Podcasts about Extreme prejudice

It's time for another Mike Makes Mike Watch! This time around, Smith is making Mike D watch the sequel to a sci-fi classic, 1970's BENEATH THE PLANET OF THE APES. Meanwhile, Mike D is making Smith catch up with an underseen Walter Hill film with an all-star cast of guys including Nick Nolte and Powers Boothe, EXTREME PREJUDICE!

In this emotionally charged episode of Born to Watch, the team marches into the searing heat and moral quagmire of Oliver Stone's Platoon (1986), a film that's arguably the definitive Vietnam War movie of its era. Whitey, G-Man, and the V8 Interrupter Dan revisit the battlefield with a mix of reverence, nostalgia, and hard truths, dissecting the film's impact, legacy, and the deep emotional chord it struck back in the day—and still does today.Kicking off with stories of their first encounters with Platoon, the guys quickly descend into one of their most layered and personal discussions to date. Whitey recalls being told by his dad he wasn't allowed to watch the film—despite already seeing Apocalypse Now and Mad Max at age six. That rebellious spark only deepened his bond with the movie once he finally got his hands on it as a teen. Dan admits to cheating on the crew, watching Platoon with his war-obsessed neighbours back in the ‘80s, completely unaware at the time of the deeper commentary Stone was laying down. For G-Man, Platoon was a rite of passage during his VHS-rented youth, watched on loop like a war-soaked mixtape.But the nostalgia is tempered with fresh eyes. This time around, Platoon hits different. What once felt like badass war action now reveals itself as a gut-punching meditation on morality, survival, and the breakdown of innocence. The guys explore the duality of the film's core—the Elias vs. Barnes dichotomy—representing each soldier's internal war. It's not just America vs. the Viet Cong; it's soul vs. savagery, duty vs. darkness.The cast? Stacked. And not just with stars—but future legends. Tom Berenger and Willem Dafoe snagged Oscar nods for roles that flipped their usual screen personas. Charlie Sheen's Chris Taylor acts as the audience's moral compass, thrust into a world of chaos with no road map. And in the wings, you catch early glimpses of Johnny Depp, Forest Whitaker, Kevin Dillon, and even a scene-stealing John C. McGinley. The Born to Watch crew marvel at the rawness and authenticity that pulses through every frame—helped in no small part by the film's unique decision to shoot in sequence, letting the emotional weight build naturally.And then there's the man behind the camera: Oliver Stone. A real-life Vietnam vet, Stone channelled his firsthand experience into a script that didn't just depict war—it unpacked it, exposed it, and dared to say that sometimes, the worst of humanity wears your own uniform. The pod digs into how Stone's commitment to realism (aided by military advisor Dale Dye, another vet) shaped everything from the dialogue to the weight of each bullet fired.There's the usual Born to Watch flavor too—G-Man's got the box office and awards rundown (hello, Best Picture and Best Director at the ‘87 Oscars), while Dan goes on a bandana-fueled tangent and questions whether Lieutenant Wolfe might be cinema's most inept officer. Whitey can't resist diving into the musical legacy, from that haunting Samuel Barber theme to how the soundtrack now echoes the trauma and tragedy of a generation.Of course, it wouldn't be Born to Watch without Listen to This, Voicemail Roulette (shoutout to “Will the Worky”), and the always-fun “Hit, Sleeper, Dud” segment, where Heartbreak Ridge, Extreme Prejudice, and King Kong Lives get their moment in the spotlight—or the firing line.By the end, the question looms large: Platoon or Apocalypse Now? Each host makes their case in what might be the pod's most respectful debate yet. As G-Man puts it, Platoon is about the war within, while Apocalypse Now is a descent into madness. Either way, both films leave an indelible mark—and so does this episode.So strap in, pop smoke, and join the squad as Born to Watch heads into the heart of darkness with Platoon. This one's for the grunts, the film buffs, and anyone who ever got lost in the jungle of morality and memory.

The Oscars, Freedom Five, Final Fantasy: The Spirits Within, Reacher, Starship Captains, Lorcana

well, I polled our Twitter followers on which film they wanted us to cover next in our commentary series, and Polanski nation (Poland?) won out decisively, defeating other hot prospects such as Ridley Scott's The Counselor and the enticing "Extreme Prejudice ft. FFF" (the Fuckedman is in tow once again here, and will be joining us as an auxiliary member of the show for at least a majority of our commentaries). join us as we watch a very great film by a very bad man, and talk about important issues such as public ownership of utilities and the Chinese. as is now standard, I'll be posting (almost) the entire intro (plus, on this occasion, the outro) to our free feed [EDIT: this, the thing you are looking at now] as well as a video version of the commentary to this Patreon shortly. we'll be recording something else in the next few days, on which I'll give an update on the status of the podcast and why we've mostly just been doing movie commentaries and shit like that lately. but rest assured that we are deeply committed to building our "New RP Canon" of seminal motion pictures. LISTEN TO THE FULL COMMENTARY HERE - https://www.patreon.com/posts/123984352?pr=true&forSale=true - BY SUBSCRIBING AT PATREON.COM/REELPOLITIK [VIDEO VERSION COMING SOON]

DennisLETTERBOXD: https://letterboxd.com/shotbyshot/INSTAGRAM: https://www.instagram.com/shotbyschott86/TWITTER: https://twitter.com/shotbyshot86https://letterboxd.com/hakan_bros/https://letterboxd.com/cinemavolante/SOCIALhttps://www.facebook.com/wirquatschenueberfilme/https://www.instagram.com/wir_quatschen_ueber_filme/Merch https://cinemavolante.myspreadshop.de/cinemaVOLANTEhttp://www.cinemavolante.dehttp://www.patreon.com/cinemavolantehttps://www.youtube.com/@cinemavolanteSpoilerfrei(00:00:00) Who the Fuck is Walter Hil(00:10:18) Ein stahlharter Mann (Hard Times) 1975(00:20:23) Driver (The Driver) 1978(00:28:39) Die Warriors (The Warriors) 1979(00:40:15) Long Riders 1980(00:51:56) Die letzten Amerikaner (Southern Comfort) 1981(01:06:45) Nur 48 Stunden (48 Hrs.) 1982(01:15:15) Straßen in Flammen (Streets of Fire) 1984(01:25:43) Zum Teufel mit den Kohlen (Brewster's Millions) 1985(01:30:30) Crossroads – Pakt mit dem Teufel (Crossroads) 1986(01:35:59) Ausgelöscht (Extreme Prejudice) 1987(01:44:55) Red Heat 1988(01:52:01) Johnny Handsome – Der schöne Johnny (Johnny Handsome) 1989(02:00:20) Und wieder 48 Stunden (Another 48 Hrs.) 1990(02:05:47) Die Rap Gang (Trespass) 1992 (02:13:00) Geronimo – Eine Legende (Geronimo: An American Legend) 1993(02:18:00) Wild Bill(02:19:15) Last Man Standing 1996(02:24:00) Supernova 2000(02:34:40) Undisputed – Sieg ohne Ruhm (Undisputed) 2002(02:43:26) Shootout – Keine Gnade (Bullet to the Head) 2012(02:49:22) The Assignment 2016(02:53:35) Dead for a Dollar 2022(02:55:16) Top5 Walter Hill Filme

The review of 2024 films are in full swing, but first there is the annual look back at the movies seen last year that were NOT FROM last year. Its the NOT 2024 Top Ten, where we highlight films worthy of a second discussion because they just impacted us so much.     And for the 3rd year running on this particular episode, Dave, Mikey, and #TwitterlessDrEarl welcome in Friend of the Show, streaming live from the freezing metropolis somewhere in Bainbridge, Wyoming, that is one Jacob "Roth from Wyoming."   Together, the foursome discuss their top ten faves of the year from all over the place, as far back as the early 20s and 30s to all the way through the 60s and 70s and in 2010s and 2020s... assigned movies come into play as films others were asked to watch appear in various Top Tens, while Burgess recommended movies keep coming up as well.  Mikey is loving some old Gena Rowland and Walter Matthau as an action star, while #XLessDrEarl digs into more music docs, Dave revisits a Hallmark fave, and Roth finally sets sail on the ship of dreams. Plus, why did Green Book get so much hate, Eastwood represents (even if he is a d-bag of a romantic partner) and Powers Boothe makes another list. Also... Garrison makes a random appearance with lots of Chucky Grodin love.  Movies discussed, and where to find them at time of recording:   Atlantics (Netflix) Bob Dylan: Don't Look Back (MAX; Criterion Channel) The Boys Next Door (Hallmark Movie Now) A Brighter Summer Day (Criterion Channel) Dirty Harry (for rental) Duck Soup (rental) Extreme Prejudice (rental) A Few Good Men (AMC+; rental) Frankenstein (rental) French Connection (rental) Gimme Shelter (MAX; Criterion Channel) Green Book (FXNow) Hang 'Em High (MGM+; TubiTV) Hearts of Darkness: A Filmmakers Apocalypse (rental) Into the Wild (Hoopla; rental) The Last of the Mohicans (rental) Magnolia (rental) Margin Call (Amazon Prime; TubiTV) Minari (rental) Modern Romance (rental) The Outlaw Josey Wales (rental) Priscilla (MAX) Safety Last (MAX) Seven Samurai (MAX; Criterion Channel) The Shawshank Redemption (AMC+) The Sunset Limited (MAX) State and Main (Amazon Prime) Stop Making Sense (rental) Suicide Kings (Amazon Prime; TubiTV) Taking of Pelham 1-2-3 (Hoopla; TubiTV; MGM+) Targets (Hoopla; rental) The Thing (Shudder; rental) The Three Musketeers (Plex; rental) Titanic (Paramount+) Tremors (Paramount+ on AppleTV; rental) Twelve Monkeys (rental) 2010: The Year We Make Contact (rental) While We're Young (rental) While You Were Sleeping (Disney+) Woman Under the Influence (MAX; The Criterion Channel)

We've smashed through the single page RPGs Pride and Extreme Prejudice and Crash Pandas from Rowan, Rook and Decard, and also gotten to the tabletop the kid-friendly The Colour Monster from Devir and Kosmos and Stomp the Plank from The Flying Games and Hachette. Plus a closer look at Color Gray Games and Playstack's stupendous sequel The Rise of The Golden Idol. All that, and, yes, it's one of His, on Ep212. 00:00 - A Cold Snap 05:51 - The Rise of The Golden Idol 29:39 - Pride and Extreme Prejudice 38:45 - Crash Pandas 43:28 - The Colour Monster 46:40 - Stomp the Plank 53:12 - Secret Santa On this episode were Dan (@ThisDanFrost), Kris (@DigitalStrider), and Sam (@MrSamTurner). Our Spotify Playlist brings together lots of great thematic music inspired by the stuff we talk about. Links to where you can find us - StayingInPodcast.com Note: sometimes we'll have been sent a review copy of the thing we're talking about on the podcast. It doesn't skew how we think about that thing, and we don't receive compensation for anything we discuss, but we thought you might like to know this is the case.

Today Matt & Todd discuss the 1987 Neo-Western Action-Thriller: Extreme Prejudice. Directed by Walter Hill, based on a story by John Milius Starring: Nick Nolte and a TV/MR all star cast:, Powers Boothe (ep: Tombstone), Maria Conchita Alonso (ep: Running Man), Micheal Ironside (eps: V, McBain) and his "zombie" squad of SPECOPS: Clancy Brown (ep: Highlander), William Forsythe (ep: The Immortals), Matt Mulhern (? Ok maybe not him), Dan Tullis Jr (ep: Apparently, season 5 ep 03 of 'The A-Team, as 'himself'(!)), Larry B. Scott (ep: Iron Eagle) ((not Larry B. David, not Larry Drake, not Larry B. Davis, or any other 'Larry' variant Matt mentions), And, we can't forget an appearance by Rip Torn (ep: Beastmaster) as a local county sherriff. Wow, what a cast, huh? So... A John Milius story, directed by Walter Hill, With this cast? This is peak 80s action with a layered story firing on all cylinders. A forgotten action masterpiece and an outstanding time overall. ... I wasn't able to find this streaming anywhere in the U.S.A That said, if any of this interests you, ahead and just add it to your collection. If you've nodded along to our recommendation so far, this one gets one of our highest 'just buy it' recommendations.

Julius en Jasper bespreken twee films van Walter Hill met Powers Boothe: Southern Comfort (1981) en Extreme Prejudice (1987). Als er eentje zou moeten verdwijnen, welke mag dan blijven? In de volgende aflevering van Julius vs Jasper worden twee films uit de Halloween-reeks besproken: Halloween III: Season of the Witch (1982) tegen Halloween 4: The Return of Michael Myers (1988).

Episode 2 of American Sports Story: Aaron Hernandez, titled "Consequences, With Extreme Prejudice," really dives into the fallout of Aaron's actions and how quickly things spiraled out of control. In college, Aaron Hernandez got away with a lot when it came to his bad behavior. Despite several red flags, including violent outbursts and run-ins with the law, he was often let off easy because of his talent on the football field. Coaches and university officials seemed more focused on keeping him in the game rather than addressing his actions, giving him numerous passes that allowed his troubling behavior to go unchecked. This lack of accountability set a dangerous precedent, where his stardom overshadowed the need for real consequences.   Remember, if you want to be apart of the podcast, send feedback to host@theverdictsin.com or on social media- Twitter and Facebook- The Verdicts In  

Julius en Jasper bespreken films die ze vroeger niet goed vonden, maar nu wel kunnen waarderen. En andersom: Films die ze ooit geweldig vonden, maar inmiddels niet meer. Films die voorbij komen zijn onder andere: Halloween (2007), Solaris, Return of the Living Dead Part 2, Scream, Batman & Robin, Transformers, 2001: A Space Odyssey, Cabin in the Woods, Not Another Teen Movie en natuurlijk Cashback. In de volgende aflevering van Julius vs Jasper worden twee films van Walter Hill besproken: Southern Comfort (1981) en Extreme Prejudice (1987).

Julius en Jasper bespreken twee bijzondere films met bijzondere superhelden: Catwoman (2004) van Pitof en Madame Web (2024) van SJ Clarkson. Als er eentje zou moeten verdwijnen, welke mag dan blijven? In de volgende aflevering van Julius vs Jasper worden twee films van Walter Hill besproken: Southern Comfort (1981) en Extreme Prejudice (1987).

I Francesi hanno fatto la loro mossa ed è tempo di agire. Riusciranno le tre sorelle a fronteggiare il tradimento perpetrato nel cuore stesso della proprietà (e nel cuore di Rebecca!) Titolo: Proud and Extreme Prejudice Sistema: Proud and Extreme Prejudice Setting: Vittoriano Fantasy Genere: Drama

Abbiamo iniziato, e come sempre in questi one page si parte incerti tastando il terreno. Ma in fretta le cose cominciano a rotolare bene... ed è proprio quello che succederà in questo episodio di metà asessione in cui svalliamo verso poi un finale in piena accelerazione! Titolo: Proud and Extreme Prejudice Sistema: Proud and Extreme Prejudice Setting: Vittoriano Fantasy Genere: Drama

Nella calura estva andiamo a pescare un one page dalla numerosa produzione di G. Howitt. In questo caso "Proud and Extreme Prejudice" parla di giovani donne in epoca da marito in epoca vittoriana, che combattono una guerra contro le avanguardie francesi a bordo di Mecha giganti alimentati da poteri Eldritch. Tutto chiaro no? Titolo: Proud and Extreme Prejudice Sistema: Proud and Extreme Prejudice Setting: Vittoriano Fantasy Genere: Drama

What good is My Favorite Summer if we can't have explosions, bad guys getting shot, car chases, high kicks to the face and more explosions?  Thats why we have the Action Movies!    Mikey, d$, and #XLessDrEarl bring in Friend of the Show Aussie Nate to talk about their favorite top ten all time movies consider action... and maybe a little sci-fi?   First, birthday movies, learning how old Boyhood is, Runaway Bride, Angels in the Outfield and even Mikey's fave, Babar: The Movie. Then, a Prime Day update, and Aussie's experience seeing his fave film in the theaters. Finally, the guys chat about their own personal rankings of action movies, including Axel Foley's adventures, Jason Bourne's identity, Nic Cage out of prison, John McClane in airplanes and skyscrapers, John Wick falling down stairs, Jackie Chan kicking people, Indiana Jones being doomed, and the best portrayal of Wyatt Earp in cinematic history.  Stick around for the Shark Talk in the stinger.      Where the Movies are Streaming at Time of Recording     Air Force One - AMC+ The Avengers - Disney+ Bad Boys II - Netflix Beverly Hills Cops III - Paramount+ The Bourne Identity - for rental Captain American Winter Soldier - Disney+ Cliffhanger - for rental Con Air - for rental The Condemned - FreeVee Die Hard - AMC+ Die Hard 2: Dieharder - for rental Extreme Prejudice - for rental First Blood - for rental The Fugitive - TubiTV Hard Boiled - for rental Independence Day - Hulu Indiana Jones & the Temple of Doom - Disney+ Indiana Jones & the Last Crusade - Disney+ John Wick Chapter 4 - Starz in Ninja Kingsman Secret Service - MGM+ The Last of the Mohicans - for rental Leon: The Professional - Netflix Lethal Weapon - for rental Live Free or Die Hard - Showtime Mission Impossible II - Paramount+ Mission Impossible: Fallout - Paramount+; MGM+ The NeverEnding Story - for rental Old Boy - Netflix Police Story - MAX Raiders of the Lost Ark - Disney+ The Rock - Peacock Premium The Rundown - Starz in The Rock Speed - Starz in Buses  Street Fighter - Netflix  Tombstone - Hulu True Lies - Hulu Young Guns - MGM+

On this episode of the podcast Phillip is joined by Erik Clapp of Cinema Force on YouTube. https://www.youtube.com/@cinemaforce1 and the 2 of them discuss 1987's Walter Hill hidden gem, Extreme Prejudice. Phillip starts the show by giving the general information about the movie with some trivia thrown in. It's then time for Listener Opinions from Twitter, Instagram, and Facebook. Then Phillip and Erik discuss their thoughts and feelings about the movie. Then Phillip reads a couple of reviews. They answer the question of whether they notice anything that Tarantino might have liked or used in a film. Then they individually rate the movie. It's then time to answer the question of whether they would buy this movie, rent it, or find it for free. Phillip then gives his Phil's Film Favorite of the Week; Mean Streets (1973). Erik then mentions a movie that he watched recently called Golden Needles (1974). Phillip then talks about what's coming up next week when he will be joined by Rob Papp from The Cinemigos Podcast and The Circle of Jerks Podcast on Youtube for Kansas City Confidential (1952). So come back next week for that. Thanks for listening. YOU CAN FIND THE EXTREME PREJUDICE VIDEO THAT ERIK HAS ON HIS CHANNEL HERE... https://youtu.be/SrDWEZw47f8?si=UqQ75XjaxVyKLcRP

12:28 - God 17:30 - Breaking Bad Season 2 20:46 - Inside Out 2 25:33 - Artists and Models 33:35 - Zootopia 36:19 - Netflix shark movie 38:30 - Millennium Actress 43:20 - Land of Bad 46:00 - Extreme Prejudice

On this episode of the podcast Phillip is joined by Patrick O'RIley from the Vintage Video podcast to talk about The Ballad of Gregorio Cortez, that played on American Playhouse on PBS in 1982. Phillip starts the show by reading the general information about the movie. It's then time for Phillip to read Listener' Opinions from Twitter, Instagram, and Facebook. Then Phillip and Patrick discuss all things about the movie. They have a great discussion. Phillip and Patrick then answer the question of whether they saw anything Tarantino might have liked or used in a film. It's then time to individually rate the movie for Letterboxd. They also answer the question of whether they would buy this movie, rent it, or find it for free. Phillip then gives his Phil's Film Favorite of the Week; The Beekeeper (2024). Patrick says that he has been watching Death Wish and some other great films. Phillip then promotes the show for next week; when he will be joined by Erik Clapp from Cinema Force on Youtube, to discuss, Extreme Prejudice (1987). So come back then, and thanks for listening. Vintage Video Podcast Linktree is here linnktr.ee/vintagevideopod Vintage Video Podcast website is here https://vintagevideopodcast.com/

It's time for an Off Mike Bonus Discussions episode! This week, Mike D has decided that Dudes Rock and is watching EXTREME PREJUDICE and DEN OF THIEVES, while Smith is catching up with new releases like I SAW THE TV GLOW and regales us with tales of the 3rd Annual Movie Day!

"how long were the death throes"

It's only a short list of films this time, so obviously it would be a short ReFlicktions show, right?   Have you met us?  Mike, d$, and #XLessDrEarl are back in studio to give not only a recap of new-to-thee films seen over the last month, but also some recaps of rewatches overall.   The big films like Furiosa and Kingdom of the Planet of the Apes and IF are covered... the Mad Max saga is re-covered... fear that The Fall Guy bomb is a bad sign of things to come, the beauty of 80s Julia Roberts... more Bond... Mikey watches ALL of the X-Films... the first real mention of Reading Rainbow on the show... LaVar Burton talk... and the perfect movie, starring Michael Ironside. Plus, assignments for Dave'Stalgia Part II, and the latest top 5 of the year!  Here are the movies discussed, and where to find them at time of recording:    Mystic Pizza (MGM+; Showtime; Colors (MGM+; TubiTV) Alex & the List (Peacock Premium; TubiTV) The Fall Guy (in theaters) Extreme Prejudice (for purchase online) Premature (Paramount+) Kingdom of the Planet of the Apes (in theaters) The Outlaw Josey Wales On Her Majesty's Secret Service (MAX) Mad Max (MAX; Peacock Premium) Thunderbolt & Lightbolt (TubiTV) Mad Max 2: The Road Warrior (MAX) IF (in theaters) X (Netflix) Mad Max Beyond Thunderdome (MAX) Furiosa (in theaters) Butterfly in the Sky (Netflix) Mad Max Fury Road (MAX) X-Men (Disney+) X2: X United (Hulu; Disney+) X-Men: The Last Stand (Disney+; Starz) X-Men Origins: Wolverine (Disney+; MAX; Starz) The Wolverine (Disney+) Logan (Disney+; FX Now) X-Men First Class (Hulu; Disney+; Starz) X-Men Days of Future Past (MAX) X-Men Apocalypse (Disney+) Dark Phoenix (Disney+; FX Now) The New Mutants (Disney+; FX Now) The Sunset Limited (MAX) Wild Cat (in theaters)

Join Lexi and her boys (Max, Eric, Mat, and Victor) as they tackle regency era courting and find an answer to that timeless question: which is harder, finding true love or maintaining your giant eldritch-fueled robot in the war against the French? Thanks to Grant Howitt, creator of the one-page RPG “Pride and Extreme Prejudice”! You can access the game here: gshowitt.itch.io/pride-and-extreme-prejudice It's all about rolling dice! “True Meta Inc.” is an actual-play Dungeons and Dragons podcast with a focus on story, character growth, and sweet, sweet combat. Come join us for your next adventure! Website: www.truemetainc.com/​ Social Media: @truemetainc

Joe from Hindsightless joins me to discuss Walter Hill's 1985 comedy film, Brewster's Millions. Spoilers within. Dekahedron RPG Podcast look for episodes 124 and 125 ⁠http://www.dekahedron.com/⁠ Previous episodes in the Walter Hill retrospective  Streets of Fire ⁠⁠⁠https://spotifyanchor-web.app.link/e/ffWzZuPCOFb⁠⁠⁠ Hard Times ⁠⁠https://spotifyanchor-web.app.link/e/wHGLCk5JkGb⁠⁠ The Warriors ⁠⁠https://spotifyanchor-web.app.link/e/XQnfGa7KxHb⁠⁠ The Long Riders ⁠⁠https://spotifyanchor-web.app.link/e/DOyZ8GYa9Hb⁠ Southern Comfort ⁠https://spotifyanchor-web.app.link/e/Lm0XnSf0EIb⁠ 48 Hrs. & Another 48 Hrs. https://podcasters.spotify.com/pod/show/jason376/episodes/617-48-Hrs---Another-48-Hrs--with-Joe-Salvador-e2ibn1d Extreme Prejudice https://podcasters.spotify.com/pod/show/jason376/episodes/620-Extreme-Prejudice-with-Darkfluid-again-e2ifirt Ways to contact me: Google Voice Number for US callers: (540) 445-1145 Speakpipe for international callers: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.speakpipe.com/NerdsRPGVarietyCast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The podcast's email at nerdsrpgvarietycast 'at' gmail 'dot' com Find me on a variety of discords including the Audio Dungeon Discord. Invite for the Audio Dungeon Discord ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/j5H8hGr⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ PLAY web forum⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.dekahedron.com/boards/index.php⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Home page for this show ⁠⁠⁠⁠⁠https://nerdsrpgvarietycast.carrd.co⁠⁠⁠⁠⁠ Blog ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://nerdsrpgvarietycast.com/⁠⁠⁠⁠⁠ Home page for Cerebrevore, the TTRPG panel discussion podcast ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://cerebrevore.carrd.co/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Proud member of the Grog-talk Empire having been bestowed the title of The Governor Most Radiant Grandeur Baron The Belligerent Hero of The Valley. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.grogcon.com/podcast/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Ray Otus did the coffee cup  art for this show, you can find his blog at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://rayotus.carrd.co/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ TJ provides music for my show. Colin Green at Spikepit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasters.spotify.com/pod/show/spikepit⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠provided the "Have no fear" sound clip. --- Send in a voice message: https://podcasters.spotify.com/pod/show/jason376/message

Darkfluid from The Silver Key joins me to discuss Walter Hill's 1987 neo-Western action thriller film, Extreme Prejudice. Spoilers within. The Silver Key https://darkfluid.substack.com Previous episodes in the Walter Hill retrospective  Streets of Fire ⁠⁠⁠https://spotifyanchor-web.app.link/e/ffWzZuPCOFb⁠⁠⁠ Hard Times ⁠⁠https://spotifyanchor-web.app.link/e/wHGLCk5JkGb⁠⁠ The Warriors ⁠⁠https://spotifyanchor-web.app.link/e/XQnfGa7KxHb⁠⁠ The Long Riders ⁠⁠https://spotifyanchor-web.app.link/e/DOyZ8GYa9Hb⁠ Southern Comfort ⁠https://spotifyanchor-web.app.link/e/Lm0XnSf0EIb⁠ 48 Hrs. & Another 48 Hrs. https://podcasters.spotify.com/pod/show/jason376/episodes/617-48-Hrs---Another-48-Hrs--with-Joe-Salvador-e2ibn1d Ways to contact me: Google Voice Number for US callers: (540) 445-1145 Speakpipe for international callers: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.speakpipe.com/NerdsRPGVarietyCast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The podcast's email at nerdsrpgvarietycast 'at' gmail 'dot' com Find me on a variety of discords including the Audio Dungeon Discord. Invite for the Audio Dungeon Discord ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/j5H8hGr⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ PLAY web forum⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.dekahedron.com/boards/index.php⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Home page for this show ⁠⁠⁠⁠⁠https://nerdsrpgvarietycast.carrd.co⁠⁠⁠⁠⁠ Blog ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://nerdsrpgvarietycast.com/⁠⁠⁠⁠⁠ Home page for Cerebrevore, the TTRPG panel discussion podcast ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://cerebrevore.carrd.co/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Proud member of the Grog-talk Empire having been bestowed the title of The Governor Most Radiant Grandeur Baron The Belligerent Hero of The Valley. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.grogcon.com/podcast/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Ray Otus did the coffee cup  art for this show, you can find his blog at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://rayotus.carrd.co/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ TJ provides music for my show. Colin Green at Spikepit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasters.spotify.com/pod/show/spikepit⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠provided the "Have no fear" sound clip. --- Send in a voice message: https://podcasters.spotify.com/pod/show/jason376/message

This week: Kevin Moss and Parker Bowman regale us with tales of the legendary Ohio-based JFD meetup that just recently transpired! And we review three movies! Did we even mention it's our 14th Anniversary? Don't worry if you forgot to get us a gift - your listenership is gift enough. Up first! We're confronted yet again with another one of Sean's fancy musical fantasias, with 1971's The Boy Friend, starring Twiggy. But could the fact that it's directed by Ken Russell save it from the realms of boredom? Next up! We return to the world of technical muppetry with the grandaddy of all Muppet features, 1979's The Muppet Movie. But will we reveal on air whom our favorite muppets are? Finally! Of course, it's 1987's Extreme Prejudice, because y'all asked for it. All this plus our loving tribute to the great state of Ohio, greek kids swimming through rivers of chili, the surprising non-Italian origin of pizzas in Boston, gettin' spicy in the suites (w/ gummy bears), the surprisingly slimy texture of expansive novelty lobsters and dinosaurs and yetis, Starburst: Full Log Edition, taking girls to scary concerts: karaoke edition, vintage ice cream bars, Snack Shack versus Spookies, the candy version of smelling salts, Natasha Henstridge's got y'all getting Species and even more! Recorded live-to-tape on National Don't Walk Your Dog Day, 2024!! Direct Donloyd Here Got a movie suggestion for the show, or better yet an opinion on next week's movies? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865). Add it to your telephone now! JOIN THE CONVERSATION! Also, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll swim through rivers of chili for your love and support. With picks like these, you GOTTA #DonloydNow and listen in!

Just another multi goal night for LOC backed up by goals from MacKinnon, Colton, and Manson the Avs were on another level as Georgiev looked Locked in. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Blake Howard (One Heat Minute) joins one of the greatest living film critics, whose episode of Netflix's Profane and Profound is one of the best film critiques of the century, the author of "A Walter Hill Film: Tragedy and Masculinity in the films of Walter Hill" - Walter Chaw. Blake and Walter team up to unbox, unpack and unveil upcoming releases from Australia's boutique Blu-Ray label Imprint Films. This episode reviews the incredible Directed By… Walter Hill (1975 – 2006) – Imprint Collection #164 – #169. Walter Hill has been directing films for almost 50 years and has established himself a reputation of delivering thrilling, gritty, and highly stylized films.This special edition set collects five films and one landmark miniseries from one of the most important and influential filmmakers of modern cinema.Hard Times (1975)The Driver (1978)The Long Riders (1980)Extreme Prejudice (1987)Johnny Handsome (1989)Broken Trail (2006)Blake Howard - Twitter & One Heat Minute Website Visit imprintfilms.com.au Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Blake Howard (One Heat Minute) joins one of the greatest living film critics, whose episode of Netflix's Profane and Profound is one of the best film critiques of the century, the author of "A Walter Hill Film: Tragedy and Masculinity in the films of Walter Hill" - Walter Chaw. Blake and Walter team up to unbox, unpack and unveil upcoming releases from Australia's boutique Blu-Ray label Imprint Films. This episode reviews the incredible Directed By… Walter Hill (1975 – 2006) – Imprint Collection #164 – #169.Walter Hill has been directing films for almost 50 years and has established himself a reputation of delivering thrilling, gritty, and highly stylized films.This special edition set collects five films and one landmark miniseries from one of the most important and influential filmmakers of modern cinema.Hard Times (1975)The Driver (1978)The Long Riders (1980)Extreme Prejudice (1987)Johnny Handsome (1989)Broken Trail (2006)Blake Howard - Twitter & One Heat Minute Website Visit imprintfilms.com.au Support this podcast at — https://redcircle.com/imprint-companion/donations

What's the most important trait/skill of a CEO? Why is it so much more important to hire the RIGHT person vs the "best" person for the job? What does it mean to not let perfection be the enemy of good? How does a corporate culture empower its people to feel safe enough to make mistakes? What does it mean to "execute with extreme prejudice"? These are some of the questions we explore with our guest and CEO of the technical education industry leader Career Certified, Gary Weiss. Gary is a remarkable leader who understands what most leaders do not regarding how to get the most out of your people. "Enable and Empower" is one of his mottos - values, actually. He knows how to build and sustain a culture characterized by trust (can you confirm that, X-Man?). He creates a space where great thinking is nurtured. All of that has a lot to do with why his company is absolutely demolishing it in their industry. And he's got Philly roots! And at the very end of our dialog, we discuss something spectacular that Gary and his wife, Jodi, are doing together to help reduce the amount of unnecessary human suffering in their community. Totally heartwarming! --- Send in a voice message: https://podcasters.spotify.com/pod/show/mental-toughness-podcasts/message

Kiefer upholds his oath as the group reaches Eixel

This episode, the ReconCinemation team gets extreme with a look back at the 1987 Walter Hill classic, EXTREME PREJUDICE! Jon, David & Brent take a very deep dive into the career path of Walter Hill, the origins of the story with John Milius, the fallout after 48 HRS., Nick Nolte's journey through Hollywood, and lots of love for Michael Ironside, Clancy Brown, Maria Conchita Alonso, and the rest of the incredibly talented cast! Plus early memories of the film, comparisons between this film and THE WILD BUNCH, how it holds up today and so much more!   An army of forgotten heroes that live for podcasts have met the wrong man... it's EXTREME PREJUDICE!    Twitter/IG: @reconcinemation facebook.com/reconcinemation Cover and Episode Art by Curtis Moore (IG: curt986) Theme by E.K. Wimmer (ekwimmer.com)

Brady, Josh and Alison cruise with Beach Rats - the 2017 closeted drama by Eliza Hittman starring Harris Dickinson.Plus!Extreme Prejudice, Smokey and the Bandits, Succession s04e03, Tokyo Drifter, Prince of Darkness and dreams of Sedona!Send submissions to our Child Throwing and Man on Fire lists!Leave us a voicemail! We'll play it on the show. Check out the Solid Six Store!Letterboxd: Alison, Josh, BradyEmail us - podcast@solidsix.netFollow us on Instagram, Facebook, and TwitterLeave a review on Apple Podcasts and Spotify!

Extreme Prejudice (1987) Category: Direction Erection: The Films of Walter Hill 2/3 Kron brings on the 2nd direction erection with the enjoyable macho bleakness of Extreme Prejudice. Nick Nolte jumps in from the start to fill in some nice details. The guys get the bring smoking back campaign started. Bones shares his destruction of public property story. Grab your comedy club popcorn and find someone to lick your fingers because here we go... -Crash and Burn JOIN THE DISCORD discord.gg/3zP2SXKtfq

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.

214 STOP-MOTION!Kelly throws shade at the nicest guy in the industry before the gang gets into their Stop-Motion picks.Also discussed: Velma, Missing, Extreme Prejudice.Support the show

Lee is trying to regroup from a rough last couple of months, so he is starting off 2023 by looking at music from some of the best first-time watches of 2022 in order to conjure up some good memories for that year. --Suite from "Dr, Jekyll and Sister Hyde" (1971) --David Whitaker --Something's Mighty Mighty Wrong & That's What Love Will Do from "Three the Hard Way" (1974) --The Impressions --Suite from "Visiting Hours" (1982) --Johnathan Goldsmith --I Was Looking for You & Telescope from "Body Double" (1984) --Pino Donaggio --End Titles from "52 Pick-Up" (1986) --Gary Chang --Arrivals from "Extreme Prejudice" (1987) --Jerry Goldsmith --Scrooge from "The Muppet Christmas Carol" (1992) --Composed by Paul Williams, performed by The Muppets --Tarot from "Woodlands Dark and Days Bewitched: A History of Folk Horror" (2021) --Andrew Brown --It's in the Cloud & Arena Attack from "Nope" (2022) --Michael Abels Opening and closing music: Summertime Killer from "Summertime Killer" by Luis Bacalov, and Santa Maria from "Raiders of Atlantis" by Oliver Onions.

Lee and Leah are back to do that yearly thing TMBDOS! does, and go over their lists for the best and worst first-time watches for 2022, as well as their honourable mentions. What movies were almost great, what movies were great, and which ones TOTALLY SUCKED? Tune in to find out! Or just cheat and read their lists below, you filthy spoil sport. Lady Leah's Honourable Mentions: "Once Upon a Deadpool" (2022) "Encanto" (2021) "Lust In The Dust" (1984) "Keoma" (1976) Lady Leah's Best-of: 15. "Rock 'N' Roll High School" (1979) 14. "Thank You for Smoking" (2005) 13. "Eating Raoul" (1982) 12. "Brainscan" (1994) 11. "The Sheriff and the Satellite Kid" (1979) 10. "Hairspray" (1988) 9. "Willow" (1988) 8. "Bad Ass" (2012) 7. "Dave Made a Maze" (2017) 6. "Free Guy" (2021) 5. "I Spit on Your Grave" (1978) 4. "Emily the Criminal" (2022) 3. "American Pop" (1981) 2. "Prey" (2022) 1. "The Bob's Burger Movie" (2022) Lady Leah's Worst-of: 10. "Ed and His Dead Mother" (1993) 9. "Hocus Pocus" (2022) 8. "End of Days" (1999) 7. "Jezebel" (1938) 6. "Death Screams" (1982) 5. "Scream" (2022) 4. "Get a Job" (2016) 3. "The Batman" (2022) 2. "The Oracle" (1985) 1. "Polar Express" (2004) Lee's Honourable Mentions: "The Demon" (1963) "Three the Hard Way" (1974) "Wheelman" (2017) "Lust in the Dust" (1984) "The Muppet Christmas Carol" (1992) "Nope" (2022) "Come to Daddy" (2019) "The Bravados" (1958) Lee's Best-of: 20. "Bloody Muscle Body Builder in Hell" (1995) 19. "Mad God" (2021) 18. "Weird: The Al Yankovic Story" (2022) 17. "Windy City Heat" (2003) 16. "Grandpa" (2005) 15. "X" (2022) 14. "Prey" (2022) 13. "The Batman" (2022) 12. "Kansas City Confidential" (1952) 11. "The Stranger" (2022) 10. "Katalin Varga" (2009) 9. "The Northman" (2022) 8. "Visiting Hours" (1982) 7. "Extreme Prejudice" (1987) 6. "52 Pick-Up" (1986) 5. “Sr.” (2022) 4. "Woodlands Dark and Days Bewitched: A History of Folk Horror" (2021) 3. "Dr. Jekyll & Sister Hyde" (1971) 2. "Mad Dog Morgan" (1976) 1. "Body Double" (1984) Lee's Worst-of: 10. "Obsession" (1976) 9. "Ed and His Dead Mother" (1993) 8. "Christmas Bloody Christmas" (2022) 7. "Texas Chainsaw Massacre" (2022) 6. "The Oracle" (1985) 5. "The Osterman Weekend" (1983) 4. "…Watch Out, We're Mad" (2022) 3. "Firestarter" (2022) 2. "Homeless for the Holidays" (2009) 1. "The Polar Express" (2004) Featured Music: "To Be the Best" by Tenacious D; "Winner" by Cheeseburger; and "Born to Lose" by Johnny Thunders and the Heartbreakers.

This is not a typical episode of this podcast. Normally, as you probably know, I talk to musicians. And in 2022, we've specifically been talking about fusion, which means a lot of different things to a lot of different people. And we're going to get back to that subject in our next episode, when I have an interview with saxophonist Dave Liebman, who played with Miles Davis in the early '70s and also had his own band, Lookout Farm, which was a very interesting fusion act. But on this episode, we're taking a sharp left turn and talking about movies, and specifically the movies of Walter Hill.Walter Chaw is a critic I read fairly often at the site Film Freak Central. He writes for lots of other places, too, but that's where I see his work the most. And a few months ago, I saw that he had a book coming out all about the work of director Walter Hill. It's called A Walter Hill Film: Tragedy And Masculinity In The Films Of Walter Hill, and it's out now. You can get it from mzs.press.If you're not familiar with his name, Walter Hill has directed two dozen movies, including Hard Times, The Driver, The Warriors, Southern Comfort, 48 Hrs., Extreme Prejudice, Streets of Fire, he directed the pilot episode of Deadwood, he wrote at least portions of the first three Alien movies, he's done a ton of unbelievable work. He's got a new movie out this year called Dead For A Dollar. Most of his movies are very violent, in an action rather than a horror way, but they're also a lot more thoughtful and progressive than you might expect them to be. There's a tremendous amount going on in them in terms of interrogation of masculinity, interrogation of the violence of American culture, interrogation of race and sex and even capitalism, but it's all couched in these really pulpy, violent, action-packed stories that sometimes start out feeling like morality plays but then go sharply sideways. I might compare him to directors like Sam Fuller or William Friedkin or Michael Mann, maybe even Paul Schrader, all of whose work I love, but his track record is better than any of them. I own more Walter Hill movies on DVD or Blu-Ray than movies by any of those other guys. So the minute I heard about this book, I knew I had to read it. And once I read it, I knew I wanted to talk to the author.So I did. We had a really great conversation over this past weekend, and that's what you're going to hear on this episode. We talk about Walter Hill's movies in all their aspects, from their politics to his use of music, which is relatively unique in Hollywood, as you'll learn, and we also talk about the process of writing this book and about some other directors' work, including Ridley and Tony Scott, Rob Zombie, Sam Fuller, Michael Mann and William Friedkin. It's a long conversation, but I think you're really going to enjoy it. MUSIC IN THIS EPISODE:The Blasters, "One Bad Stud" (from Streets of Fire)The Bus Boys, “Boys Are Back In Town” (from 48 Hrs.) 

Paul Shirey (The Beard) interviews legendary director Walter Hill for The Beard and The Bald Movie Podcast! Hill is the director behind such action classics as The Warriors, 48 Hours, Red Heat, Johnny Handsome, Streets of Fire, Extreme Prejudice, The Long Riders, Last Man Standing, and Trespass, amongst others. Hill's latest film is the western Dead For A Dollar starring Christoph Waltz, Willem Dafoe, and Rachel Brosnahan. The director discusses his penchant for the western genre, casting the main characters, and his intent to tell a smaller story. Hill also talks about his cult hits like Streets of Fire and Johnny Handsome, as well as giving some insight into the sound design behind the weapons used in his films and how they play into the individual characters. In addition, Hill provides insight into the difference between a "bomb" and a "dog" and how you never want a "dog-bomb" of a film. He clarifies his involvement in the Alien franchise and gives his perception of what ingredients make a great action film. Check out the full interview and make sure to chime in with your favorite Walter Hill movies in the comments! 

The FFS returns to discuss the release of the Wednesday Series trailer and we discuss Load Goat's movie selection "Extreme Prejudice" from 1987.  Additionally, we discuss Hell House LLC and a popular member of the peanut gallery brought in some new donuts.

This week's guest is Ryan from The New World Pictures Podcast.This episode features a review for Extreme Prejudice (1987) which seemed like a perfect vehicle for Charles Bronson, but ultimately went to Nick Nolte.The topic Ryan chose was Top 5 Charles Bronson Movies.Helpful Links:To check out The New World Pictures Podcast, click here.To follow The New World Pictures Podcast on Twitter, click here.If you want more of the Force Five Podcast:Click here to follow on Twitter: https://twitter.com/forcefivepodClick here to follow on Instagram: https://instagram.com/forcefivepodcastClick here to follow on Letterboxd: https://www.letterboxd.com/forcefive

To start off our Western Summer series we're sipping on the best Mexican cerveza I've ever had, Bohemia Clara, and we are joined by filmmaker Jay Curtis Miller to talk about the 1987 Walter Hill film, Extreme Prejudice. https://twitter.com/jaycurtismiller

This week we talk about The Offer, Top Gun: Maverick, Rescue Rangers, Unfathomable, Film History, Extreme Prejudice, Horror Express, Seth and Fred, The Fall Guy, TikTok games, Raven unionizes, The Acolyte, League of Extraordinary Gentlemen, The First Omen, Xbox Stick, and Godzilla and the Titans.

Prince Amleth is on the verge of becoming a man when he is brutally forced to listen to Trick or Treat Radio by his uncle. Two decades later, Amleth is now a Viking who's on a mission to get revenge on his uncle for subjecting him to such vile auditory poison. On Episode 512 of Trick or Treat Radio we are joined by Arkham Josh to discuss the Viking era revenge tale,  The Northman, from director Robert Eggers! We also dissect toxic masculinity- in the Viking Age and also modern day, we learn the real way to say Bjork, and we find out which Hollywood family faction is the most dominant! So grab your sword and board, go into a berserker rage, and strap on for the world's most dangerous podcast!Stuff we talk about: Seeds of discontent, foreshadowing boy, COVID-19, MonkeyPox, eating bananas and tossing poop, getting chicken pox late, “explain me to me”, a hairy threepio, Mario and Zelda, Rush, Poison, Tootskee and the Czar MC, Skid Row, Tom Waits, Still Hellboyin', monologue or diatribe?, Ewan McGregor, Stranger Things, Obi-Wan Kenobi, Cadbury Ares, are you down with the force?, Quarantine Titans, documents in triplicate, True Blood, Alexander Skarsgard, who would win in a fight: Baldwins or Skarsgards?, celebrity family survivor series, how to pronounce Bjork, Kurt Loder, Robert Eggers, Sugarcubes, full frontal with little dialogue, Training Day, Ethan Hawke, TV's Purge, Eric Stoltz, Conan, the brutality of Berzerkers, toxic masculinity, moral ambiguity, how corrupt is Rhode Island?, Batman, vengeance, Shakespeare, Hamlet or Amleth, Bloodsport, The Longest Yard, Thor Bjornsson, Game of Thrones, Maniac Driver, The Sadness, Romero Zombies, The Crazies, 28 Days Later, Willem Dafoe, Evil Dead: The Game, Extreme Prejudice, Vestron, Ash vs. The Deadites, The Black Dahlia Murder, Trevor Strnad, The Spine of Night, Ralph Bakshi, The Last Matinee, giallo, The Deep House, Dario Argento, Inferno, horror icons, kick a muppet, there's just too much content, Chutes and Lathers, he's a good Skarsgard, and The Hyper-Crazies.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Extreme Prejudice (1987) is a film that's been requested nearly a dozen times over the years. It stars Nick Nolte, Powers Boothe, Michael Ironside and a dozen “that guys” who're sweatin' it up in a Texas border town either doing or stopping crimes. Eventually all their paths cross. Speaking of borders, it's a borderline good… Continue Reading BMFcast541 – Extreme Prejudice – The Hoonin' Yeeters The post BMFcast541 – Extreme Prejudice – The Hoonin' Yeeters first appeared on Bad Movie Fiends Podcast - The BMFcast.

Jimmy discusses the meaning of the Kingpin charges and sentence handed down to him. Learn more about your ad choices. Visit megaphone.fm/adchoices