS the Bandit: Part 3.   It would take 11 different versions of the script written over the course of six months to get Gleason to sign off, because, somehow, he was given script approval before filming would begin.   Paul Williams and Pat McCormick would return for a third time as Little Enos and Big Enos, and the storyline would find the Burdette father and son making a bet with Sheriff Justice. Justice and his son Junior must deliver a big stuffed swordfish from Florida to a new seafood restaurant they are opening in Texas. If Justice can get the big stuffed swordfish from Point A to Point B in the time allotted, the Burdettes will give him $250,000, which Justice could use towards his impending retirement. If he doesn't, however, Justice will have to surrender his badge to the Burdettes, and he'd retire in disgrace.   Dick Lowry, who had been directed episodic television and TV movies for several years, including three episodes of Buck Rogers in the 25th Century and the TV movie adaptation of Kenny Rogers' hit song The Gambler, would make his feature directing debut on Smokey Is the Bandit Part 3.   Production on the film would begin in Florida on October 25, 1982, and lasted two months, ending two days after Christmas, mostly in Florida.   Lowry and his team would assemble the film over the course of the next three months, before Universal held its first test screening on the studio lot in March 1983.   To say the screening was a disaster would be an understatement.   The audience didn't understand what the hell was going on here. They wondered how Justice, as The Bandit, could bed a character credited only as Blonde Bombshell, who looks at him the way women in 1982 would have looked at Burt Reynolds. They wondered why a plot twist in the very last scene was presented, that Dusty was really Big Enos's daughter, when it affected nothing in the story before or after its reveal. But, mostly, they were confused as to how one actor could play both title characters at the same time. Like, is Justice seeing himself as The Bandit, seeing himself behind the wheel of the Bandit's signature black and gold Pontiac Trans Am, and a beautiful country music DJ played by Colleen Camp as his companion, all while actually driving his signature sheriff's car with his son Junior as his constant companion?   The studio had two choices…   One, pony up a few extra million dollars to rewrite the script, and try to lure Reynolds back to play The Bandit…   Or, two, bury the movie and take the tax write off.   The second choice was quickly ruled out, as a teaser trailer for the film had already been released to theatres several weeks earlier, and there seemed to be some interest in another Smokey and the Bandit movie, even though the trailer was just Gleason, as Justice, standing in a military-style uniform, standing in front of a large America flag, and giving a speech to the camera not unlike the one George C. Scott gave at the start of the 1970 Best Picture winner, Patton. You can find a link to the teaser trailer for Smokey is the Bandit Part 3 on our website, at The80sMoviePodcast.com.   So the studio goes down to Jupiter, FL, where Reynolds had been living for years, and made him a sizable offer to play The Bandit for literally a couple of scenes. Since Gleason as Bandit only had one line in the film, and since most of the shots of Gleason as Bandit were done with wide lenses to hide that it wasn't Gleason doing any of the driving during the number of scenes involving the Trans Am and stunts, they could probably get everything they needed with Reynolds in just a day or two.   Reynolds would say “no” to that offer, but, strangely, he would agree to come back to the film, as The Bandit, for an extended sequence towards the end of the film. We'll get to that in a moment.   So with Reynolds coming back, but not in the capacity they wanted him in, the next thought was to go to Jerry Reed, the country singer and actor who had played Bandit's partner, The Snowman, in the first two films. Reed was amiable to coming aboard, but he wanted to play The Bandit. Or, more specifically, Cledus pretending to be The Bandit.   The film's screenwriters, Stuart Birnbaum and David Dashev, were called back in to do yet another rewrite. They would have only three weeks, as there was only a short window in April for the production team to get back together to do the new scenes with Reed and Colleen Camp. Dusty would go from being a country radio station DJ to a car dealership employee who literally walks off the job and into Cledus as Bandit's Trans Am. Reed's role as Cledus as Bandit was greatly expanded, and Dusty's dialogue would be altered to reflect both her new career and her time in the car with Cledus.   The reshoots would only last a few weeks, and Lowry would have a final cut ready for the film's planned August 12th theatrical release.   It is often stated, on this podcast and other sources, that in the 1980s, August was mostly the dumping ground of the studio's dogs, hoping to get a little bit of ticket sales before Labor Day, when families look at going on a vacation before the kids go back to school.   And the weekend of August 12th through 14th in 1983 was certainly one way to prove this argument.   Smokey and the Bandit Part 3 would be the second highest grossing new release that weekend, which is surprising in part because it would have a smaller percentage of prints out in the market compared to its competition, 498 prints, almost exclusively in the southern US. The bad news is that the film would barely make it into the Top Ten that weekend. Cujo, the adaptation of the 1981 Stephen King novel, would be the highest grossing new opener that weekend, grossing $6.11m, barely missing the top spot, which was held for a third week by the Chevy Chase film Vacation, which had earned $6.16m. Risky Business, which was making its young lead actor Tom Cruise a movie star, would take third place, with $4.58m. Then there was Return of the Jedi, which had been out three months by this point, the Sylvester Stallone-directed Saturday Night Fever sequel Staying Alive, the Eddie Murphy/Dan Aykroyd comedy Trading Places, the god-awful Jaws 3-D, WarGames and Krull, which all had been out for three to eleven weeks by now, all grossing more than Smokey and the Bandit 3, with $1.73m in ticket sales.   Having it much worse was The Curse of the Pink Panther, Blake Edwards' attempt to reboot the Inspector Clouseau series with a new American character who may or may not have been the illegitimate son of Clouseau, which grossed an anemic $1.64m from 812 theatres. And then there was The Man Who Wasn't There, the 3-D comedy featuring Steve Guttenberg that was little more than a jumbled copy of Foul Play and North by Northwest that arrived too late in theatres to ride the now-dead stereoptic movie craze, which took in $1.38m from 980 theatres.   In its second week, Smokey and the Bandit Part 3 would only lose five screens, but lose 52% of its opening weekend audience, bringing in just $830k that weekend.   Week three would see the film lose nearly 300 screens, bringing in just $218k.   Week four was Labor Day weekend itself, with its extra day of ticket sales, and you'd think Universal would just cut and run since the film was not doing great with audiences or critics. Yet, they would expand the film back to 460 theatres, including 47 theatres in the greater Los Angeles metro area. The gambit worked a little bit, with the film bringing in $1.3m during the extended holiday weekend, bringing the film's four week total gross to $5.02m.   And it would slowly limp along for a few more weeks, mostly in dollar houses, but Universal would stop tracking it after its fifth weekend in theatres, giving the film a final box office total of $5,678,950.   Oh, I almost forgot about Burt Reynolds. Burt did film his scene, a four minute or so cameo towards the end of the film, where Justice finally catches up to Cledus as The Bandit, but in Justice's mind's eye, he sees Cledus as Burt as The Bandit, where Burt as The Bandit does nothing more than half-ass read off his lines while sitting behind the wheel of the Trans Am.   I watched the movie on Paramount Plus back in January, when I originally planned on recording this episode. But it's no longer available on Paramount Plus. Nor is it available on Peacock, which is owned and operated by Universal, and where the film was once available. In May 2024, the only way to see Smokey and the Bandit is on long out-of-print low quality DVDs and Blu-Rays. JustWatch.com says the film is available on Apple TVs Showtime channel, but I can't find any Showtime channel on Apple TV, nor can I find the movie doing a simple search on Apple TV. The first two are on Apple TV, as part of the AMC+ channel. It's all so darn complicated.   But like I said, I watched it for the first and probably last time earlier this year. And, truth be told, it's not a totally painful film. It's not a good film in any way, shape or form, but what little good there is in it, it's thanks to Colleen Camp, who was not only gorgeous but had an amazing sense of comic timing. Anyway who saw her as Yvette the Maid in the 1985 comedy Clue already knows that.    Like a handful of film buffs and historians, I am still wildly interested in seeing the original cut of the film after more than forty years. If Universal can put out three different versions of Orson Welles' Touch of Evil, including a preview cut that was taken away from Welles and re-edited without his consent, in the same set, certainly they can release both versions of Smokey and the Bandit Part 3. But let's face facts. Dick Lowry is no Orson Welles, and there is practically zero calls for this kind of special treatment for the film.   I just find it odd that in this day and age, the only thing that's escaped from the original version of the film after all this time is a single image of Gleason as The Bandit, which you can find on this episode's page at our website.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Smokey and the Bandit Part 3, including links to Smokey and the Bandit fan sites that have their own wealth of materials relating to the movie, and a video on YouTube that shows about 20mins of deleted and alternate scenes used in the television version of the movie, which may include an additional shot from the original movie that shows Dusty riding in the back of Big Enos's red Cadillac convertible.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Dean makes Ciara watch a fourth film shot in his hometown, an Arthurian epic by Exorcist II director John Boorman: Excalibur, which features zero locust POV and tons of before-they-were-famous casting. They talk about Cahir castle, Gabriel Byrne's soap opera career, and what are movies even supposed to be like, anyway? Visit The Sundae: ⁠⁠⁠⁠⁠⁠⁠https://thesundae.net/⁠⁠⁠⁠⁠⁠⁠ Follow us on Twitter: ⁠⁠⁠⁠⁠⁠⁠https://twitter.com/sundaeblog/⁠ Top Gun: Maverick: The Sundae Presents Bonus Episode 5: https://thesundae.net/2023/07/30/top-gun-maverick-the-sundae-presents-bonus-episode-5/ SCTV - Jerry Lewis Live on the Champs Elysees: https://www.youtube.com/watch?v=GgwVdVmazYA --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-sundae/message

Dean makes Ciara watch a fourth film shot in his hometown, an Arthurian epic by Exorcist II director John Boorman: Excalibur, which features zero locust POV and tons of before-they-were-famous casting. They talk about Cahir castle, Gabriel Byrne's soap opera career, and what are movies even supposed to be like, anyway? Visit The Sundae: ⁠⁠⁠⁠⁠⁠⁠https://thesundae.net/⁠⁠⁠⁠⁠⁠⁠ Follow us on Twitter: ⁠⁠⁠⁠⁠⁠⁠https://twitter.com/sundaeblog/⁠ Top Gun: Maverick: The Sundae Presents Bonus Episode 5: https://thesundae.net/2023/07/30/top-gun-maverick-the-sundae-presents-bonus-episode-5/ SCTV - Jerry Lewis Live on the Champs Elysees: https://www.youtube.com/watch?v=GgwVdVmazYA --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-sundae/message

Support us on Patreon! Patrons have access to the NOTLP Discord Server, weekly virtual meetups with the hosts, ad free episodes and tons of other great content. We're doing a series on lesser sequels. We're calling it "Number Twos" and kicking things off with the misguided cash grab Exorcist II: The Heretic. Andy reviews Suitable Flesh for Straight-to-Video Russian Roulette. We close the show with "Birthday Card" from our very own Freddy.   This podcast is brought to you by the Legion of Demons at patreon.com/notlp. Join the Legion to for an ad free experience and more stuff! Patreon.com/notlp!   Our Beelzebub tier producers are: Alise Kombrinck Ernest Perez Jeremy, Cassie & Gamora Burmeister Jeff L Iona Goodwin Branan & Emily Intravia-Whitehead Bill Chandler Blayne Turner Monica Martinson Paul Gauthier Brian Krause Alyssa Boehm Dave Siebert Joe Juvland Dustin Chisam “Monster Movies (with My Friends)” was written and performed by Kelley Kombrinck. It was recorded and mixed by Freddy Morris. Night of the Living Podcast's chief contributors are:  Andy Hung Kelley Kombrinck  Amy Morris Freddy Morris The podcast is produced and engineered by Amy & Freddy Morris.  Night of the Living Podcast Social Media:      facebook.com/notlp twitter.com/notlp instagram.com/nightofthelivingpodcast youtube.com/notlpcrew https://www.tiktok.com/@nightofthelivingpodcast  

They said it couldn't be done. They said it shouldn't be done. But Thor didn't listen to the advice of our two lawyers and made 1000 episodes anyway. This episode starts out with us discussing the special milestone, and we jump into Exorcist II at 29:06.

The power of sequels compels you...the power of sequels compels you. This week on the Pod, The Podcast 2 are traveling back in time to 1973 to write the first good sequel to William Friedkin's horror classic "The Exorcist." Will we be able to figure out a new angle on an exorcist story that still delivers the beats people loved in the original? Is defeating the devil really as easy as telling him, "take me!" Will we come up with anything as genius as David Gordon Green and Danny McBride's idea to have two possessed girls instead of one? Why is David Zazlov talking so different in this pitch meeting? How does Young Sheldon play into all of this? Is getting possessed by an angel really as serious as getting possessed by a demon? What is Max's joke that we're not allowed to hear about "warm goo?" All that and more on this week's episode of Podcast 2: The Sequel.Follow us on Twitter: https://twitter.com/Pod2thesequelFollow us on Instagram: https://www.instagram.com/pod2_thesequel/Theme song by Charle Wallace: https://charlewallace.bandcamp.com/Support our Feature film, Inter-State, currently in Post-Production: https://fiscal.thegotham.org/project.cfm/4383/INTER-STATE/

Richard Walter Jenkins Jr. was born in November of 1925 in Wales to an hard drinking coal miner cum absentee father and a pub barmaid.  Growing up in a rough steel mill town under the roof of his older sister and her husband, he left school to work in the mines after his sister's husband (like both parents before him) fell ill, due to the unregulated, non-unionized working conditions, before joining the RAF, where he served as navigator. His omnipresent sideline in theatrical productions led to adoption by acting tutor and schoolmaster Philip Burton, and he fell under the wing of none other than Sir John Gielgud.  As part of a Gielgud-led touring company, he came Stateside, winning both a World Theatre Award and a succession of Hollywood film roles.  His leading role in The Robe both kicked off a proper filmic career and entangled him in a decades long, fiery on and off relationship with Elizabeth Taylor, who'd star with him in numerous films and tabloid headlines throughout the 60s and 70s. Starring in everything from critical accolade-bedecked dreck like Look Back in Anger, Equus and Night of the Iguana and excellent films like The Spy Who Came in From the Cold, 1984 or Where Eagles Dare to cult absurdities Candy, The Medusa Touch and Exorcist II, Burton was arguably more famed for his offscreen  antics than his own theatrical talents...and had a rollercoaster of a career that reflected both his notable highs and precipitous lows. Join us as we take on one of the most notorious thespians to walk the boards and chew the cinematic scenery, the late great Richard Burton, only here on Weird Scenes! Week 106 (9/21/23): Who's Afraid of Liz and Dick?  The Tempestuous Career of Richard Burton https://weirdscenes1.wordpress.com/ https://www.facebook.com/WeirdScenes1 https://twitter.com/WeirdScenes1 (@weirdscenes1) TheThirdEyeCinema @threads https://thirdeyecinema.podbean.com/ https://itunes.apple.com/us/podcast/third-eye-cinema-weird-scenes-inside-the-goldmine-podcast/id553402044 https:// (open.spotify.com) /show/4s8QkoE6PnAfh65C5on5ZS?nd=1 https://music.amazon.com/podcasts/09456286-8956-4b80-a158-f750f525f246/Third-Eye-Cinema-Weird-Scenes-Inside-the-Goldmine-podcast

The Girls of SPM are back! This time w/ special guests Mike Maryman (No More Room in Hell Podcast) and Dan Chase! In Girl Talk Segment they chat about run-in's w/ Authority....buncha trouble makers these ones! Then for their game they play Name that Tune from That horror movie! For Pillow fight they debate Sequels that jumped the shark! Films debated are Amityville 3D, Cabin Fever, Jaws The Revenge, TCM NEXT GEN, Hellraiser 3, and Exorcist II. Which is the best of these picks that might've sunk their franchise? Then for feature presentation they get to rapping w/ LL COOL J in The Deep Blue Sea! Hold onto your life jackets because we are gonna need a bigger boat to cover all of these films! --- Support this podcast: https://podcasters.spotify.com/pod/show/lacy-williams1/support

HORROR SEQUELS Tier List Live! Part 2's only! (Actual tier list starts at about 42 minutes) We're creating a tier list of the best #2's in horror. From Halloween 2 to Evil Dead 2 join us and help us pick the movies for the tiers and where they go. The best and the worst horror sequels of all time from greatness to trash. From Friday the 13th part II all the way to The Exorcist II. PLUS the latest movie news and whatever else you want to discuss! Get WWAM Merch up on YOU! Here: https://teespring.com/stores/we-watched-a-movie Get full Halloween Ends + Halloween Franchise + Scream and all your horror movie news coverage at https://www.wewatchedamovie.com Check out the We Watched a Movie podcast here and wherever you listent to podcasts: https://anchor.fm/wewatchedamovie TWITTER! https://www.twitter.com/wewatchedamovie or @wewatchedamovie INSTAGRAM: @WeWatchedAMovie Want to send us something to be unboxed on camera? We Watched A Movie PO BOX 1282 Versailles, KY 40383 For business Inquires: WeWatchedAMovie2@gmail.com Thanks for watching! http://www.youtube.com/wewatchedamovie --- Support this podcast: https://podcasters.spotify.com/pod/show/wewatchedamovie/support

Erik Childress and Peter Sobczynski look at this week's new Blu-ray releases and it is quite the deep dive into eclectic taste. Criterion has one of the early films of a pioneering female director. Terrorists are trying to blow up the Super Bowl, kids battle aliens, a teenager searches for her mom and Natasha Lyonne goes up against Vincent Gallo. There are films with John Barrymore and Van Heflin, Parker Posey's first starring vehicle, a stylized actioner that could have been The Boys but figured “nah”, and other dummies too. Episode 118 had Peter talking at length about Exorcist II and now the third film gets some time as well. Finally, the esteemed Mr. Sobczynski makes the case that the 1983 remake of a Godard classic may actually be better than the original. Can he convince you?  0:00 - Intro 1:00 - Criterion (Chilly Scenes of Winter) 6:12 - Altered Innocence (Wild Reeds) 7:40 - Vinegar Syndrome (Freeway II) 12:03 - Arrow Films (Knockabout, Black Sunday) 24:09 - Kino (Border River, Counsellor at Law, If I Had a Million, Tomahawk) 34:22 - MPI (All Quiet on the Western Front (2022) (4K)) 37:53 - RLJE Films (Kids vs. Aliens) 41:36 - Sony (Missing (2023)) 43:26 - Shout! Factory (Dead Silence, Wanted (4K), The Exorcist III (4K)) 58:58 - Fun City Editions (Party Girl, Breathless) 1:19:33 – New Blu-ray Announcements 1:22:47 - Outro

Find out where Exorcist III fits in the franchise...is it a worthy sequel to the original? What does Maniac Mike really think of Exorcist II? Spoiler section at the end. Some mild language. If you like what you hear, please consider leaving a review so new listeners can find us and, if you have a movie you think we should review drop us a note at dudesofthedead@gmail.com. We're also on Youtube. Enjoy and...we'll see you in the aisles.

Put down your pitchforks, horror fans. I'm not for one second asserting that Event Horizon is on the same level as Jaws: The Revenge or Exorcist II.  But it was generally disliked by critics, and the box office numbers were pretty weak, and then the movie just disappeared. For a few years, anyway. I'm joined by Event Horizon screenwriter Philip Eisner (aka @phubar) to discuss the intense sci-fi/horror film's unimpressive debut, quick dismissal, and slow journey to cult classic status.  Thanks for listening to Overhated! There are 100+ more episodes at patreon.com/scottEweinberg. Subscribe to hear them all now! Check out the list of episodes here: bit.ly/3WZiLFk. Subscribe wherever you get your podcasts: Apple Podcasts, Spotify, etc.

This week we are talking about "Exorcist II" which is known to be one of the worst sequels of all time by movie lovers and they are right! This movie marks the 2nd sequel we covered of Oscar-winner, the late-great Louise Fletcher which didn't end up too well, the other being Grizzly II. This movie was so bad that we brought in a friend of the podcast Peter, who has a podcast called Fan2Fan (which we guested on earlier in the year and talked sequels). Peter helped us discuss why crutches are good for putting out fires, James Earl Jones dressed like a locust, a very awkward scene, the odd extras playing in the background of scenes, and lots more. This is a video review you can watch at sequelsonly.com/Exorcist2 Check out Pete's Fan2Fan Podcast at https://linktr.ee/Fan2Fan The next sequel that will be discussed is Halloween Resurrection. We have been lucky enough to interview Jason Voorhees, Leatherface, and Psycho Cop, but now we have a Michael Myers to add to that list in Brad Loree. While interviewing Ken Kirzinger, he told me he was friends with Brad, so I ask him to connect us and he came through. Brad talked about how he got into doing stunt work, how Ken helped his career, playing Michael Myers, ALMOST playing Jason Voorhees, and more. Awesome guy and fun conversation Follow us on all social media @sequelsonly and our website is sequelsonly.com Review, rate, and share us with your friends, enemies, neighbors, exes, and even that annoying supermarket clerk!

The next sequel we are reviewing is "Exorcist II” and for it, I interviewed Hollywood's go-to Bug Wrangler of the 80s/90s/00s, Steven R Kutcher. Steven is an entomologist who was recommended by his professor to work on Exorcist II and the rest is history. Steven worked on Wonder Woman, Arachnophobia, Hocus Pocus, Jurassic Park, Spiderman, and so much more. Steven even introduced us to Rosie, who is the first spider to be a guest! Great chat about bugs and how to Steven gets them to do some pretty amazing things on film. Watch the unedited video interview at sequelsonly.com/stevenrkutcher Links mentioned in this episode: Steven's IMDb https://www.imdb.com/name/nm0476472/ His website http://bugsaremybusiness.com/ Next up is our review of "Exorcist II". Follow us on all social media @sequelsonly and our website is sequelsonly.com Review, rate, and share us with your friends, enemies, neighbors, exes, and even that annoying supermarket clerk!

This week we are talking "Return of the Killer Tomatoes" which is a movie sequel that was on our list of must-do sequels when we started this almost 4 years ago. This movie marks our 2nd sequel of George Clooney's that he wishes doesn't exist, but we are glad it does because this movie was awesome. We discussed the great writing, breaking of the 4th wall, dating a tomato vs dating a mannequin, the great music, and so much more. This is a video review you can watch at sequelsonly.com/ROTKT The next sequel that will be discussed is Exorcist II. This movie had me interviewing our 1st Hollywood Bug Wrangler in Steven Kutcher. Steven actually found us after watching our review of Teen Wolf Too since he worked on the flea scene. Steven talked about how he started his passion for bugs, how his Hollywood journey began, and Arachnophobia, and he even had a tarantula show up on the podcast which was EPIC. Follow us on all social media @sequelsonly and our website is sequelsonly.com Review, rate, and share us with your friends, enemies, neighbors, exes, and even that annoying supermarket clerk!

ChillerPop stops by to defend the Exorcist II as a decent movie. Spoiler: We agreed with him! We're looking at religion, loss of faith, personal demons, and how corporate players can change a good script. Spirited Giving -  Libsyn -  (Use code NECRO) Fright Rags -  (Use code NECRO10)

We're back, and talking to film critic and cosplayer Jessica Scott, who brought us two underrated and under-discussed bangers: John Hancock's ethereal and unsettling Let's Scare Jessica To Death (1971), and William Peter Blatty's chaotic long lost successor to The Exorcist, The Exorcist III (1990 - and yes, The Exorcist II exists, but for our purposes, no it doesn't). You might wonder what these movies have in common for a double feature, and we're here to tell you: actually a lot! Both were developed to diverge heavily from their source material (we're dying to read the original It Drinks Hippie Blood almost as bad as we are to see the director's cut of The Exorcist III), both use naturalistic relationships to drive the horror, both feature fantastic voice work and dream/nightmare logic, both were ignored by Roger Ebert, and of course, Zohra Lampert - who if you're not familiar with as a performer, you're about to be. What these don't have in common, in no particular order: 70's pesticide horror, Weird Little Guy Things, creepy car-handle holding, the Catholic Joker, fear of free love, “a lesbian flick,” and Fabio. Jessica Scott is an entertainment critic and culture writer who focuses primarily on feminist issues, mental health representation, and queer issues in the horror genre. You can follow her on Twitter @wewhowalkhere. A proud part of the Morbidly Beautiful Podcast Network. Our drive for intersectionality aligns well with the Morbidly Beautiful ethos. We love that MB is a nonprofit that gives back to the horror community, and are thrilled to be a part of the network! Show now also streaming on morbidlybeautiful.com! Movies Discussed: Let's Scare Jessica To Death (1971), The Exorcist III (1990) Links: IG- instagram.com/nyfgpod Twitter- twitter.com/nyfgpod FB- facebook.com/nyfgpodcast/ Pod merch- https://society6.com/nyfgpod I am Not Your Final Girl by Claire C. Holland- https://www.amazon.com/Am-Not-Your-Final-Girl/dp/0692966633 Bandcamp- arieldyer.bandcamp.com Show art by Brian Demarest: instagram.com/evilflynn

Quite possibly the worst sequel in the HISTORY of Sequelitis is on this edition of DEADPIT, CK and Uncle Bill have a case of the terrible twos this week in a much anticipated SEQUELITIS edition of the show.

Tim and John put on the Synchronizer and exchange thoughts about Exorcist II: John gets his locust in Tim's peanut butter. Hosted on Acast. See acast.com/privacy for more information.

Gamuary continues as Adam and Chris watch the best Gamera episode, season 3's take on Gamera vs. Guiron! They get to talk about the Richard Burton, Elizabeth Taylor, The Wooster Group, Mark Russell, and Michael Feinstein.SHOW NOTES.Gamera vs. Guiron: IMDB. MST3K Wiki. Trailer. Adam was trying to recall reading Samaris twenty years ago, and may have gotten some details wrong.Adam's other podcast, A Part Of Our Scare-itage.Who's Afraid of Virginia Woolf? [trailer].Chris talked about Boys in the Band on another podcast.1984 [trailer].Cleopatra [trailer].Exorcist II: The Heretic [trailer].The Exorcist II has a small role for Dana Plato, who is best known for being one of the Diff'rent Strokes kids, but was in an episode of The Facts of Life, because those shows are in the same universe.Our episode on Rocketship X-M.Arnold's Gourmet Kitchen presents: Woks.John Lennon: Rock ‘N' Roll.The Wooster Group.That Geraldo episode.That scene from UHF.Death Wish IV: The Crackdown [trailer].Mark Russell's final show.A 2021 concert from Michael Feinstein.The General Cinemas trailer we referenced in our episode on Teenagers from Outer Space.BONUS.Support It's Just A Show on Patreon to hear the super-fan bonus bits that don't quite make the show.

After recovering from last week's dive into Exorcist II, we're ending the month with the oft-misunderstood Exorcist III from 1990, written and directed by William Peter Blatty, the original author of The Exorcist. You don't want to miss this one, listeners, because there's some definite moments of horror zen in this grey sea of monologues. The film stars George C. Scott, Brad Dourif, Ed Flanders, Jason Miller, and Nicol Williamson. If you have anything to add to the discussion, please don't hesitate to do so by reaching out to us on social media @TheFilmFlamers, or call our hotline and leave us a message at 972-666-7733!             Watch The Exorcist III: https://amzn.to/3nAdq7O        Out this Month: Week 1: Shooting the Flames: November 2021 Week 2: The Exorcist Week 3: Exorcist II: The Heretic Week 4: The Exorcist III Week 5: Break!     Coming in December 2021: Gremlins: https://amzn.to/31cFsNX  Gremlins 2: https://amzn.to/31kwQ8b       Get in Touch:  Support us on Patreon: https://www.patreon.com/TheFilmFlamers  Visit our Store: https://teespring.com/stores/thefilmflamers Facebook: https://www.facebook.com/TheFilmFlamers/ Twitter: https://twitter.com/TheFilmFlamers NEW! Letterboxd: https://letterboxd.com/thefilmflamers/ Our Website: https://www.filmflamers.com  Call our Hotline: 972-666-7733     Our Patrons: Alvin BattleBurrito Benjamin Gonzalez Bennet Hunter Brandon Anderson Dan Alvarez Daveruff87 Dr. Joe DW Erica Huff GWilliamNYC Kimberly McGuirk-Klinetobe Kyle Kavanagh Lisa Libby Matthew McHenry Nicole McDaniel Nikki (phillyenginerd) Orion Yannotti Penelope Perfecta Erecta Poodie Castle Robert B. The Unknown Patron    Sweet dreams...      "Welcome to Horrorland" by Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ "Orange" - Topher Mohr and Alex Elena: https://youtu.be/Vh-FWjjtcTM 

One last week of spooky as we discuss the Exorcist III in all its not-the-Exorcist II glory, some production, TRUTH and TREK and finally some final thoughts on the series. HAPPY HALLOWEEN!

Bobby and Mike are joined by "The Human Monster Truck" Perry Von Vicious (@PerryVonVicious) to discuss a movie about love, loss, and a murderous monster truck with a giant drill. Featuring an amazing performance from Grindbin All Star Ned Beatty (Gator, White Lightning, Exorcist II) and some great pro wrestling stories from Perry Von Vicious. Check out more pro wrestling greatness from out friends at Pro Wrestling Grind: https://twitter.com/GRINDpuro  

FredUMC Sunday Sermon

Continuing our sequel showcase this season, this week we return with The Exorcist 2. We talk about the weirdness of the sequel, faux Pazuzu, Linda Blair, light therapy and so much more! Walk off your penthouse suite as fast as you can and listen to the all-new Blood Chuggers!

I'm Brian. And I'm Kevin. And we're the Horror Movie Guys! Episode 120 Summary This week we'll be watching some more classics. We'll begin with “The Pale Door” from 2020, sneak into “Area 51” from 2015, and then go to Hell with “Ghost Rider” from 2007 and “Ghost Rider: Spirit of Vengeance” from 2011. Check out our books! Creepy Fiction: A Sextet of Strange Stagings: Six Surprising Scripts Tales to Make You Shiver, Volume 1 and 2 The Horror Guys Guide to: Universal Studios' Shock! Theater Universal Studios' Son of Shock! Hammer Horror Films New! The Silent Age of Horror Here. We. Go! Links: Ghost Rider (2007) https://www.horrorguys.com/ghost-rider-2007-review/ Ghost Rider: Spirit of Vengeance (2011) https://www.horrorguys.com/ghost-rider-spirit-of-vengeance-2011-review/ Short Film: You're Family Now (2021) https://www.horrorguys.com/youre-family-now-2021/ The Pale Door (2020) https://www.horrorguys.com/the-pale-door-2020-review/ Area 51 (2015) https://www.horrorguys.com/area-51-2015-review/ And that's our show. Thanks for joining us. Stop in during the week at our website, HorrorMovieGuys.com for news and horror updates, to comment on this podcast, or to contact us. Get ready for next week, where we'll be watching some more classics, but this time we'll do a real workout with some heavy-lifting “exorcising.” Yes, it's 1973' “The Exorcist,” 1977's “Exorcist II,” 1999's “Exorcist III,” and not one, but TWO prequel movies, 2005's “Dominion” and “Exorcist: The Beginning” from 2004 Email: horrorguysmail@gmail.com The web: http://www.horrorguys.com Facebook: https://www.facebook.com/horrormovieguys Twitter: http://twitter.com/HorrorMovieGuys Or follow the guys individually at http://twitter.com/BrianSchell and http://twitter.com/EightyCoin Theme Music by Kevin MacLeod of Incompetech.com

Ciné-Flop#2: Le Cardinal Laurent Vachaud, et un jeune prêtre, Jean Veber, tente dans un podcast d'exorciser la suite de l'exorciste de John Boorman, qui frappe encore fort après Zardoz. SVP priez pour eux et likez, partagez, commentez, partout, amen.

"Warriors! Come out to be possessed by a demon!" Hipster & The Nerd continues its Rocketship Roulette series with a look at two films on opposite ends of the quality spectrum, Exorcist II: The Heretic and The Warriors. Join Chris and Brian as they discuss all the ways in which Exorcist II is terrible; from the editing, to the acting, to the writing, to the ableism and everything in between. Then, listen in as they discuss how awesome The Warriors is with its great dialogue, fantastic action, and breezy pace. You won't want to miss this short but sweet episode. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Our guest this week is Gillian Flynn, bestselling author of Gone Girl, Sharp Objects, and Dark Places, showrunner for Amazon's Utopia, screenwriter of Widows and adaptations of her own work, winner of the Edgar Award, and BAFTA nominee. We have no idea why she agreed to do this either.But we're happy she did, because for our second and final SHOCKTOBER 2020 movie, our horror-aficionado guest picked Uninvited, and it was amazing! (to be clear, this is not THE Uninvited from 2009, which The Flop House already covered, or, for that matter, The Uninvited from 1944, about ghosts and Ray Milland. This is the 1987 direct-to-video one about the mutant killer house cat).Also! If you're listening on the day of release TONIGHT'S THE NIGHT (6PDT/9EDT) for our YouTube livestream version of our touring show! We'll be doing presentations, talking Exorcist II, taking questions from Twitter, and raising money for charity! For full info, go here.Movies recommended in this episode:Hocus PocusPsycho GoremanDantonCloak & Dagger

This week, Eric and Josh chat about: round 2 of covid-19 lockdown, our epic Friday The 13th Fest, journalistic integrity, silver linings, kitties and puppies, chaos theory, Exorcist II, Batman & Robin, Star Trek: Generations, Hellraiser's, and more! As mentioned, we're back into another round of being on lockdown. Stay tuned for updates on our return!

par Benoit Basirico Cinezik Radio sur Cinezik.fr Première partie : Ennio Morricone, Mélodies et Dissonances https://soundcloud.com/cinezik/panorama-bo-ennio-morricone-1-melodies-et-dissonances Deuxième partie : Ennio Morricone, Sonorités Insolites https://soundcloud.com/cinezik/panorama-bo-ennio-morricone-2-sonorites-insolites Troisième partie : Ennio Morricone, Rythmiques Programme de 20 B.O : La resa dei conti / Colorado (1966) La bataille d'Alger / La Battaglia di Algeri (1966) Il était une fois dans l’ouest (1968) Enquête sur un citoyen au-dessus de tout soupçon (1970) Le casse (1971) Le Venin de la peur / Una Lucertola con la pelle di donna (1971) Le Chat à neuf queues (1971) Mais qu'est‑ce que je viens foutre au milieu de cette révolution ? (1972) Mon nom est personne (1973) Peur sur la ville (1975) Exorcist II (1977) Qui a tué le chat ? / Il gatto (1977) Où es-tu allé en vacances ? (1978) La cage aux folles (1978) Dedicato al mare Egeo (1979) À couteau tiré / Copkiller (1983) Il était une fois en Amérique (1984) Les incorruptibles (1987) Frantic (1988) U Turn (1997) Bonus final : "Le Clan des siciliens" par John Zorn.

par Benoit Basirico Cinezik Radio sur Cinezik.fr Première partie : Ennio Morricone, Mélodies et Dissonances https://soundcloud.com/cinezik/panorama-bo-ennio-morricone-1-melodies-et-dissonances Deuxième partie : Ennio Morricone, Sonorités Insolites Programme de 20 B.O : Pour une poignée de dollars (1964) La mort était au rendez-vous / Da Uomo a uomo (1967) La Resa Dei Conti / Colorado (1966) Le clan des siciliens (1969) Il était une fois dans l’ouest (1968) Ce merveilleux automne (1969) Disons, un soir à dîner (1969) Seule contre la mafia / La moglie più bella (1970) Il était une fois la révolution (1971) La Classe ouvrière va au paradis (1971) Peur sur la ville (1975) Gente di Rispetto (1975) Théorème (1968) Exorcist II (1977) Les Moissons du ciel (1978) L'humanoïde (1979) Mission (1986) Outrages (1989) Le Syndrome de Stendhal (1996) U Turn (1997) Troisième partie : Ennio Morricone, Rythmiques https://soundcloud.com/cinezik/panorama-bo-ennio-morricone-3-rythmiques

Ben & Steve’s Video Store has opened for September! Join the two movie geeks in their store (probably the last one on Planet Earth), as they talk about lots of things connected to the wonderful world of movies, including Reviews of the biggest home releases for the month, including The King of Staten Island, The Man Who Killed Don Quixote and 4K releases of Psycho, Full Metal Jacket and Goodfellas, plus a Batman 4K Boxset! Freaky sci-fi horror Under the Skin goes into The Disturbed Ward Ben and Steve fly on the wings of a demon and hang out with the Antichrist as this month’s Bargain Bin of the Month choice is between horror sequels Exorcist II The Heretic & Omen III: The Final Conflict, which turns out to be an epic conversation! In the 90’s – we look at the 10 biggest grossing movies of 1990 PG or no PG: In a new feature we look at movies from the 1980’s that were a certificate PG when released and look at them now to see if they would be a PG today. First up is Richard Donner’s The Goonies from 1985. Find us on Twitter: @BenStevesVideo1 Facebook: https://www.facebook.com/BenStevesVideoStore/?modal=admin_todo_tour Instagram: https://www.instagram.com/benandstevesvideostore/?hl=en You can email the show at benandstevesvideostore@gmail.com if you have any suggestions for future Disturbed Ward entries, or Bargain Bin of the month choices. If you want to track how many movies you’ve seen that we’ve been talking about since we opened the store, check out the show’s Letterboxd list on Steve’s page: https://letterboxd.com/spclark14/list/ben-steves-video-store/ Please leave us a 5-star review on your pod platform of choice to help our store find more customers, we do appreciate it! We’ll be opening again in October for our first anniversary episode, please return your rentals by then or you will be fined.

In this episode, the Bloody Mary’s of CourtCourt, Nicole, EV, and Parz are joined by none other than Doctor Payne. Fresh off his top rated...

Mark and Jack Howard compare thoughts on Ava DuVernay's shocking 2016 documentary '13th' - about racial inequality and the US prison system. Plus Mark makes Jack watch 'Exorcist II: The Heretic' - which he contends is the worst film ever made! See acast.com/privacy for privacy and opt-out information.

Brendon Small is back with Brian to talk crazy horror and fantasy in a double bill from director John Boorman! EXORCIST II is one heck of a nutty movie and yet Brendon seems to have figured it out and has lots to say about it as well as EXCALIBUR which is a really big deal movie to him (he first saw it when he was 7). We hope you enjoy our Boorman-y chat!

According to THR, this is the first time a film has ever had an upgrade that theaters download.The fixes include an odd hand, a cat without fur, and digital replacementsWhat could this mean for the future of CG heavy films?Kubrick with 2001 and The EXORCIST II ending

Jeremy is joined once again by Chris Arnsby for a belated Halloween rummage through 1977's Exorcist II: The Heretic, directed by John Boorman and starring Richard Burton, Louise Fletcher and Linda Blair. Along the way they uncover the riddle of the Dave Clark Five, experience holidays with Ned Beatty, shudder before Ross Geller: Antichrist and fail to be fooled by the old revolving wig ploy.

Our second season continues with "THE DEVIL MADE ME DO IT WEEK" as your favorite 4:30 Movie hosts continue to celebrate Scare-toboer with a celebration of Satanic and Devil films all week long. Join MARK A. ALTMAN (who knows John Boorman directed EXORCIST II and not Ken Russell), STEVEN MELCHING (writer, X-Men: The Animated Series, The Clone Wars), ASHLEY E. MILLER (writer/producer, Lore, Fringe, Black Sails) and DAREN DOCHTERMAN (conceptual designer, Westworld, Star Trek: Picard) as they conjure up a week full of movies you must possess.. or be possessed by.  Follow THE 4:30 MOVIE on social media at: Twitter: @430moviepod Facebook: facebook.com/430movie Web: 430movie.com 

Shane and Matthew clash over The Exorcist III, William Peter Blatty's sequel to his own groundbreaking novel/film The Exorcist, via the much maligned Exorcist II. The power of Christ compels them to discuss.Notes:Video enhanced version of this episode: https://youtu.be/fhDJszUJZzIThe Exorcist III on IMDB: https://www.imdb.com/title/tt0099528Trailer for The Exorcist III: https://youtu.be/BXsj26KH4jkWiki link to Legion (novel): https://en.wikipedia.org/wiki/Legion_(Blatty_novel) 

WiTaT's October Spooktacular returns with a journey through the worst horror sequels of all time. This week, Linda Blair and Max von Sydow–joined by newcomers Richard Burton, Louise Fletcher and James Earl Jones–return to rid the world of more demons in the hauntingly stupid Exorcist II. For More TMT Shenanigans: toomanythoughtsmedia.com Twitter: @TMT_Media, @tackyslacks, @funnynicotweets, @zakkcap, @someadamhall E-mail: toomanythoughtsmedia@gmail.com Subscribe and Rate on Apple Podcasts!

Welcome to SCARETRODUCING - the horror podcast that's serious about series! They say THREE is the magic number, so why not tune in & find out just how special our hosts found this 3rd entry in THE EXORCIST franchise! William Peter Blatty returns to his creationist role in the series to help course correct after the catastrophic EXORCIST II, but did he succeed in taking the franchise into new & exciting TERROR-tory? It's all answered in our latest episode - recorded & uploaded on INTERNATIONAL PODCAST DAY!

Cathy's Curse! It's Canada's answer to The Exorcist and The Omen, though it has more in common with Exorcist II and Omen IV. One of Canada's most notorious good-bad flicks, Sarah & Adam brave this one's internet infamy to see if there's some panache to this tale of a terror toddler. Oh, and yes, this is the “Your mother's a b----!” movie.

There's a lot of stuff going on in the primaries that mostly reminds us of stuff that's happened before, and also Trump's probably done more crimes, but it's important to stay focused on what matters. And what matters is that Rod Dreher has finally updated us on his friend's wife's very serious, very real exorcism. Catch up on Rod Dreher's the Exorcist Pt. 1 here: https://soundcloud.com/chapo-trap-house/episode-252-rod-drehers-the-exorcist-feat-brett-payne-and-bryan-quinby-10918

We watched EXORCIST II, JAWS 2 and RETURN TO OZ and discussed the different types of sequels. This week on the Patreon episode we watched MULHOLLAND DRIVE. Become a Patreon subscriber for $5 a month and get an exclusive episode every week! www.patreon.com/theimportantcinemaclub If you have any questions or comments, feel free to drop us a line at importantcinemaclubpodcast@gmail.com

Episode 44- Exorcist Trilogy 0:00 Intro and News 30:00 The Exorcist 2:04:00 Exorcist II 2:32:00 Legion Facebook Group: https://www.facebook.com/groups/1493771247363136/ Contact: grovershroyer13@yahoo.com Youtube Channels https://www.youtube.com/channel/UCSv3-HM0mqZ1ncm2dFNBJXw https://www.youtube.com/channel/UCZo6n_-PTWPRyErU1TvBbvw

This week we discuss Exorcist II:  The Heretic.  This 1977 film is considered one of the worst movies ever made.  Listen to see if we agree!

Welcome to year three, scaredy cats, it’s podcast time again! Today we’re watching William Peter Blatty’s 1990 threequel: THE EXORCIST III. Dave talks about his rewatch of Andy Muschietti’s 2013 creeper MAMA, and Chris tells us about checking out the bonkers Stephen King-directed MAXIMUM OVERDRIVE. We babble on about leap year horror movies, tacked-on endings, holy-water sprinklers, Remembrance Day, and even upgrade one of our weekly segments! Then we really get into it and talk all about priest skin-power, sound design, rotating room effects, run-time, long single-takes, the recipe for good jump scares, the projector scene from IT, excessive establishing shots, the craziness that is THE EXORCIST II, and much more! So get cozy, and hit ‘play’ on the newest episode of the TEXCHRIS DAVESAW MASSACRE! Continue reading →

John Boorman’s Exorcist II has been considered for decades to be one of the worst sequels ever made and by some views one of the worst FILMS ever made. Not so says RogerEbert.com’s Peter Sobczynski who for years has been an ardent defender. He joins Erik Childress on the show to discuss Shout Factory’s new Collector’s Edition as well as its rocky history and The Exorcist series in general. You will also hear William Friedkin tell the story of the first time the film ever screened for the public.

On this special episode of The Projection Booth we fly upon the wings of a demon as we discuss John Boorman's 1977 film Exorcist II: The Heretic.It's been a few years since we've seen Regan MacNeil, the little girl who, on the cusp of womanhood, was possessed by a demon in William Friedkin's 1973 film. She's back... And so's the demon, Pazuzu…This time the titular exorcist is Father Philip Lamont (Richard Burton) who is investigating what happened to the ill-fated Father Merrin (Max Von Sydow) with the help of Dr. Gene Tuskin (Louise Fletcher) and her hypnosis machine.Heretical super-fans Samm Deighan (Diabolique Magazine) and David Kittredge (who's directing a documentary about Exorcist II) join Mike (who did a commentary track on the new Scream Factory blu-ray release) to look at the film, how it came to be, and its fate after release. Professor Brian Hoyle (The Cinema of John Boorman) and writer Paul Talbot (The Unmaking of Exorcist II) join the fray to try and explain this cinematic oddity.Learn more about your ad choices. Visit megaphone.fm/adchoices

On this special episode of The Projection Booth we fly upon the wings of a demon as we discuss John Boorman’s 1977 film Exorcist II: The Heretic. It’s been a few years since we’ve seen Regan MacNeil, the little girl who, on the cusp of womanhood, was possessed by a demon in William Friedkin’s 1973 film. She’s back... And so’s the demon, Pazuzu…This time the titular exorcist is Father Philip Lamont (Richard Burton) who is investigating what happened to the ill-fated Father Merrin (Max Von Sydow) with the help of Dr. Gene Tuskin (Louise Fletcher) and her hypnosis machine. Heretical super-fans Samm Deighan (Diabolique Magazine) and David Kittredge (who's directing a documentary about Exorcist II) join Mike (who did a commentary track on the new Scream Factory blu-ray release) to look at the film, how it came to be, and its fate after release. Professor Brian Hoyle (The Cinema of John Boorman) and writer Paul Talbot (The Unmaking of Exorcist II) join the fray to try and explain this cinematic oddity.

On this special episode of The Projection Booth we fly upon the wings of a demon as we discuss John Boorman’s 1977 film Exorcist II: The Heretic. It’s been a few years since we’ve seen Regan MacNeil, the little girl who, on the cusp of womanhood, was possessed by a demon in William Friedkin’s 1973 film. She’s back... And so’s the demon, Pazuzu…This time the titular exorcist is Father Philip Lamont (Richard Burton) who is investigating what happened to the ill-fated Father Merrin (Max Von Sydow) with the help of Dr. Gene Tuskin (Louise Fletcher) and her hypnosis machine. Heretical super-fans Samm Deighan (Diabolique Magazine) and David Kittredge (who's directing a documentary about Exorcist II) join Mike (who did a commentary track on the new Scream Factory blu-ray release) to look at the film, how it came to be, and its fate after release. Professor Brian Hoyle (The Cinema of John Boorman) and writer Paul Talbot (The Unmaking of Exorcist II) join the fray to try and explain this cinematic oddity.

In the mid-70s, John Boorman lost his damn mind. Zardoz and Exorcist II: The Heretic might be the craziest movies ever made with studio money, and we're here to discuss these two products of a deeply creative (and sometimes misguided) mind. Enjoy our dive into the most distinctive one-two punch in studio history, and get a couple of podcast recommendations from Tom and Mark. OpeningTheme: Drifter @Nada Copyright Free Music

Let’s say you’re a director, and you need to film thousands of locusts descending upon a group of people. It’s a major production, but CGI just won’t cut it. What do you do? Well, there’s really only one person to call. Steven Kutcher built his living as Hollywood’s resident bug wrangler. He’s worked on hundreds of movie scenes, from the spider that turned Peter Parker into Spider Man, to that swarm of locusts from Exorcist II. And he even pitches Sam a live-action film that’s Antz meets Thelma & Louise.

It’s the return of another director we’ve touched on in the past and it’s a whole different kind of mental this time as we attempt to comprehend the wondrous insanity that is John Boorman’s Zardoz from 1974. We should have been clued in by our past viewing of Exorcist II as to the quality of … Continue reading "153: SFFCH – Zardoz"

It's October and that means this month's edition of Phantom Zoned has us diving into some of the worst horror movies the world has ever seen. This time around it's The Exorcist II: The Heretic, widely (and accurately) described as one of the worst films ever made. Join Adrian as he leads Scott and Matt

Episode 26. For this Hallowe'en edition of The Damn Fine Cast, we decided to do something special - our first combined audio/video cast! You can choose to watch the first hour of the episode here, with TG and ScoJo in lurid colour live and direct from Solatron Studios: www.vimeo.com/143657636 We were joined via satellite from Brooklyn NYC by our special guests Aaron & Cassie (The Ship to Shore Phono Co.) and their cats Bela and Rutger, alongside Jon (Tiger Lab Vinyl). We played cuts from our favourite vinyl horror soundtracks, discussed all things Hallowe'en, our first scary movie experiences, why Exorcist II isn't awful, and we embarked on a gruesome and ill-advised drinking game... HAPPY AND SAFE HALLOWE'EN, EVERYONE! Created by Tony Giles & Scott Johannsson Recorded at Solatron Studios, Birmingham UK Oct 31st 2015 Hallowe'en Theme by Scott Johannsson

Zoinks! Episode 12 of See You Next Wednesday has us covering the shocking profit that Disney’s flop John Carter made last weekend at Drive-Ins across America, and we touch on Mission Impossible: Ghost Protocol, which hoodie-popped its way to DVD and BluRay recently. We roll right in to Film Roulette — see what we did there? — and take a look at Exorcist II: The... See acast.com/privacy for privacy and opt-out information.