Podcasts about Frankenheimer

This week's special guest is former Speaker of the House, historian, and author Newt Gingrich. We discuss his recent testimony before the House Judiciary Committee on “Judicial Overreach” as well as his historical perspective on the battles we are seeing in the nation's courts.  With a classic movie review of “Seven Days in May,” the 1964 Frankenheimer film about a secret plan to take over the government and depose the president during the Cold War.

durée : 00:03:33 - Le Regard culturel - par : François Angelier - "Seconds", de John Frankenheimer — en français "L'Opération diabolique" — ressort en DVD. Un film qui témoigne des dérives d'une Amérique en proie aux négociants et aux apprentis sorciers. À revoir tant il résonne particulièrement avec l'actualité.

This week, Brent Leuthold joins me to review the new Bong Joon Ho movie Mickey 17 in a feature review and then, in this week's secondary review, I share my thoughts on the Russo Brothers' new Netflix movie, The Electric State. We also discuss recent Spider-Man 4 and Ready Or Not casting news, and more.   Timestamps Show Start - 00:28 Introducing Brent - 02:11 Screening in Indy - 08:04 News Before the Reviews - 13:00 Feature Review Mickey 17 (2025) - 23:44 Spoiler - 54:34 Secondary Review The Electric State (2025) - 1:24:41  Closing the Ep - 1:48:46 Patreon Clip - 1:49:44   Related Links ‘Stranger Things' Star Sadie Sink Joins Tom Holland In Next ‘Spider-Man' Movie Kathryn Newton Reteaming With Radio Silence For Searchlight's ‘Ready Or Not' Sequel Odd Trilogies - Ep 97 - Frankenheimer's Paranoia Trilogy (with Matt Hurt)   My 2025 Podcast and Writing Archive Immediate Reaction - Mickey 17 (2025) - Mar 9-10, 2025 Immediate Reaction - Novocaine (2025) - Mar 10, 2025 Patreon Companion Episodes Collection Companion Ep - OV467 - Akeelah and the Bee (2011) & The Girl is in Trouble (2015) - Feb 26-Mar 1, 2025 Patreon - Severance Episode Reviews   Brent's Letterboxd Awake in the Dark Brent's Review of Mickey 17 (2025) Brent's Review of My Dead Friend Zoe (2025) Brent's Review of The Monkey (2025)   Indianapolis Theaters Alamo Drafthouse Indy Kan-Kan  Living Room Theaters Keystone Art  Flix Brewhouse   Ways to Support Us Support Us on Patreon for Exclusive Content Official OV Merch Buy Me A Coffee Obsessive Viewer Obsessive Viewer Presents: Anthology Obsessive Viewer Presents: Tower Junkies As Good As It Gets - Linktree Start Your Podcast with Libsyn Using Promo Code OBSESS   Follow Us on Social Media My Letterboxd | YouTube | Facebook | Twitter Instagram | Threads | Bluesky | TikTok | Tiny's Letterboxd   Mic Info Matt: ElectroVoice RE20 into RØDEcaster Pro II (Firmware: 1.5.0) Brent: Earthworks ICON Pro in Google Meet   Episode Homepage: ObsessiveViewer.com/OV470   Next Week on the Podcast OV471 - Novocaine (2025) & Borderline (2025)

This week, Sam Watermeier joins me to review the new survival thriller Last Breath in a feature review and then, in this week's secondary review, we discuss the crime comedy Riff Raff. We also discuss the passing of Michelle Trachtenberg and Gene Hackman, more Scream 7 casting news, this year's Oscar ceremony, and more.   Timestamps Show Start - 00:28 Introducing Sam - 03:01 News Before the Reviews - 16:32 Feature Review Last Breath (2025) - 43:26 Spoiler - 1:06:15 Secondary Review Riff Raff (2025) - 1:29:19 Potpourri Sam: Spaced and The IT Crowd - 1:51:57 Matt: Paradise on Hulu - 1:56:04   Closing the Ep - 2:00:26 Patreon Clip - 2:02:47   Related Links Michelle Trachtenberg, ‘Gossip Girl' and ‘Buffy the Vampire Slayer' Actor, Dies at 39 Gene Hackman and Wife Betsy Arakawa Found Dead in Santa Fe Home; Oscar-Winning Star of ‘French Connection' and ‘Unforgiven' Was 95 David Arquette Returning As Deputy Dewey Riley In ‘Scream 7' OV137 – HeartlandFF 2015: Part II – Rest of the Fest with James Sadwith, Alex Wolff, Stefania Owen, Kurt Nettleton, Michael Klein, Michael Covino and more! Odd Trilogies - Ep 97 - Frankenheimer's Paranoia Trilogy (with Matt Hurt)   My 2025 Podcast and Writing Archive Immediate Reaction - 97th Academy Awards - Mar 2, 2025 Patreon Companion Episodes Collection Companion Ep - OV467 - Akeelah and the Bee (2011) & The Girl is in Trouble (2015) - Feb 26-Mar 1, 2025 Patreon - Severance Episode Reviews   Sam's Letterboxd Sam's Writing on Midwest Film Journal Sam's Review of Heart Eyes (2025) Sam's Review of Companion (2025) Sam's Review of Presence (2025) Quill Magazine: 210 journalism movies, ranked   Indianapolis Theaters Alamo Drafthouse Indy Kan-Kan  Living Room Theaters Keystone Art  Flix Brewhouse   Ways to Support Us Support Us on Patreon for Exclusive Content Official OV Merch Buy Me A Coffee Obsessive Viewer Obsessive Viewer Presents: Anthology Obsessive Viewer Presents: Tower Junkies As Good As It Gets - Linktree Start Your Podcast with Libsyn Using Promo Code OBSESS   Follow Us on Social Media My Letterboxd | YouTube | Facebook | Twitter Instagram | Threads | Bluesky | TikTok | Tiny's Letterboxd   Mic Info Matt: ElectroVoice RE20 into RØDEcaster Pro II (Firmware: 1.5.0) Sam: Samson Q2U via USB in Google Meet   Episode Homepage: ObsessiveViewer.com/OV469   Next Week on the Podcast OV470 - Mickey 17 (2025) & The Electric State (2025)

Chris is joined by Nick Langdon and Max (mushiminion) to discuss John Frankenheimer and his 1973 film Impossible Object. Don't miss this detailed deep dive into Frankenheimer... enjoy! Follow Nick and Max on Letterboxd, HERE and HERE respectively.  If you like what you heard, please rate us a 5/5 on Apple, Spotify, or Podbean, and review us on Apple. Submit your mailbags to us at thesearcherspodcast@gmail.com. We'll read both on air. Follow us on Letterboxd.com if you'd like to see what we've recently watched and/or reviewed. Ben, Chris, & Kevin Our episode catalogue: https://searchersfilmpodcast.podbean.com/  

In between discussing Mustang blindess and singing bars from "Booty Juice," James and Allan discuss Hitchcock's MARNIE, THE WOMAN IN THE DUNES, FAIL SAFE, KITTEN WITH A WHIP, THE TRAIN, and so much more.  Follow us on Bsky @cinemashame.bsky.social and on Instagram @CinemaShamePodcast. 

The Searchers review Martin Scorsese's After Hours from 1985. Including the review, we ramble on about Marty and other topics like movie runtime (who could have brought this up?), Frankenheimer, and DeNiro. If you like what you heard, please rate us a 5/5 on Apple, Spotify, or Podbean, and review us on Apple. Submit your mailbags to us at thesearcherspodcast@gmail.com. We'll read both on air. Follow us on Letterboxd.com if you'd like to see what we've recently watched and/or reviewed. Ben, Chris, & Kevin Our episode catalogue: https://searchersfilmpodcast.podbean.com/

Resetear una vida más allá de la cincuentena es una oferta suculenta, disponer de una segunda oportunidad. Para un tipo reservado y hastiado de una vida monótona, trabaja en un banco, casado con una mujer con la que ya solo conversa y acompaña en las comidas. El señor Hamilton -John Randolph- acudirá a la cita, caerá en las fauces de la corporación, no puede evitar volver a leer el trozo de papel que le han entregado, la dirección, la llamada nocturna de un amigo de la universidad que creía muerto… La puesta en escena hipnótica y kafkiana, la asombrosa factura técnica del maestro James Wong Howe. En la secuencia inicial la cámara sujeta al pecho del actor con arneses, vemos media cara y caminamos tras el infausto ciudadano, el uso del ojo de pez, los ángulos inclinados, la profundidad de campo, la lente distorsiona las paredes, los techos, y nos engulle una sensación plomiza y febril. Un hombre solo entra en una tintorería con dos personajes insólitos que no responden a sus preguntas, y un posterior matadero, metáfora de donde se está metiendo. Un mundo de renacidos. Al señor mediocre se le garantiza un nuevo perfil, una vida intensa, y un rostro como el de Rock Hudson, ¿qué más se puede pedir? Y, sin embargo, no funciona la quimera, es imposible olvidar los recuerdos, renunciar a la identidad de uno mismo, que, aunque se sintiera bastante infeliz, al fin y al cabo llevaba una vida sin sobresaltos, veraneaba con su mujer y su canoa, veía a su hija de vez en cuando, todo eso quedo en nada. En uno de los encadenados momentos siniestros del film, el anciano directivo de la empresa -Will Geer - espeta al señor indeciso: “Su vida anterior no era nada”. Un pintor atractivo que acude a fiestas y vive en una casa junto a las playas de Malibú. ¿Hasta qué punto el cambio radical de aspecto puede borrar el pasado, los recuerdos, la esencia del mismo ser? Frankenheimer en un principio quería a Kirk Douglas, después a Lawrence Olivier, desdoblándose en el papel del protagonista, finalmente aceptó la idea de que fueran dos actores diferentes para cada etapa, dos trabajos excelentes lo de ambos, John Randolph y Rock Hudson. En una de las escenas claves del film el hombre con el rostro transformado por la cirugía irá a visitar a su esposa, allí contemplará su vida incompleta, su destino enterrado para siempre. Esta noche soñamos con una llamada que nunca llega en la sala de espera… Zacarías Cotán, Salvador Limón y Raúl Gallego

My holiday gift to you is the early upload of what is easily one of the five funniest episodes of Watch With Jen that I've released so far. Joining me for another chat-a-thon is one of my wisest & wittiest besties, Priscilla Page, who tackles the legendary, iconoclastic 20th-century filmmaker John Frankenheimer with me in her rollicking, rowdy, & incredibly articulate return. Needing to check that explicit language box almost immediately, as one does with Frankenheimer, we celebrate the man, the mythos, & the master of automotive action in the films GRAND PRIX & RONIN. Going on a few memorable tangents about Steve McQueen, James Garner, zen & the art of racecar driving, David Mamet, Robert De Niro, & how obsession with continuity is stupid, this episode serves up plenty of laughter & stories, though none are greater than the ones shared in the last section of the podcast by two of my other awesome friends.My wonderful honorary kid brother from Oz - Mr. Blake Howard - hooked me up with some amazing audio he recorded in 2021 with incredible actor & dear friend Donal Logue where Donal shared some heartfelt & hilarious memories of working with Frankenheimer on the holiday actioner REINDEER GAMES. (I'd heard a couple of these from Donal in the past & they're the best!) Originally released by Blake Howard in his One Heat Minute Productions pod spinoff "Rum & Rant" which has since been dubbed "Roast & Rant," I'm thrilled to include these stories with you at the tail end of the episode as a way to honor the late great John Frankenheimer's legacy.The best way to de-stress as you prep for the holidays, cinephiles will adore this one. It's a true pleasure to highlight gifted pals on the podcast, particularly as we begin to wrap up 2023, & Watch With Jen will return once more in December with a final S4 episode featuring the awesome Sean Burns on Robert Altman. Additionally, our spinoff pod MIDNIGHT RUN-THROUGH, co-hosted by Blake Howard, is premiering shortly & you'll also find it here, so get psyched!Priscilla's Bio: One of the brightest & most popular lights of Film Twitter, Priscilla Page writes about cars, movies, and cars in movies, focusing mostly on your dad's favorites: actioners, thrillers, westerns, etc. Her bylines include Hagerty, Autoweek, Empire Magazine, The Guardian, Polygon, Birth.Movies.Death., and Bright Wall/Dark Room. You can keep up with Priscilla's outstanding work through her Patreon.Originally Posted on Patreon (12/18/23) here: https://www.patreon.com/posts/94880027Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music ArchiveShop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless Shop

That Rim? Yeah, they go at least 100 yards beyond it. All to see Frankenheimer's wife.LIWstudios.com

“A painting means as much to you as a string of pearls to an ape.”In the early 1960s, French author Rose Valland pitched the idea for The Train to producer Jules Bricken. Valland had worked at the Jeu de Paume Museum in Paris during World War II, overseeing the Nazi looting of French art treasures. Intrigued by her true story of resisting Nazi art theft, Bricken brought in director Arthur Penn to develop the film. Penn saw it as a vehicle for his friend Burt Lancaster and got him on board to star and co-produce. But creative differences led Penn to depart the project, with action director John Frankenheimer taking over. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Train.Here's a hint at what we talk about:We dive into the real history behind this fictionalized account of protecting French art from the Nazis in WWII. We discuss Frankenheimer's groundbreaking filming techniques using real trains and locations. And we debate the deeper themes around valuing art over human life.Here are a few other points in our discussion: Highlighting the standout performance by Burt Lancaster Appreciating Paul Scofield as the obsessive Nazi colonel Noting the exceptional black and white cinematography Poking fun at the uneven accents Praising the thrilling climactic train yard action sequences The Train is a thoroughly engrossing WWII action-drama that also makes you think. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries Watch this on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Original Material Letterboxd Learn more about CODA and how it can work for you! Check out The Next Reel's Merch Store! Want to upgrade your Letterboxd account? Use our PROMO CODE to get a DISCOUNT and help us out in the process! Visit our WATCH PAGE to rent or purchase movies we've talked about on the shows that are part of The Next Reel's family of podcasts. By doing so, you get to watch the movie and help us out in the process as a portion comes back our way. Enjoy! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete  Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT. Or sign up for AUDIBLE.

“A painting means as much to you as a string of pearls to an ape.”In the early 1960s, French author Rose Valland pitched the idea for The Train to producer Jules Bricken. Valland had worked at the Jeu de Paume Museum in Paris during World War II, overseeing the Nazi looting of French art treasures. Intrigued by her true story of resisting Nazi art theft, Bricken brought in director Arthur Penn to develop the film. Penn saw it as a vehicle for his friend Burt Lancaster and got him on board to star and co-produce. But creative differences led Penn to depart the project, with action director John Frankenheimer taking over. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Train.Here's a hint at what we talk about:We dive into the real history behind this fictionalized account of protecting French art from the Nazis in WWII. We discuss Frankenheimer's groundbreaking filming techniques using real trains and locations. And we debate the deeper themes around valuing art over human life.Here are a few other points in our discussion: Highlighting the standout performance by Burt Lancaster Appreciating Paul Scofield as the obsessive Nazi colonel Noting the exceptional black and white cinematography Poking fun at the uneven accents Praising the thrilling climactic train yard action sequences The Train is a thoroughly engrossing WWII action-drama that also makes you think. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries Watch this on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Original Material Letterboxd Learn more about CODA and how it can work for you! Check out The Next Reel's Merch Store! Want to upgrade your Letterboxd account? Use our PROMO CODE to get a DISCOUNT and help us out in the process! Visit our WATCH PAGE to rent or purchase movies we've talked about on the shows that are part of The Next Reel's family of podcasts. By doing so, you get to watch the movie and help us out in the process as a portion comes back our way. Enjoy! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete  Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT. Or sign up for AUDIBLE.

Peter Sobczynski guides you through the latest in physical media. They include a couple music-based films from Criterion. Getting close to October the horror is ramping up with upgrades for Argento, Halloween and even an MST3K favorite. There are 4K upgrades for Godard, Cimino, Frankenheimer, Linklater and even Gregg Araki. Peter and Erik talk about the controversies over Oliver Stone's attack on media culture and they both love the recent upgrade of one of Brian DePalma's best films. 0:00 - Intro 0:49 - Criterion (La Bamba, Moonage Daydream) 8:04 - Blue Underground (The Girl from Rio 4K) 11:24 - Lions Gate (Contempt (4K)) 18:14 - Kino (Thunderbolt and Lightfoot 4K, The Train 4K, Death Wish 4/5) 40:39 - Film Detective (The Giant Gila Monster) 46:36 - Synapse (Tenebrae 4K) 52:40 - Sony (I Still Know What You Did Last Summer 4K, Insidious: The Red Door) 1:00:55 - Paramount (Halloween H2O 4K, School of Rock 4K) 1:10:21 - RLJE (Sympathy for the Devil) 1:13:07 - Disney (Loki 4K, Elemental 4K,) 1:23:02 - Universal (Ruby Gillman: Teenage Kraken) 1:26:20 - Shout Factory (Lonely Castle in the Mirror, Natural Born Killers 4K,) 1:38:27 - Strand (The Doom Generation 4K) 1:41:59 - Arrow (Carlito's Way 4K) 1:55:01 – New Blu-ray Announcements 1:57:59 - Outro

I wouldn't say that I love David Fincher as a filmmaker, but the films of his I love, I really love. Of those films, few have my affection more than his 1997 thriller, "The Game". This is one of those movies I've wanted to discuss for a while- and I missed it for its 25th anniversary- but with Fincher having a new film coming out later this year, the time seemed right to finally talk about this film. (It also provides a good complimentary episode to my Frankenheimer episode earlier in the month.) Joining me to discuss the film is Carlo from The Movie Loot podcast, which will have its own Fincher discussion soon. I hope you enjoy!

You can watch the VIDEO version of this episode here: Retro Movie Geek Ep. 320--Dead Bang Movie Review (1989) - YouTube On this episode, the Retro Movie Geek crew is geeking out over Dead Bang (1989) and underused characters the cast the Johnson throwing up on suspects and much, much more! Synopsis: You know the man at a glance... and he still carries a badge. He's Don Johnson, the rugged Miami Vice star now prowling L.A.'s mean streets as Det. Jerry Beck in Dead Bang, an explosive thriller drawn from Beck's true-life exploits, and directed by John Frankenheimer. Beck's life is on the skids. His wife has left him, his apartment is a dump and his recent companions come in bottles or cans. The one thing he has going for him is his work as a good cop, but even that quality is questioned by authorities who don't like his hard-driving ways. Dead Bang's dangers hover and rumble like thunderclouds... and its lead role suits Johnson dead-on. The dynamic star is riveting as the cop whose street smarts and instinct for trouble put him on the trail of a gang of murderous white supremacists... and into a bullet-frenzied firestorm in their subterranean Colorado headquarters. “He's obsessed with his work and doesn't trust anyone”, is how director Frankenheimer describes Beck. “He takes an emotional and physical journey that can give audiences one hell of a ride.” It's a ride without handrails, seat belts or brakes, a headlong plunge into the heroics of a cop pushed to the max. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: LISTENER FEEDBACK: Leave us your voicemail feedback at (484) 577-3876. Check out Darrell's other cool podcasts here. Check out Peter's Retro Reviews over at ForgottenFlix.com here. Check out The Forgotten Flix Podcast here. Special thanks to Kevin Spencer for the fantastic show logo! Special thanks to Hayden for the use of his fantastic music for our opening theme this episode! You can check out more from this amazing artist here! Special thanks to Retro Promenade for the use of music from the album Carpenter. Music use permitted under a Creative Commons license. CLICK HERE and get a copy of the album and support these fantastic artists!

Peter Sobczynski joins Erik Childress again for this week's Blu-ray haul. They include the first film by Barry Jenkins along with titles from Peter Greenaway and Guy Maddin. The list is filled with films that may not be everyone's cup of tea including some outdated racial casting, a little horror sensation from this year, a Cameron Crowe remake and in our case, Avatar. But that's why you also get some Rin Tin Tin and two of the best films in the career of John Frankenheimer including a film that went into hiding for 25 years and one of the best action films of the past 25.   0:00 - Intro 1:04 - Criterion (Medicine for Melancholy, The Servant) 8:56 - Zeitgeist (A Zed & Two Noughts and The Falls: Two Films by Peter Greenaway) 13:02 - IFC (Skinamarink) 16:18 - Sony (Insidious (4K Steelbook)) 21:55 - Fox (Avatar: The Way of Water (4K)) 26:33 - Paramount (Vanilla Sky (4K)) 30:36 - Arrow Films (The Game Trilogy (1978-1979)) 33:17 - Kino (Mr. Wong Collection (1938-1940), Tales From the Gimli Hospital Redux, Clash of the Wolves / Where the North Begins, The Bridges at Toko-Ri, The Manchurian Candidate (1962) (4K), Ronin (4K)) 59:44 – New Blu-Ray Announcements 1:01:32 - Outro

It's the caboose episode of Train Month on The Goods. Dan decides to conclude the month with Trains Magazine's #1 train movie simply titled The Train. Join as Dan and Brian talk through just what makes this film so trainy, sing praises to the complex, deep focus shots by director John Frankenheimer, and list some other train movies they're interested in watching and discussing some day. Then it's end of the line and on to something else! Check out Dan's movie reviews: http://thegoodsreviews.com/ Subscribe, join the Discord, and find us on Letterboxd: http://thegoodsfilmpodcast.com/ Music credits: RetroFuture Clean by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4277-retrofuture-clean License: http://creativecommons.org/licenses/by/4.0/

Cohosts Dino and Mike aren't necessarily being blackmailed (yet) but, reinforcements were greatly appreciated in I Eat Movies #31: Elmore or Less - The Ambassador (1985) / 52 Pick-Up (1986)! Joined by cohosts of CinemaTalk, Ben Reiser (cohost of 70 Movies We Saw in the 70s and Lifers) and Jim Healy, (Director of Programming at UW Cinematheque), the heat is on as the quartet discuss the dual Cannon Films adaptations of Elmore Leonard's novel. Relocated to Israel, we dive into the heavily deviated from its source material (save for the blackmailing scheme) take in The Ambassador and discuss the controversy that led to Robert Mitchum joining the production. In addition, we applaud Ellen Burstyn's physicality and the workhorse-like directing chops of J. Lee Thompson who made Cannon films his home for the 1980s. Next up, we hightail it to the City of Angels for the undeniably better and sleazier take of the same material in 52 Pick-Up. In addition, Ben and Mike share their love for Jaws 2, Jim crushes it with his best John Glover "Balmorese" impression and Dino gives insight on the machinery displayed throughout the film. Plus, Frankenheimer, porn stars and Vanity slaying round out this hefty convo on one of Cannon's most taut thrillers.

MUTTER NATUR VERTEILT ARSCHTRITTE„Prophezeiung ist eine Horrorgeschichte der Gegenwart. Robert Foxworth (Syriana) und Talia Shire (Rocky, der Pate), in den Rollen eines Arztes und seiner Frau, die auf Bitten eines besorgten Freundes die negativen Auswirkungen einer Papierfabrik in Maine auf das lokale Ökosystem untersuchen. Sie beginnen mit der Untersuchung einer Reihe schrecklicher, mysteriöser Ereignisse: Missgeburten, wie z.B. Fische, die das mehrfache ihrer normalen Größe erreicht haben, und einige grausame, bizarre Todesfälle unter der Bevölkerung. Regisseur John Frankenheimer, der Altmeister der Spannung, spannt mit Prophezeiung einen Bogen zwischen dem klassischen Monsterfilm und einer spannungsgeladenen Geschichte über die tödlichen Auswirkungen der Umweltverschmutzung." (DVD-Klappentext, Paramount Pictures)Der erste #OktoBär hier beim Trashtaucher neigt sich dem Ende zu. Deshalb habe ich nochmal ganz hinten im Regal gekramt und eine vergessene B-Monsterperle von 1979 hervorgeholt, die nur wenige auf dem Schirm haben dürften: PROPHEZEIUNG von John Frankenheimer!Dabei hat sich der Filmemacher aus Queens nie einen Namen im Horrorgenre gemacht. Viel mehr kennt man Frankenheimer für actiongeladene Werke wie DER GEFANGENE VON ALCATRAZ, BOTSCHAFTER DER ANGST oder FRENCH CONNECTION II (manche auch für die legendäre Chaosproduktion D.N.A. - EXPERIMENT DES WAHNSINNS aka THE ISLAND OF DR. MOREAU mit Marlon Brando und Val Kilmer). Doch gemeinsam mit OMEN-Autor David Seltzer hat er sich 1979 unter der Flagge von Paramount an PROPHEZEIUNG versucht, einer bitterernsten Mischung aus Ökohorror und Mutanten-Monsteraction. Aber Peter und Steffen sind sich einig: Dieser Film verdient mehr Aufmerksamkeit!Erfahrt alles zu PROPHEZEIUNG im Trashtaucher-Podcast!---Feedback, Verbesserungen, Wünsche? Gerne hier zurückmelden!Filmfressen:Youtube: https://www.youtube.com/channel/UC6Z2v1j8vVQDn6Z8lu4ApcwPodcast: https://open.spotify.com/show/3QdJ5idfx2G76YVWCBFcBkShop: https://www.shirtee.com/de/catalogsearch/result/?q=filmfressenUnterstützen: Merch-Shop | Kaffekasse (Ko-Fi) | Koch Films Shop (Affiliate)Abonnieren: iTunes | Spotify | Amazon Music | Google Podcasts | RSSFolgen: Youtube | Instagram | Facebook | TwitterFilmblog: VilmFerrückt.deTwitch-Stream: ModulPuster---Intro-/Outro-Song: © Aidan Finnegan (https://soundcloud.com/triadaudioofficial)Bildmaterial: © Paramount Pictures

4X4: MIKE NICHOLS PT. 4 of 4:  ANGELS IN AMERICA w/Anna KlineWe have reached the end of both season 7 and our delightful 4x4 of directors and films (John Frankenheimer, Harmony Korine, Uwe Boll and Mike Nichols). We end with a late-career triumph by Nichols, his 2003 6-part adaptation of Tony Kushner's masterpiece of mystery, heart and spiritualism at the end of the Reagan era. ANGELS IN AMERICA has been produced enough times that most people are familiar with it on some level . It is a play that has continually remained a bit of an enigma even as its central themes and core characters appear fairly clear. We'll talk about the play, Kushner's constant tweaking for subsequent productions, and the six hour film Nichols made from Kushner's script. It won 3 million Emmy's, one of the most celebrated series of all time. How does it hold up nearly 20 years later? Is it Nichols' Magnum Opus, as he would later say? We are joined by  singer Anna Kline  of Swift Silver who shares a song about Nichols she wrote based on Mark Harris' essential Nichols biography MIKE NICHOLS, A LIFE, on Ben Arthur's brilliant Song Writer Podcast! She knows her Nichols and shares her song PICTURE SHOW!  BONUS; Ken, Jack and Thomas all rank our Season Seven films. How do you rank an Uwe Boll against a Frankenheimer? Is that wise? Caution is tossed into the wind and we give it a shot. ANNA KLINE and SWIFT SILVER Instagram: @swiftsilvermusic Twitter: @swiftsilverbandSONG WRITER PODCAST: Instagram: @songwriterpodcast Twitter: @snogwriter Website: SongWrtiterPodcast.comTHEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralJack: jackk1096

Kerry and Collin are joined by returning guest Sergio Mims to talk about John Fankenheimer's gritty cop thriller, "Dead Bang" (1989), starring Don Johnson as a cop on the edge, doing battle with white supremacists. Is it any better than Johnson's "Heartbeat" video? How do white supremacists celebrate Christmas? How many phones does Johnson destroy in this film? It's a deep dive into a movie that ain't that deep. Frankenheimer's work is further explored in the "We Just Say Book" segment and more goodies from the studios for the "Blu-ray Gift Exchange." 

The dog days of summer begin, and the new films that might generate a lot of interest begin to wane, but we persevere with another of our patented Roll Your Own Top 5 productions. An international group of LAMBs , generate individual top five lists of Theaters, Board Games, Frankenheimer films, Classic Literature Story Origins and Movie Posters. How could you say no to that?  Plus you get some Rants, Raves, and Reviews. This is a couple of hours with your friends that you will be glad you listened to. 

Danny, Proto, and Slim chat about Heat (1995). Other topics include vote manipulation, Danny designing a mini Rocketeer helpmet from OKKTO, Proto watching Wolfwalkers and Deliverance, old Frankenheimer movies, and more. Support the 70mm Patreon to join our VHS Village Discord and access exclusive episodes in the 70mm Vault like the 1990s Batman movies, Harry Potter, The Matrix, SHIN Godzilla, West Side Story, Twilight, Moana, and more. Signing up for the Patreon also get your own membership card, member-only discounts on merch, and the ability to vote on future episodes! Subscribe on Apple Podcasts to unlock access to episodes from the 70mm Vault! Subscribe on Spotify if that's more your bag for those exclusive 70mm Vault episodes! Episode transcriptions are available thanks to Soph from Film Hags! Don't forget you can visit our website to shop our storefront to buy prints and merch, follow us on Letterboxd, email the show, upgrade to Letterboxd Pro/Patron at 20% off, and much more. 70mm is a TAPEDECK podcast, along with our friends at BAT & SPIDER, Cinenauts, The Letterboxd Show, Dune Pod, FILM HAGS, Will Run For... and Lost Light.

JOHN FRANKENHEIMER PT. 2 OF 2: DRINKER BANKER SOLDIER SPYSECONDS & RONINJohn Frankenheimer (1930-2002) was one of the hardest working A-list directors of his generation. Sometimes referred to as a "technical director", Frankenheimer's skill in drama is occasionally undervalued. From early work at the forefront of the golden age of live TV to a series of classic films in the 1960s, he continued working through the 1970s and 1980s with up-and-down box office success, box office disappointments, some head-scratchers and a much-diminished star in the auteur pantheon.  Then a surprising return to TV in the early 90s made him a multi-Emmy-winning  wunderkind in his 60s and led to one last masterpiece in his return to the big screen (which we watch this episode). Co-host Ken chose Frankenheimer for his 4x4 director and chose the four films we'd watch. PART TWO SECONDS (1966) and RONIN (1998) After The Train (1964) Frankenheimer was offered every action picture around but felt the need to prove he was more than just a technical director of thrills. He chose Seconds, a nightmarish fable about middle age malaise and man's inability to truly change. James Wong Howe lends an air of German Expressionism and neo realism to help keep the look as unsettling as the story. In casting Rock Hudson, not his first choice, Frankenheimer sometimes struggled with the limits of Hudson's talent, going so far as getting him drunk for a scene where his character has to "let go." It works.  Thomas read the book and lets us in on how close the film follows the book and what the film gets right by excising. Seconds is freakishly good so watch it if you've never seen it before listening. JOHN FRANKENHEIMER 1966-1998Before jumping way into the future we will briefly discuss the 20+ projects between Seconds and Ronin, a truly up and down assortment of projects that veer from lost masterpieces, large-scale and small, to movies made for hire while he struggled with alcohol abuse.  Frankenheimer found himself without prospects, a journeyman, before returning to TV in the early 1990s in stunning, award-winning, fashion and being welcomed back into features before his last, great film, RONIN (1998).  Frankenheimer's incomparable run in the 60s perfectly positioned him to make an action film with more vigor and verisimilitude than any other director of the time, at age 67! In addition to Frankenheimer's detailed planning of the film and location work we also talk the infamous David Mamet script he took his name off of after the WGA would not give him full credit and the incredible stunt work it took to pull everything off. There was also a critic at the time that thought the amazing Paris car chase went on "too long."  We'll roast that dumb-dumb. It is a top tier all time great car chase.  So listen and hopefully our few hours talking about four of his movies gets you interested in checking out more of Frankenheimer's work. It's worth it. Our 4X4 series is meant to be an overview, a sampler plate with our favorites, but a director like Frankenheimer has a deep bench worth exploring. (in this episode Chuck Norris is mentioned when the actor in question was, in fact, the great Chuck Connors. Apologies to the family of Chuck Connors) THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralJack: jackk1096

JOHN FRANKENHEIMER PT. 1 OF 2: TRAINWASHING (or TRAIN CONTROL; or LOCO-MOTIVE)SEASON PREMIERE!THE MANCHURIAN CANDIDATE & THE TRAINJohn Frankenheimer (1930-2002) was one of the hardest working A-list directors of his generation. From early work at the forefront of the golden age of live TV to a series of classic films in the 1960s, he continued working through the 1970s and 1980s with up-and-down box office success, box office disappointments, some head-scratchers and a much-diminished star in the auteur pantheon he once seemed poised to be a permanent addition. Then a surprising return to TV in the early 90s made him a multi-Emmy-winning  wunderkind in his 60s and led to one last masterpiece in his return to the big screen (which we watch next episode).  Co-host Ken chose Frankenheimer for his 4x4 director and chose the four films we'd watch and why. Anything missing, blame Ken.   PART ONEThe Manchurian Candidate (1962) and The Train (1964) start our 4xFrankenheimers off with a bang or two.The Manchurian Candidate was a feature Frankenheimer was deeply involved with from the get-go and his still-startling visuals resonate sixty years later.  That brainwashing sequence! The press conference! The deep focus! The kiss! It's all so impossibly good. Generally regarded as his masterpiece, our next feature may have a word or two about that. The Train was a film Frankenheimer was brought into late, after its original director was fired following the first day of shooting (harsh). Frankenheimer reworked the script considerably and designed an action movie of such uniquely powerful verisimilitude, it stands as a towering achievement as the best black and white action movie ever made (according to Ken, who won't shut up about this movie). Ken, Jack and Thomas all bring their A game this week (sorry, other weeks) in one of the best pairing we've ever had on the pod!  BRAND NEW THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralJack: jackk1096

This week, Aaron and Derek discuss 1979's science fiction monster horror film "Prophecy" directed by John Frankenheimer and written by David Seltzer. They talk about Frankenheimer and Seltzer's thoughts and feelings about the movie, the original concept vs actual design of the "Pizza Bear" monster, and some of the problematic nature of the story and casting. They also get into the unexpected serious themes the film tries to tackle along with many other topics. Aaron is in a sleeping bag getting punched into a rock. Derek now craves pizza. We are on PodBean, Apple Podcasts, Podchaser, Goodpods, Amazon Music, Google, Stitcher, Spotify, and CastBox. Please rate, review, subscribe, and share our show. Also, check out our Spotify Music playlist, links on our Twitter and Podbean page. Our socials are on Facebook and Twitter @WatchIfYouDare

Popular antioxidant linked to pain relief University of Naples (Italy), November 22, 2021 People with pain of unknown causes who took alpha-lipoic acid (ALA) experienced less pain than a placebo group, a double-blind study in  Biomedicine & Pharmacotherapy revealed.1 This most recent trial enrolled 210 nondiabetic men and women with mild or moderate joint pain, neuropathic pain or muscle pain of unknown cause. Participants received 800 mg or 400 mg ALA per day or a daily placebo.  The results? People who received ALA had a significant improvement in their pain after two months of intake, while the placebo group didn't report a difference. ALA was similarly effective for all sources of pain considered. It was also shown to be safe and well-tolerated. (NEXT) Mental Qigong can be just as rewarding as its physical cousin In recent decades modern scientific techniques have fully documented the health benefits of the ancient meditation technique of Qigong. One example of physical Qigong is the technique Wu Qin Xi (five animals play), in which participants sequentially move through poses that represent the form of different animals, holding each pose for several minutes. During each phase individuals seek to regulate their breathing and still their minds. Although this is a challenging endeavor the benefits are significant. Effective Qigong practice can reduce feelings of depression and anxiety, decrease blood pressure and increase feelings of relaxation and attention. This raises the question: do the effects of these two types of Qigong manifest themselves the same in the brain, or differently? This is what the University of Mainz, wanted to find out.  (NEXT) Study links stress to Crohn's disease flare-ups McMaster University (Ontario), November 20, 2021 A possible link between psychological stress and Crohn's disease flare-ups has been identified by a McMaster University-led study. Researchers using mouse models found that stress hormones suppressed the innate immune system that normally protects the gut from invasive Enterobacteriaceae, a group of bacteria including E. coli which has been linked to Crohn's disease. (NEXT) Meta-analysis finds benefits for dietary supplements among breast cancer patients Hallym University (South Korea), November 19 2021 A meta-analysis published in Cancers found associations between improved breast cancer prognosis and the intake of multivitamins and other nutrients. The meta-analysis included 63 studies that evaluated the association between dietary factors and breast cancer recurrence, breast cancer mortality and/or mortality from any cause during the studies' follow- up periods among a total of 120,167 breast cancer patients.  (NEXT) Physical activity may improve Alzheimer's disease outcomes by lowering brain inflammation University of California at San Francisco, November 22, 2021 No one will disagree that an active lifestyle is good for you, but it remains unclear how physical activity improves brain health, particularly in Alzheimer's disease. The benefits may come about through decreased immune cell activation, according to new research published in JNeurosci. (NEXT) Aspirin is linked with increased risk of heart failure University of Freiburg (Germany), November 23, 2021 Aspirin use is associated with a 26% raised risk of heart failure in people with at least one predisposing factor for the condition. That's the finding of a study published today in a journal of the European Society of Cardiology (ESC). This is the first study to report that among individuals with at least one risk factor for heart failure, those taking aspirin were more likely to subsequently develop the condition than those not using the medication. (OTHER NEWS NEXT) Plant-derived antiviral drug is effective in blocking highly infectious SARS-CoV-2 Delta variant, say scientists University of Nottingham, November 22, 2021 A plant-based antiviral treatment for Covid-19, recently discovered by scientists at the University of Nottingham, has been found to be just as effective at treating all variants of the virus SARS-CoV-2, even the highly infectious Delta variant. The study showed that a novel natural antiviral drug called thapsigargin (TG), recently discovered by the same group of scientists to block other viruses, including the original SARS-CoV-2, was just as effective at treating all of the newer SARS-CoV-2 variants, including the Delta variant. In their previous studies* the team showed that the plant-derived antiviral, at small doses, triggers a highly effective broad-spectrum host-centred antiviral innate immune response against three major types of human respiratory viruses, including SARS-CoV-2. “Together, these results point to the antiviral potential of TG as a post-exposure prophylactic and an active therapeutic agent.” (NEXT) In Memory of JFK: The First U.S. President to be Declared a Terrorist and Threat to National Security (entire article is here) By Cynthia Chung, The Saker Blog, November 22, 2021 In April 1954, Kennedy stood up on the Senate floor to challenge the Eisenhower Administration's support for the doomed French imperial war in Vietnam, foreseeing that this would not be a short-lived war.[1] In July 1957, Kennedy once more took a strong stand against French colonialism, this time France's bloody war against Algeria's independence movement, which again found the Eisenhower Administration on the wrong side of history. Rising on the Senate floor, two days before America's own Independence Day, Kennedy declared: “The most powerful single force in the world today is neither communism nor capitalism, neither the H-bomb nor the guided missile – it is man's eternal desire to be free and independent. The great enemy of that tremendous force of freedom is called, for want of a more precise term, imperialism – and today that means Soviet imperialism and, whether we like it or not, and though they are not to be equated, Western imperialism. Thus, the single most important test of American foreign policy today is how we meet the challenge of imperialism, what we do to further man's desire to be free. On this test more than any other, this nation shall be critically judged by the uncommitted millions in Asia and Africa, and anxiously watched by the still hopeful lovers of freedom behind the Iron Curtain. If we fail to meet the challenge of either Soviet or Western imperialism, then no amount of foreign aid, no aggrandizement of armaments, no new pacts or doctrines or high-level conferences can prevent further setbacks to our course and to our security.”[2] In September 1960, the annual United Nations General Assembly was held in New York. Fidel Castro and a fifty-member delegation were among the attendees and had made a splash in the headlines when he decided to stay at the Hotel Theresa in Harlem after the midtown Shelburne Hotel demanded a $20,000 security deposit. He made an even bigger splash in the headlines when he made a speech at this hotel, discussing the issue of equality in the United States while in Harlem, one of the poorest boroughs in the country. Kennedy would visit this very same hotel a short while later, and also made a speech: “Behind the fact of Castro coming to this hotel, [and] Khrushchev…there is another great traveler in the world, and that is the travel of a world revolution, a world in turmoil…We should be glad [that Castro and Khrushchev] came to the United States. We should not fear the twentieth century, for the worldwide revolution which we see all around us is part of the original American Revolution.”[3] What did Kennedy mean by this? The American Revolution was fought for freedom, freedom from the rule of monarchy and imperialism in favour of national sovereignty. What Kennedy was stating, was that this was the very oppression that the rest of the world wished to shake the yoke off, and that the United States had an opportunity to be a leader in the cause for the independence of all nations. On June 30th, 1960, marking the independence of the Republic of Congo from the colonial rule of Belgium, Patrice Lumumba, the first Congolese Prime Minister gave a speech that has become famous for its outspoken criticism of colonialism. Lumumba spoke of his people's struggle against “the humiliating bondage that was forced upon us… [years that were] filled with tears, fire and blood,” and concluded vowing “We shall show the world what the black man can do when working in liberty, and we shall make the Congo the pride of Africa.” Shortly after, Lumumba also made clear, “We want no part of the Cold War… We want Africa to remain African with a policy of neutralism.”[4] As a result, Lumumba was labeled a communist for his refusal to be a Cold War satellite for the western sphere. Rather, Lumumba was part of the Pan-African movement that was led by Ghanaian President Kwame Nkrumah(who later Kennedy would also work with), which sought national sovereignty and an end to colonialism in Africa. Lumumba “would remain a grave danger,” Dulles said at an NSC meeting on September 21, 1960, “as long as he was not yet disposed of.”[5] Three days later, Dulles made it clear that he wanted Lumumba permanently removed, cabling the CIA's Leopoldville station, “We wish give [sic] every possible support in eliminating Lumumba from any possibility resuming governmental position.”[6] Lumumba was assassinated on Jan. 17th, 1961, just three days before Kennedy's inauguration, during the fog of the transition period between presidents, when the CIA is most free to tie its loose ends, confident that they will not be reprimanded by a new administration that wants to avoid scandal on its first days in office. Kennedy, who clearly meant to put a stop to the Murder Inc. that Dulles had created and was running, would declare to the world in his inaugural address on Jan. 20th, 1961, “The torch has been passed to a new generation of Americans.” La Resistance Along with inheriting the responsibility of the welfare of the country and its people, Kennedy was to also inherit a secret war with communist Cuba run by the CIA. The Bay of Pigs set-up would occur three months later. Prouty compares the Bay of Pigs incident to that of the Crusade for Peace; the Bay of Pigs being orchestrated by the CIA, and the Crusade for Peace sabotaged by the CIA, in both cases to ruin the U.S. president's (Eisenhower and Kennedy) ability to form a peaceful dialogue with Khrushchev and decrease Cold War tensions. Both presidents' took onus for the events respectively, despite the responsibility resting with the CIA. However, Eisenhower and Kennedy understood, if they did not take onus, it would be a public declaration that they did not have any control over their government agencies and military. Further, the Bay of Pigs operation was in fact meant to fail. It was meant to stir up a public outcry for a direct military invasion of Cuba. On public record is a meeting (or more aptly described as an intervention) with CIA Deputy Director for Plans Richard Bissell, Joint Chiefs Chairman Lyman Lemnitzer, and Navy Chief Admiral Burke basically trying to strong-arm President Kennedy into approving a direct military attack on Cuba. Admiral Burke had already taken the liberty of positioning two battalions of Marines on Navy destroyers off the coast of Cuba “anticipating that U.S. forces might be ordered into Cuba to salvage a botched invasion.”[7] (This incident is what inspired the Frankenheimer movie “Seven Days in May.”) Kennedy stood his ground. “They were sure I'd give in to them,” Kennedy later told Special Assistant to the President Dave Powers. “They couldn't believe that a new president like me wouldn't panic and try to save his own face. Well they had me figured all wrong.”[8] Incredibly, not only did the young president stand his ground against the Washington war hawks just three months into his presidential term, but he also launched the Cuba Study Group which found the CIA to be responsible for the fiasco, leading to the humiliating forced resignation of Allen Dulles, Richard Bissell and Charles Cabell. (For more on this refer to my report.) Unfortunately, it would not be that easy to dethrone Dulles, who continued to act as head of the CIA, and key members of the intelligence community such as Helms and Angleton regularly bypassed McCone (the new CIA Director) and briefed Dulles directly.[9] But Kennedy was also serious about seeing it through all the way, and vowed to “splinter the CIA into a thousand pieces and scatter it to the winds.” * * * There is another rather significant incident that had occurred just days after the Bay of Pigs, and which has largely been overshadowed by the Cuban fiasco in the United States. From April 21-26th, 1961, the Algiers putsch or Generals' putsch, was a failed coup d'état intended to force President de Gaulle (1959-1969) not to abandon the colonial French Algeria. The organisers of the putsch were opposed to the secret negotiations that French Prime Minister Michel Debré had started with the anti-colonial National Liberation Front (FLN). On January 26th, 1961, just three months before the attempted coup d'état, Dulles sent a report to Kennedy on the French situation that seemed to be hinting that de Gaulle would no longer be around, “A pre-revolutionary atmosphere reigns in France… The Army and the Air Force are staunchly opposed to de Gaulle…At least 80 percent of the officers are violently against him. They haven't forgotten that in 1958, he had given his word of honor that he would never abandon Algeria. He is now reneging on his promise, and they hate him for that. de Gaulle surely won't last if he tries to let go of Algeria. Everything will probably be over for him by the end of the year—he will be either deposed or assassinated.”[10] The attempted coup was led by Maurice Challe, whom de Gaulle had reason to conclude was working with the support of U.S. intelligence, and Élysée officials began spreading this word to the press, which reported the CIA as a “reactionary state-within-a-state” that operated outside of Kennedy's control.[11] Shortly before Challe's resignation from the French military, he had served as NATO commander in chief and had developed close relations with a number of high-ranking U.S. officers stationed in the military alliance's Fontainebleau headquarters.[12] In August 1962 the OAS (Secret Army Organization) made an assassination attempt against de Gaulle, believing he had betrayed France by giving up Algeria to Algerian nationalists. This would be the most notorious assassination attempt on de Gaulle (who would remarkably survive over thirty assassination attempts while President of France) when a dozen OAS snipers opened fire on the president's car, which managed to escape the ambush despite all four tires being shot out. After the failed coup d'état, de Gaulle launched a purge of his security forces and ousted General Paul Grossin, the chief of SDECE (the French secret service). Grossin was closely aligned with the CIA, and had told Frank Wisner over lunch that the return of de Gaulle to power was equivalent to the Communists taking over in Paris.[13] In 1967, after a five-year enquête by the French Intelligence Bureau, it released its findings concerning the 1962 assassination attempt on de Gaulle. The report found that the 1962 assassination plot could be traced back to the NATO Brussels headquarters, and the remnants of the old Nazi intelligence apparatus. The report also found that Permindex had transferred $200,000 into an OAS bank account to finance the project. As a result of the de Gaulle exposé, Permindex was forced to shut down its public operations in Western Europe and relocated its headquarters from Bern, Switzerland to Johannesburg, South Africa, it also had/has a base in Montreal, Canada where its founder Maj. Gen. Louis M. Bloomfield (former OSS) proudly had his name amongst its board members until the damning de Gaulle report. The relevance of this to Kennedy will be discussed shortly. As a result of the SDECE's ongoing investigation, de Gaulle made a vehement denunciation of the Anglo-American violation of the Atlantic Charter, followed by France's withdrawal from the NATO military command in 1966. France would not return to NATO until April 2009 at the Strasbourg-Kehl Summit. In addition to all of this, on Jan. 14th, 1963, de Gaulle declared at a press conference that he had vetoed British entry into the Common Market. This would be the first move towards France and West Germany's formation of the European Monetary System, which excluded Great Britain, likely due to its imperialist tendencies and its infamous sin City of London. Former Secretary of State Dean Acheson telegrammed West German Chancellor Konrad Adenauer directly, appealing to him to try to persuade de Gaulle to back track on the veto, stating “if anyone can affect Gen. de Gaulle's decision, you are surely that person.” Little did Acheson know that Adenauer was just days away from signing the Franco-German Treaty of Jan 22nd, 1963 (also known as the ÉlyséeTreaty), which had enormous implications. Franco-German relations, which had long been dominated by centuries of rivalry, had now agreed that their fates were aligned. (This close relationship was continued to a climactic point in the late 1970s, with the formation of the European Monetary System, and France and West Germany's willingness in 1977 to work with OPEC countries trading oil for nuclear technology, which was sabotaged by the U.S.-Britain alliance. The Élysée Treaty was a clear denunciation of the Anglo-American forceful overseeing that had overtaken Western Europe since the end of WWII. On June 28th, 1961, Kennedy wrote NSAM #55. This document changed the responsibility of defense during the Cold War from the CIA to the Joint Chiefs of Staff and would have (if seen through) drastically changed the course of the war in Vietnam. It would also have effectively removed the CIA from Cold War military operations and limited the CIA to its sole lawful responsibility, the collecting and coordination of intelligence. By Oct 11th, 1963, NSAM #263, closely overseen by Kennedy[14], was released and outlined a policy decision “to withdraw 1,000 military personnel [from Vietnam] by the end of 1963” and further stated that “It should be possible to withdraw the bulk of U.S. personnel by 1965.” The Armed Forces newspaper Stars and Stripes had the headline U.S. TROOPS SEEN OUT OF VIET BY '65. It would be the final nail in the coffin. Treason in America “Treason doth never prosper; what is the reason? Why, if it prosper, none dare call it treason.” – Sir John Harrington By Germany supporting de Gaulle's exposure of the international assassination ring, his adamant opposition to western imperialism and the role of NATO, and with a young Kennedy building his own resistance against the imperialist war of Vietnam, it was clear that the power elite were in big trouble. On November 22nd, 1963 President Kennedy was brutally murdered in the streets of Dallas, Texas in broad daylight. With the assassination of Ngo Dinh Diem, likely ordained by the CIA, on Nov. 2nd, 1963 and Kennedy just a few weeks later, de facto President Johnson signed NSAM #273 on Nov. 26th, 1963 to begin the reversal of Kennedy's policy under #263. And on March 17th, 1964, Johnson signed NSAM #288 that marked the full escalation of the Vietnam War and involved 2,709,918 Americans directly serving in Vietnam, with 9,087,000 serving with the U.S. Armed Forces during this period. The Vietnam War would continue for another 12 years after Kennedy's death, lasting a total of 20 years for Americans, and 30 years if you count American covert action in Vietnam. Two days before Kennedy's assassination, a hate-Kennedy handbill was circulated in Dallas accusing the president of treasonous activities including being a communist sympathizer. On November 29th, 1963 the Warren Commission was set up to investigate the murder of President Kennedy. The old Congressman Hale Boggs of Louisiana was a member of that Warren Commission. Boggs became increasingly disturbed by the lack of transparency and rigour exhibited by the Commission and became convinced that many of the documents used to incriminate Oswald were in fact forgeries. In 1965 Rep. Boggs told New Orleans District Attorney Jim Garrison that Oswald could not have been the one who killed Kennedy.[15] It was Boggs who encouraged Garrison to begin the only law enforcement prosecution of the President's murder to this day. Nixon was inaugurated as President of the United States on Jan 20th, 1969. Hale Boggs soon after called on Nixon's Attorney General John Mitchell to have the courage to fire J. Edgar Hoover.[16] It wasn't long thereafter that the private airplane carrying Hale Boggs disappeared without a trace. Jim Garrison was the District Attorney of New Orleans from 1962 to 1973 and was the only one to bring forth a trial concerning the assassination of President Kennedy. In Jim Garrison's book “On the Trail of the Assassins”, J. Edgar Hoover comes up several times impeding or shutting down investigations into JFK's murder, in particular concerning the evidence collected by the Dallas Police Department, such as the nitrate test Oswald was given and which exonerated him, proving that he never shot a rifle the day of Nov 22nd, 1963. However, for reasons only known to the government and its investigators this fact was kept secret for 10 months.[17]It was finally revealed in the Warren Commission report, which inexplicably didn't change their opinion that Oswald had shot Kennedy. Another particularly damning incident was concerning the Zapruder film that was in the possession of the FBI and which they had sent a “copy” to the Warren Commission for their investigation. This film was one of the leading pieces of evidence used to support the “magic bullet theory” and showcase the direction of the headshot coming from behind, thus verifying that Oswald's location was adequate for such a shot. During Garrison's trial on the Kennedy assassination (1967-1969) he subpoenaed the Zapruder film that for some peculiar reason had been locked up in some vault owned by Life magazine (the reader should note that Henry Luce the owner of Life magazine was in a very close relationship with the CIA). This was the first time in more than five years that the Zapruder film was made public. It turns out the FBI's copy that was sent to the Warren Commission had two critical frames reversed to create a false impression that the rifle shot was from behind. When Garrison got a hold of the original film it was discovered that the head shot had actually come from the front. In fact, what the whole film showed was that the President had been shot from multiple angles meaning there was more than one gunman. When the FBI was questioned about how these two critical frames could have been reversed, they answered self-satisfactorily that it must have been a technical glitch… There is also the matter of the original autopsy papers being destroyed by the chief autopsy physician, James Humes, to which he even testified to during the Warren Commission, apparently nobody bothered to ask why… This would explain why the Assassination Records Review Board (ARRB), reported in a July 1998 staff report their concern for the number of shortcomings in the original autopsy, that “One of the many tragedies of the assassination of President Kennedy has been the incompleteness of the autopsy record and the suspicion caused by the shroud of secrecy that has surrounded the records that do exist.” [emphasis added] The staff report for the Assassinations Records Review Board contended that brain photographs in the Kennedy records are not of Kennedy's brain and show much less damage than Kennedy sustained. There is a lot of spurious effort to try to ridicule anyone who challenges the Warren Commission's official report as nothing but fringe conspiracy theory. And that we should not find it highly suspect that Allen Dulles, of all people, was a member and pretty much leader of said commission. The reader should keep in mind that much of this frothing opposition stems from the very agency that perpetrated crime after crime on the American people, as well as abroad. When has the CIA ever admitted guilt, unless caught red-handed? Even after the Church committee hearings, when the CIA was found guilty of planning out foreign assassinations, they claimed that they had failed in every single plot or that someone had beaten them to the punch, including in the case of Lumumba. The American people need to realise that the CIA is not a respectable agency; we are not dealing with honorable men. It is a rogue force that believes that the ends justify the means, that they are the hands of the king so to speak, above government and above law. Those at the top such as Allen Dulles were just as adamant as Churchill about protecting the interests of the power elite, or as Churchill termed it, the “High Cabal.” Interestingly, on Dec. 22nd, 1963, just one month after Kennedy's assassination, Harry Truman published a scathing critique of the CIA in The Washington Post, even going so far as to state “There is something about the way the CIA has been functioning that is casting a shadow over our historic position [as a] free and open society, and I feel that we need to correct it.”[18] The timing of such a scathing quote cannot be stressed enough. Dulles, of course, told the public not to be distressed, that Truman was just in entering his twilight years. In addition, Jim Garrison, New Orleans District Attorney at the time, who was charging Clay Shaw as a member of the conspiracy to kill Kennedy, besides uncovering his ties to David Ferrie who was found dead in his apartment days before he was scheduled to testify, also made a case that the New Orleans International Trade Mart (to which Clay Shaw was director), the U.S. subsidiary of Permindex, was linked to Kennedy's murder. Col. Clay Shaw was an OSS officer during WWII, which provides a direct link to his knowing Allen Dulles. Garrison did a remarkable job with the odds he was up against, and for the number of witnesses that turned up dead before the trial… This Permindex link would not look so damning if we did not have the French intelligence SDECE report, but we do. And recall, in that report Permindex was caught transferring $200,000 directly to the bankroll of the OAS which attempted the 1962 assassination on de Gaulle. Thus, Permindex's implication in an international assassination ring is not up for debate. In addition, the CIA was found heavily involved in these assassination attempts against de Gaulle, thus we should not simply dismiss the possibility that Permindex was indeed a CIA front for an international hit crew. In fact, among the strange and murderous characters who converged on Dallas in Nov. 1963 was a notorious French OAS commando named Jean Souetre, who was connected to the plots against President de Gaulle. Souetre was arrested in Dallas after the Kennedy assassination and expelled to Mexico, not even kept for questioning.[19] What Does the Future Hold? After returning from Kennedy's Nov. 24th funeral in Washington, de Gaulle and his information minister Alain Peyrefitte had a candid discussion that was recorded in Peyrefitte's memoire “C'était de Gaulle,” the great General was quoted saying: “What happened to Kennedy is what nearly happened to me… His story is the same as mine. … It looks like a cowboy story, but it's only an OAS [Secret Army Organization] story. The security forces were in cahoots with the extremists. …Security forces are all the same when they do this kind of dirty work. As soon as they succeed in wiping out the false assassin, they declare the justice system no longer need be concerned, that no further public action was needed now that the guilty perpetrator was dead. Better to assassinate an innocent man than to let a civil war break out. Better an injustice than disorder. America is in danger of upheavals. But you'll see. All of them together will observe the law of silence. They will close ranks. They'll do everything to stifle any scandal. They will throw Noah's cloak over these shameful deeds. In order to not lose face in front of the whole world. In order to not risk unleashing riots in the United States. In order to preserve the union and to avoid a new civil war. In order to not ask themselves questions. They don't want to know. They don't want to find out. They won't allow themselves to find out.” The American people would do well to remember that it was first John F. Kennedy, acting as the President to the United States, who was to be declared a terrorist and threat to his country's national security. Thus is it not natural that those who continue to defend the legacy of Kennedy should be regarded today as threat, not truly to the nation's security, but a threat to the very same grouping responsible for Kennedy's death and whom today have now declared open war on the American people. This will be the greatest test the American people have ever been confronted with, and it will only be through an understanding of how the country came to where it is today that there can be sufficient clarity as to what the solutions are, which are not to be found in another civil war. To not fall for the trapping of further chaos and division, the American people will only be able to rise above this if they choose to ask those questions, if they choose to want to know, to want to find out the truth of things they dared not look at in the past for fear of what it would reveal. “Whenever the government of the United States shall break up, it will probably be in consequence of a false direction having been given to public opinion. This is the weak point of our defenses, and the part to which the enemies of the system will direct all their attacks. Opinion can be so perverted as to cause the false to seem true; the enemy, a friend, and the friend, an enemy; the best interests of the nation to appear insignificant, and the trifles of moment; in a word, the right the wrong, the wrong the right. In a country where opinion has sway, to seize upon it, is to seize upon power. As it is a rule of humanity that the upright and well-intentioned are comparatively passive, while the designing, dishonest, and selfish are the most untiring in their efforts, the danger of public opinion's getting a false direction is four-fold, since few men think for themselves.” -James Fenimore Cooper (1789-1851( We must dare to be among the few who think for ourselves. (NEXT) VAERS Data Reveals 50 X More Ectopic Pregnancies Following COVID Shots than Following ALL Vaccines for Past 30 Year Health Impact News, November 22, 2021 While the latest data dump into the government's Vaccine Adverse Event Reporting System (VAERS) showed 2,620 fetal deaths, which are more fetal deaths than are reported following ALL vaccines for the past 30 years in VAERS, one “symptom” that is tracked in VAERS that it did not account for is an ectopic pregnancy which also results in a fetal death. Ectopic pregnancy, also called extrauterine pregnancy, is when a fertilized egg grows outside a woman's uterus, somewhere else in their belly. It can cause life-threatening bleeding and needs medical care right away. I performed a search in VAERS for ectopic pregnancies following COVID-19 shots for the past 11 months, and there have been 52 cases where a woman received a COVID-19 shot and then was found to have an ectopic pregnancy. Next, I performed the exact same search but excluded COVID-19 “vaccines” and it returned a result of 30 cases where a woman received an FDA-approved vaccine and then reported an ectopic pregnancy following ALL vaccines for the past 30+ years, which is about 1 per year. That means that following COVID-19 injections into child-bearing women for the past 11 months has seen a 50 X increase in ectopic pregnancies compared to child-bearing women receiving vaccines for the past 30+ years. (NEXT) Massive study reveals editorial bias and nepotism in biomedical journals University of Rennes, November 23, 2021 Scientific journals are expected to consider research manuscripts dispassionately and without favor. But a study published in the journal PLOS Biology reveals that a subset of journals may be exercising considerable bias and favoritism. To identify journals that are suspected of favoritism, the authors explored nearly 5 million articles published between 2015 and 2019 in a sample of 5,468 of biomedical journals indexed in the National Library of Medicine. Their results reveal that in most journals, publications are distributed across a large number of authors, as one might hope. However, the authors identify a subset of biomedical journals where a few authors, often members of that journal's editorial board, were responsible for a disproportionate number of publications. In addition, the articles authored by these “hyper-prolific” individuals were more likely to be accepted for publication within 3 weeks of their submission, suggesting favoritism in journals' editorial procedures. Why would this matter? Such “nepotistic journals,” suspected of biased editorial decision-making, could be deployed to game productivity-based metrics, which could have a serious knock-on effect on decisions about promotion, tenure and research funding. (NEXT) Hurricanes expected to linger over Northeast cities, causing greater damage More storms like Hurricane Sandy could be in the East Coast's future, potentially costing billions of dollars in damage and economic losses. Rowan University, November 22, 2021 By the late 21st century, northeastern U.S. cities will see worsening hurricane outcomes, with storms arriving more quickly but slowing down once they've made landfall. As storms linger longer over the East Coast, they will cause greater damage along the heavily populated corridor, according to a new study. The new study analyzed more than 35,000 computer-simulated storms. To assess likely storm outcomes in the future The researchers found that future East Coast hurricanes will likely cause greater damage than storms of the past. The research predicted that a greater number of future hurricanes will form near the East Coast, and those storms will reach the Northeast corridor more quickly. The simulated storms slow to a crawl as they approach the East Coast, allowing them to produce more wind, rain, floods, and related damage in the Northeast region. The longest-lived tropical storms are predicted to be twice as long as storms today.

la notte del 4 Aprile 1968 : l'America brucia ; Bobby ai funerali di King ; Bobby incontra la vedova ed i collaboratori del reverendo ; l'eredità del Presidente Kennedy : i diritti umani contro lo strapotere dei monopoli ; 4 Giugno : il voto per le primarie in California ; Bobby Kennedy con i collaboratori, moglie e figli attende i risultati nella villa di Malibu dell'amico regista Frankenheimer ; sera del 4 Giugno : Bobby ed il suo seguito vanno ad incontrare supporters , giornalisti e TV all'Hotel Ambassador

People Screaming: The Movie. This movie plot could have been resolved with a simple phone call. Which it was. Still happened though. Kudos to Frankenheimer and the cast. Rod Serling did what he could and the dialogue was fun but people screaming everything got old.Adam Wilcox ObituaryLIWstudiosYoutube for LIWstudiosCheck out our friends Raiders Of The Lost Flicks & The Indy Sportscar Podcast

People Screaming: The Movie. This movie plot could have been resolved with a simple phone call. Which it was. Still happened though. Kudos to Frankenheimer and the cast. Rod Serling did what he could and the dialogue was fun but people screaming everything got old.Adam Wilcox ObituaryLIWstudiosYoutube for LIWstudiosCheck out our friends Raiders Of The Lost Flicks & The Indy Sportscar Podcast

Los Angeles-based film writer Zach Vasquez comes on the show to discuss John Frankenheimer's sordid 1986 crime melodrama 52 Pick-Up, one of the only legit good movies made by Cannon Films, a slept-on eighties classic. With a screenplay by Elmore Leonard adapted from his 1974 novel, 52 Pick-Up was not well-received upon release but time has been extremely kind to this shocking and grimy thriller about a wealthy businessman (Roy Scheider) who becomes the target of a blackmail plot, and has to use his wits to outsmart a trio of sadistic creeps from the porn world who keep upping the ante to horrifying levels. Zach and I also talk about that brief period where Cannon Films tried to make prestigious arthouse/grindhouse fare, the greatness of Frankenheimer, the film's engagement with the sleazy reality of Los Angeles in the eighties, it's influence on the other great Elmore Leonard LA lowlife crime drama Jackie Brown, and how 52 Pick-Up contains not one but two unforgettable movie villains, Clarence Williams III and John Glover. Follow Zach Vasquez on Twitter. Zach's new piece about Fellini, for Crooked Marquee A nice appreciation of the movie from the New Beverly Cinema blog. Trailer for 52 Pick-Up (Frankenheimer, 1986)

In this episode we stay in the 1970s and take a very close look at John Frankenheimer's forgotten blockbuster, Black Sunday. We dig deep into Frankenheimer's place as an iconic filmmaker of the decade, wax poetic about the film's unique aesthetic, attempt to identify just how much of it has crept into the subconsciousness of popular culture and even try to tease out the connective tissue present in John Williams's epic score! Tune in and enjoy! Hosts: Jakub Flasz & Carson Timar Featuring: Nicoló Grasso & Ewan Gleadow Intro: Infraction - Cassette Outro: Infraction - Daydream Follow The Uncut Gems Podcast on Twitter (@UncutGemsPod). Support the show at ko-fi.com/uncutgemspod The Uncut Gems Podcast is a CLAPPER production

Episodes of this show will not be like this one. This is actually audio from LIW The Twilight Zone Review. But since Rod Serling wrote it and Frankenheimer directed it. Why not make use of this for two shows. What? Did you expect me to review this thing twice? Not gonna happen. Stay tuned for future episodes actually intended for this feed.LIWstudiosYoutube for LIWstudiosCheck out our friends Raiders Of The Lost Flicks and here.

An unhappy middle-aged banker agrees to a procedure that will fake his death and give him a completely new look and identity - one that comes with its own price. On this week’s episode… Join the crew as we discuss Rock Hudson, life changing surgical procedures, and John Frankenheimer’s, Seconds.   Show Notes: Housekeeping (3:03) Back of the Box/Recommendations (8:11) Spoiler Warning/Full Review (12:26) Rotten Tomatoes (78:50) Trivia (84:44) Cooter of the Week (89:46) What We’ve Been Watching (99:47) Hotline Scream (117:10)   Connect with us: Support us on Patreon Website Facebook Instagram Twitter YouTube Shop

I am writing this summary BEFORE we watch and review the episode. It’s the only John Frankenheimer episode of TFTC and here is my (Phoenix) prediction: it’ll still be terrible. Directing doesn’t matter on this show when the stories are so lame. In 10 hours I will finally find out what the Frankenheimer episode is like and I just know it’s going to bum me out.Update: we recorded the podcast last night and Adam hated it for some reason. It was okay. Bye Jansen.LIWstudiosYoutube for LIWstudiosCheck out our friends Raiders Of The Lost Flicks and here.

I am writing this summary BEFORE we watch and review the episode. It’s the only John Frankenheimer episode of TFTC and here is my (Phoenix) prediction: it’ll still be terrible. Directing doesn’t matter on this show when the stories are so lame. In 10 hours I will finally find out what the Frankenheimer episode is like and I just know it’s going to bum me out.Update: we recorded the podcast last night and Adam hated it for some reason. It was okay. Bye Jansen.LIWstudiosYoutube for LIWstudiosCheck out our friends Raiders Of The Lost Flicks and here.

Wrapping up our theme on the films of John Frankenheimer, we are talking about THE MANCHURIAN CANDIDATE.  Please send any and all feedback to anotherlookpod@gmail.com.  Please check us out on Facebook, and rate/review/subscribe on Apple Podcasts.

For the month of August, we are discussing the films of director John Frankenheimer!  On this episode, we discuss THE TRAIN.  Please send any and all feedback to anotherlookpod@gmail.com.  Please check us out on Facebook, and rate/review/subscribe on Apple Podcasts.

Do you remember your first DVD? "Shat The Movies" listener Ken C. does. And he forked out the dollars to share it with you.  "Ronin" was a throwback movie even on the day it was released, feeling more like 1968 than 1998. It was prime Robert De Niro before he started his string of comedies, and it was legendary director John Frankenheimer's final picture, an ode to all his car-chase spectaculars that came before. Reverence for a bygone era aside, the Shat Crew couldn't help but notice some bumps in the picturesque French roads of "Ronin." Abundant MacGyver tricks, rampant Michael Bayisms, questionable Irish accents, Teflon bullets, and dad-fashion euro dudes. If ever Dick Ebert sparkled on the "Shat The Movies" review, "Ronin" was it. Big D shares Army stories, breaks down the epic ambush scene, mourns Princess Di, and cringes at French police cars too small to fit his 6'7" frame.  Here's to a movie that threw CGI aside, illustrated the beauty of France, and said farewell to one of the greatest car-chase directors of all time. Enjoy. SUBSCRIBE & FOLLOW Android: http://shatthemovies.com/android Apple/iTunes: http://shatthemovies.com/itunes Social Media: Twitter, Facebook, Instagram, YouTube, Snapchat Website: http://shatthemovies.com/ HELP SUPPORT THE PODCAST Donate with Paypal: http://shatthemovies.com/paypal Donate With Venmo: https://venmo.com/shatpodcasts Get Podcast Merchandise: http://shatthemovies.com/shop Shop Amazon With Our Affiliate Link: https://www.amazon.com/?tag=shatmovies-20 Sponsor's Listener Survey: http://shatthemovies.com/survey Leave an iTunes Review: http://shatthemovies.com/review Vote for our Next Movies: http://shatthemovies.com/vote Feeds & Social Media: http://shatthemovies.com/subscribe-and-follow Leave a Voicemail: (914) 719-SHAT - (914) 719-7428 Email: hosts@shatthemovies.com Listen to our TV Podcasts: https://shatontv.com/shat-on-podcasts Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite

Esta noche tenemos cine de emoción, sin un segundo de respiro. El Tren de John Frankenheimer, 1964. El Tren contiene compromiso social y espectáculo, entretenimiento y dilemas morales. Es una pieza de orfebrería, con un ritmo y una atmósfera excepcional. Se nota la manera de narrar de Frankenheimer, quizás el director más talentoso de esa generación de la televisión que revitalizó Hollywood en los sesenta. Su puesta en escena y su brío para la acción son indudables. El arranque de la historia, con ese primer ataque a la estación te dejan boquiabierto. Un tren cargado de obras de arte que los Nazis quieren llevarse de Francia en las postrimerías de la ocupación; los ferroviarios franceses, infiltrados en la resistencia, son los verdaderos héroes de este episodio verídico de la segunda guerra mundial. La película grita al mundo que no olvidemos el brutal sacrifico de esos civiles anónimos, que entregaron sus vidas para salvaguardar la Cultura y la Libertad de su país, la Gloria de Francia. El reparto es magnífico, Labiche es Burt Lancaster, un alarde de actuación y poderío físico para encarnar a este héroe con las manos manchadas de aceite de locomotora, que cree que las personas, cree que sus vidas son más importantes que las pinturas, pero lo entregará todo por cumplir la misión. La visión elitista del arte la encarna el papel del Coronel Franz Von Waldheim, inmenso Paul Scofield, con un discurso final sobrecogedor, delimitando el acceso a la belleza, al arte... un sucio mono grasiento no sabe apreciarlo… El contrapunto femenino es Jeanne Moreau, Christine, viuda, dueña de un hostal, que no quiere mas muertes, que sobrevive como puede, pero que también luchará por la única causa justa. Además tenemos a Allbert Rémy, Howard Vernon, o Michel Simon, Papa Boule, otro personaje inolvidable, su mirada a Labiche tras ser descubierto el sabotaje, es de las que dejan huella. Monet, Picasso, Cezanne, Matisse, Van Gogh…no hace falta que veamos los cuadros en sí, vemos las cajas que los contienen, con la esvástica marcada, arte degenerado para especular, arte en mayusculas que sólo una pocos saben apreciar, no……….El arte no tiene dueños, pertenece a todos y cada uno de nosotros. El cine como arte, como identidad, el Tren de Joh Frankenheimer es una gran aventura, reflejo de la propia vida. Con las caras y las manos manchadas de aceite y cine, esta noche de otoño, el retén de guardia de la estación de Radiopolis recuerda a los caídos por la libertad. Jefe de Estación: José Miguel Moreno. Maquinista: Zacarías Cotán. Fogonero: Raúl Gallego. Guardagujas: Gervi Navío.

Steve interviews comedians Mark Pitta & Calvin Murata in an undisclosed (but very cool) location, about the Cold War thriller "The Manchurian Candidate" from 1962 Was it really pulled from distribution? Is it as timely today as it was then? Who's the better Frank--Enheimer or Sinatra Why did they remake this? Was Lansbury ever young? Is a nagging wife brainwashing? Is EVERYONE in this movie an agent? How many crazy theories does Steve have? All these questions and more get answered on this week's Mazan Movie Club podcast.  "The Manchurian Candidate" on IMDb Mark Pitta's Youtube Channel Calvin Murata on Instagram Home of the Mazan Movie Club Comedian Steve Mazan on Instagram Corporate Comedian Steve Mazan's website

This week on The Spectator Film Podcast… Seconds (1966) 6.21.19 Featuring: Austin, Maxx Commentary track begins at 13:00 — Notes — We watched the Criterion Collection release of Seconds for the show this week. It looks wonderful and includes lots of neat bonus features, including a commentary track from John Frankenheimer. ‘Seconds: Reborn Again’ by David Sterritt from The Current A Little Solitaire: John Frankenheimer and American Film edited by Murray Pomerance and R. Barton Palmer — Here’s a really nice collection of essays on Frankenheimer’s entire career – opposed to focusing only on his 60’s work – and it serves as a great critical introduction to his work. There’s several good essays in here discussing Seconds. ‘”The Old Vines are Buried Deep” Classical Motifs in John Frankenheimer’s Seconds‘ by Sean Easton from Illonois Classical Studies — Here’s a really neat essay that examines some of the Greco-Roman motifs in the film, some of which we discussed during the commentary but not to this extent. It illuminates an additional layer of subtext to this already fascinating film. — Corrections — We never had a chance to really mention it, but fun fact: the camera crew for Seconds also included John Alonzo – no wonder the camerawork is so fantastic.

Welcome to Episode 62 of We Watched A Thing.   Merry Christmas ya filthy animals. Join us for our second Christmas special, as we steal our dead cellmates identity to score with Charlize Theron, dress up as Santa, and rob a casino, all while chatting about one of Billy's all-time favourite films 'Reindeer Games'.   Reindeer Games (alternatively titled Deception)[1] is a 2000 American crime thriller film directed by John Frankenheimer, written by Ehren Kruger, and starring Ben Affleck, Gary Sinise and Charlize Theron, with Dennis Farina, James Frain, Donal Logue, Danny Trejo, and Clarence Williams III in supporting roles.Reindeer Games was released by Miramax Films on February 25, 2000. It received generally negative critical reception and was a box office failure, grossing $32 million against a budget of $42 million. It was Frankenheimer's last theatrical film.   If you like this podcast, or hate it and us and want to tell us so - You can reach us at wewatchedathing@gmail.com Or, Twitter - @WeWatchedAThing Facebook - @WeWatchedAThing Instagram - @WeWatchedAThing and on iTunes and Youtube If you really like us and think we’re worth at least a dollar, why not check out our patreon at http://patreon.com/wewatchedathing. Every little bit helps, and you can get access to bonus episodes, early releases, and even tell us what movies to watch.

Larry votes and wonders if it's stupid or brilliant. Hear the answer "they" don't "want" you to find "out" about!!! For the start of autumn, Larry recites "An Autumn—Blooming Rose" by Alfred Austin. And on Magic Movie Moment, we hear about the classic Frankenheimer movie "The Manchurian Candidate." Thanks to ButcherBox for supporting The Larry Miller Show! Receive free bacon and $20 off your first box by going to butcherbox.com/larry and entering larry at checkout. http://LarryMillerShow.com Quote of the week: "It looks like an entire shoe on his shoulder."

In this episode we feature one of the first great directors to get his start in early television and the helmer of such classics as "The Manchurian Candidate" and "Seconds", John Frankenheimer. Frankenheimer had an amazing run of films in the sixties that also included "Birdman of Alcatraz" and "Seven Days in May". We talk about how his go-for-broke kinetic style not only took these films to the next level, but lead even his more questionable later films to make for a fascinating discussion. So enjoy the wild journey (including trips by train and blimp) and watch out for birds, bears, beast-men, and Burt Lancaster. [0:00] Early TV work: "The Comedian", "Days of Wine and Roses" [10:01] "The Young Savages" ("Youth Gone Wild", Skid Row) [21:03] "Birdman of Alcartraz" ("Blackbird", The Beatles) [33:58] "The Machurian Candidate" ("Solitaire", Laura Branigan) [56:40] "Seven Days in May" ("Generals and Majors", XTC) [1:11:35] "The Train" ("Train Kept a Rollin'", The Yardbirds) [1:29:42] "Seconds" ("Seconds", U2) [1:54:03] LIGHTNING ROUND: "Grand Prix", "The Extraordinary Seamen", "The Iceman Cometh", "99 & 44/100% Dead" ("I am Lightning", Roger Daltrey) [2:09:00] "The French Connection 2" ("Heroin", The Velvet Underground) [2:20:32] "Black Sunday" (from John Williams' score from the film) [2:33:16] "Prophecy" ("Let Me Be Your Teddy Bear", Elvis Presley) [2:40:42] "52 Pick-Up" ("Don't Get Mad, Get Even", Aerosmith) [2:50:37] "The Island of Dr. Moreau", ("I Am an Animal", Pete Townshend) [3:06:07] "Ronin" ("Master of Puppets", Metallica)

"Rock Hudson is a guy who punches only in wide shots" Frankenheimer, a 'pioneer of the modern-day political thriller', delights us with some peak sci-fi paranoia. That SNL sketch we keep referencing https://www.youtube.com/watch?v=0xZ52mG1yIo We are Ricardo Deakin and Orla Mc Nelis, two filmy types who love waffling extensively about movies Follow us on Twitter: bit.ly/2fRzZzW Like us on Facebook: bit.ly/2fdF848

Bay Area music critic and culture historian, Greil Marcus, discusses The Slits and former Slits guitarist Viv Albertine's new memoir as well as his fascination with The Manchurian Candidate.Transcript:Lisa Kiefer:Method to the Madness is next. You're listening to Method to the Madness, a biweekly public affairs show on KALX Berkeley, celebrating Bay Area innovators. I'm your host, Lisa Keifer, and today I'll be speaking with Bay Area native and resident Greil Marcus. Greil's has been writing about music and culture for the last 40 plus years, and today we're going to be talking about an event coming up as part of the Bay Area Book Festival. He'll be speaking with Viv Albertine, formerly of the seminal girl punk band, the Slits, on Sunday, April 29th at 3:15 PM at the David Brower Center, Goldman Theater, right here in Berkeley at 2150 Allston Way. Viv Albertine wrote a debut memoir in 2014 that was shortlisted for the National Book Award. Her new book is called To Throw Away Unopened. We'll be talking about that and much, much more.Did you ever see The Slits live?Greil Marcus:Nope.Lisa Kiefer:When did you first hear the Slits?Greil Marcus:You know, I heard the Slits, I was in England in 1980, and I went over there to do a story about the Raincoats and the Gang of Four and Essential Logic early in 1980, and met everybody, and in some cases had formed lifelong friendships out of that trip. And somebody handed me a record there. Yeah, it was called Once Upon a Time in a Living Room. It was the Slits official bootleg, or maybe, I don't know how official it was. It was on Y Records, and it was just the rawest stuff I'd ever heard in my life. I knew who the Slits were, I was aware of them. I heard their first album and it didn't knock me out, but this destroyed me.The first song, Once Upon a Time in a Living Room, starts off with one of them saying, "You're ready?" And someone else is, "Ready?" And then they just burst into laughter, and then there's this tremendous guitar chord coming down and that's it. There is just this storm of guitar noise with the most joyous back and forth, up and down yelping all through. It really is a song, even though at any given moment you, depending on how you're hearing it, it absolutely is noise. But there is a song, there is a musical theme. There are words, not that you could ever make them out. And I just thought it was the purest expression of punk I'd ever heard and I still do.Speaker 3:You're ready? Ready! Oh, no. (singing)Greil Marcus:I just fall over. How could anybody have the nerve to do this?Lisa Kiefer:They had no role models. It was so fresh. And I wonder, has there been anything so fresh as that period of time where the Sex Pistols emerged? They came on the scene, it was a short time, then they're gone. Do you think there's been anything quite like that?Greil Marcus:Yeah, there are analogies. There are parallels, maybe. Elvis at Sun Records in 1954 and '55. It was a similar explosion of creativity, and it brought people from all over the south to knocking on that same door saying, "Let me in. I want to make records too." And a lot of those people became legends, and there's creativity going on in hip hop, just unlimited. There are no borders. There's no bottom, there's no top. It's not just Kendrick Lamar, it's not just Kanye West. There is a group in Edinburgh called the Young Fathers, which is just tremendously playful and experimental, and at the same time, dead serious.Speaker 4:(singing)Greil Marcus:And I'm just talking about the few things I know, but in terms of coherence, with punk in England you have a time, you have a place, you have a scene, you have all different kinds of people who know each other, who are topping each other, who are learning from each other. Viv Albertine of the Slits, I want to be a guitarist. Well, she finds people who can show her how to be a guitarist, and there isn't envy and there isn't fear. I don't want to teach her, you know, she may end up outshining me. There isn't that spirit and it doesn't last very long. None of them. And yet that kind of camaraderie and a desire to speak and a desire to be heard, that was really what punk was all about, at least as I hear it. That was replicated all over the world and still is.One of the best stories about punk I ever heard was from a friend of mine who was spending time in Andalusia in Spain, and she's fluent in Spanish, and she was sitting in a cafe, and these kids came up to her and they said, "You're American, right?" And she said, "Yes." "But you speak Spanish." And she said, "Yes." And they said, "Well, we're punkies, and we have the Sex Pistols album, but we don't understand any of the words. Could you translate these songs for us?" So she did. And that led them, this little group of people who were trying, they didn't know if they wanted to form a band, if they wanted to put out a magazine, if they just wanted to do disruptive things in public, put on hit and run plays.That led them to rediscovering the history of their own town. The anarchist history of their own town, which had been completely erased and buried. And they started talking to older people, and they started digging into the libraries, and they realized that they were the heirs of a tradition that was being reenacted on this Sex Pistols record. And it gave them this tremendous sense of pride and identity. Now they didn't form a band, they didn't make any records, and yet that is a punk story. That is a story about a punk band, band of people as true and as inspiring as any other.Lisa Kiefer:It's a way of being, like as you've pointed out in many examples in Lipstick Traces, one of my favorite of your books.Greil Marcus:Oh, thank you.Lisa Kiefer:And I find myself going back to that. I mean I bought it when it came out, and the Lester Bangs collection that you edited.Greil Marcus:Sure.Lisa Kiefer:That I continue to go to, and that really opened my eyes. I was listening to this kind of music and I saw the cover and I thought, oh, this is a book about the Sex Pistols. So I start reading it and really it wasn't, but it educated me on the history, all the movements that I considered to be punk. From the Priests going up on Easter Sunday in 1950 and saying, "God is dead."Greil Marcus:In Notre Dame.Lisa Kiefer:Somewhere in France.Greil Marcus:Easter Mass in Notre Dame.Lisa Kiefer:And then, 10 years later, and John Lennon saying, "We're more popular than Jesus." I mean, this has been happening along the way.Greil Marcus:Yeah. And what was so fascinating to me, and the stories I end up trying to tell in Lipstick Traces was that it involved all sorts of people who were not unaware of each other, but are doing the same work, speaking the same language in different formal languages, whether it's English or French or German or whatever it might be.These are people who never met, who, if you told them, if you told the Dadaist Richard Huelsenbeck in the 1970s just before he died, that his real inheritors, his real soulmates were these people across town, he was living on the Upper West Side in Manhattan, people across town called the Velvet Underground, he might say, "I have all their albums." Or he might say, "Leave me alone. I'm a serious psychoanalyst." Who knows? But these people weren't aware of each other, and yet they are following in each other's footsteps and taking inspiration from other, whether they know it or not.Lisa Kiefer:Let's talk a little bit about what's going on Sunday and your conversation with Viv, her first memoir, and now I want to talk a little bit about musician memoirs. I love literature deeply and it's kind of my guilty pleasure to read all of these rock memoirs or whatever, whether it's Keith Richards, Kim Gordon. Have you read Kim Gordon's?Greil Marcus:Sure.Lisa Kiefer:Viv's first one, which is called Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys, it was so entertaining. I was so engaged and I didn't expect to be.Greil Marcus:You know, it's a marvelous book.Lisa Kiefer:You called it the best punk book ever.Greil Marcus:I think it is. I think if you want to get a sense of what impelled people, what drove people to step out of their shells, their shyness, their manners, their politeness and reinvent themselves and the joy they felt in doing so for a very brief period of time, this book will show you that, not just tell you, but show that to you, like no other book or film that I'm aware of. But you know, the title really sums up Viv Albertine, I think. Clothes, Clothes, Clothes, Boys, Boys, Boys, Music, Music, Music, which is what her mother once said. "That's all you care about. Clothes, clothes, clothes and boys, boys, boys and music, music, music." And she's, "Yeah, that's right." And there's a wonderful scene at the end of the book. She's in her fifties, she's been married and divorced, she has a daughter, she has this boyfriend and their relationship is not working.And at one point he just explodes, and he grabs her by the neck, and he's shoving her face into the carpet on the floor and she really feels he's trying to kill her, and she's struggling and she's thinking, but she takes you right into her head at that moment. And she says, "Here's a man who I've introduced to my mother and my daughter, who I've cooked for, who I've dressed. I've done everything for this person. And here I am wearing an applique blouse." And she goes and tells you exactly what clothes she's wearing at this moment. And he's pounding my face into the carpet. And she says, "You know, there's just no pleasing some people," and she has that sardonic attitude. But what have you got here? While there's no music in that scene, but you got the boys and you got the clothes, and there's an appendix that tells you what she was wearing and what she was listening to and who she was involved with in any given point of time in the many years covered by this book.The only analogy to that is a Jan and Dean album, the wonderful surf doo-wop group from the 50s and 60s, and it's a collection, and on the back of the album there's a concordance matching the car and girlfriend that Jan or Dean had at the time any given record was released. And what's really fascinating as you read through this is that both the cars and the girlfriends are constantly shifting back and forth between the two of them. They both have Corvettes. One gets a Porsche, the other gets a Maserati. One is going out with Jill, the other's going out with Debbie, and then Debbie is going out with the other one. It's just so funny to read. And so is Viv Albertine's book.Lisa Kiefer:Yeah, she starts her book saying, "I don't masturbate and I never had a desire to masturbate." That's how she starts the book. Later she's talking about Ari Up, who is their vocalist, that she takes a wee right on the stage. I mean, that had to be the first time ever for a girl band to, she had to go and that's where she did it. She was stabbed a couple of times. Really vivid, and you just get this idea that she was so courageous and brave and honest. She's talking about when she first started listening to T. Rex. And why? Because he was a little less aggressively masculine. And I can remember the same thing happened to me in my little town in the Midwest. No one was listening to T. Rex. They did not understand what I liked about Marc Bolan and I loved him, so I've really connected with this book on many levels.Greil Marcus:Yeah, and one of the things that I find so moving in her new book, it's called To Throw Away Unopened, which is another book. I hate to think of them as memoirs because both of these books are so imaginatively constructed, and they really are about things outside the writer's life. The writer is living in a world. The world is present in these books. I think of them as much more ambitious intellectually than memoirs. What happened to me, this all really happened. You should care about it. Why should I care about this? I don't care about this. You have to make me care.This is a book revolving around the death of her mother in 2014, which was at the time that she published her first book, and her conflicts with her sister, and the mystery of her parents' marriage and why it broke up, and who her parents really were. Things that she began to find out after her mother died. Putting all this stuff together, and yet you are always aware of a particular individual fighting to maintain her sense of self, which is constructed, which is self-conscious, which is real, but which could disappear and shatter at any time.There's one incident early on in the book, where she's talking about going to pubs, playing her songs. You know, she's got her guitar, she goes to places, she plays songs because she wants to be heard. She's not making money doing this. She's not supporting herself doing this. It's something she absolutely has to do. And she's in one pub, and there's a bunch of guys right up front who are really drunk and loud-mouthing and shouting and paying no attention to her at all, making it impossible for anybody else to pay attention to her. And there are people there who want to, and impossible for her to pay attention to what she's supposedly doing. So she asked him, "Could you maybe go to the back, maybe go to the bar. I'm trying to get these songs across." And they ignore her. They didn't even say (beep) you. Sorry, we're on the radio.Lisa Kiefer:I'll bleep.Greil Marcus:They don't say a word to her, they just ignore her. And so she gets up, she puts her guitar down, she gets up, she walks over to their table, she picks up a mug of ale, which is the closest thing to her, and she simply sweeps it across the faces of these four guys sitting at the table, and they look at her, absolutely stunned. And then she picks up another mug and she says it was a Guinness, which, this is Viv Albertine as a writer. Every detail is important. It's a Guinness. That's interesting. It's going to be thicker. It's going to stay in clothes more. It's actually going to be more unpleasant to have that thrown in your face.And she throws that in their face and she says, "Your punk attitude, it comes back to you when you need it." And there's a way in which that is sort of the key as I read it anyway, to this new book, as it comes back to you in terms of the the responsibility you have to not back down, to stand up for yourself, but also to stand up for things you believe are right and in jeopardy, to fight when you have to. And to be relentlessly honest, and not pretend you don't care when you do or that you do care when you don't.Lisa Kiefer:I've read her first book. The second isn't out yet. So are they going to be selling it on Sunday?Greil Marcus:Well, she's on a book tour.Lisa Kiefer:So I assume it'll be there.Greil Marcus:So presumably, you don't go on a book tour unless you've got a book that people can go out and get.Lisa Kiefer:And it is the Bay Area Book Festival.Greil Marcus:Yeah.Lisa Kiefer:So, it sounds like you think it's as strong as the first book, which was nominated for a National Book Award.Greil Marcus:It's very different. It's very different, and as writing, it certainly is strong. Whether the story is smaller in terms of the room that makes for the reader, maybe it is, I'm not sure. Viv Albertine is a remarkable person who's done exceptional things in her life, who has a tremendous sense of humor, who has a sense of jeopardy and danger.You can hear it in her music and you can feel it coming off the pages that she writes. I don't know what we're going to talk about. I don't know what this will be like. I just know that as someone listening to the record she made, seeing her play live, reading her books, that she is just a person who can go in any direction at any time. I saw her in 2009 at the Kitchen in Brooklyn, at a show with the Raincoats. She was opening for them, just herself and her electric guitar. Most of what she did was tell stories on stage, was talk. She played songs, but she was mainly telling stories, and it was the most entertaining and diverting and compelling stuff I'd seen in a long time. I was just hanging on every word, and she was both funny and sardonic and cruel to herself and anybody she might be talking about.And at one point she made some reference to how she looks. She was, I think, 54 then. She looked about 30. There was just no question. You say, "Is this real? Is this happening?" And she said, "Yeah, yeah, I know, it's the curse of the Slits." Well, one thing I'm going to ask her is, "What do you mean by that?" You know, the Fountain of Youth? What's going on here? You know, I met her once in, I think, 1991 in England.Lisa Kiefer:When she was doing films. She's a director.Greil Marcus:Yeah, she was a TV director. We were introduced and I said, "My God, you're Viv Albertine?" I'm like, wow. And she was saying, "No, I just, you know, I'm just doing this little TV crew." And I said, "No, this is a big deal for me to meet you." Well, it will be a big deal for me to meet her again.Lisa Kiefer:If you're just tuning in, you're listening to Method to the Madness, a biweekly public affairs show on KALX Berkeley, celebrating Bay Area innovators. Today I'm speaking with Greil Marcus, music critic and culture historian.You've written a monogram on The Manchurian Candidate sometime ago, and you introduced it as part of a film series at the Pacific Film Archive this week. What is your fascination with this Frankenheimer film?Greil Marcus:Well, I saw it when it came out in 1961, saw it at the Varsity Theater in Palo Alto with my best friend. I was 16 and came out of that movie shellshocked. I had never seen anything like it. The only analogy was, I guess the year before seeing Psycho in a theater across the street in Palo Alto. And when that chair turns around at the end of the movie, and you see this mummy, I think you could have peeled me off the ceiling of the theater. But that movie, ultimately it was a puzzle. It was a game. It was a tease for the audience. It wasn't about anything real. You didn't carry it with you. It wasn't like a waking bad dream. It wasn't like a bad conscience that this movie was passing onto, and that's what The Manchurian Candidate was. It was shocking in every way I could possibly account for, and at 16 couldn't begin to account for.I realize now that I had never seen a movie that so completely went to the edges of possibility of the medium itself. What I mean by that is I understood what movies could be after seeing The Manchurian Candidate, and I had never even thought the movies could or couldn't be anything before. The question wasn't even there. The only comparable experience was seeing Murnau's Sunrise quite a few years later and say, "Ah, now I understand this is what movies were meant to be, but almost never are."Lisa Kiefer:With Trump as our president, it's almost like he could be the Manchurian Candidate.Greil Marcus:Well, you know, since John McCain was first running for president and he was, you know, remember he was a prisoner of war and he was beaten and he was tortured. He was filmed, essentially confessing. And there were many people who began to spread rumors about him that he was, and this phrase was used, the Manchurian Candidate, that he had been brainwashed in Vietnam.And he had come back here as a kind of sleeper agent. And somebody once said to him, "How do you make decisions?" And he said, "Well, I just turn over the Red Queen," which is one of the clues in The Manchurian Candidate.Lisa Kiefer:Yeah, I brought one with me. I was going to try and brainwash you.Greil Marcus:Yes, exactly. The Queen of Hearts. That is a crucial marker in the film. But it wasn't that it was showing us a conspiracy to destroy our country, which is part of what the movie is about. And that we would then say, "Oh my God, this could happen. This is so scary. This is so terrible." Over the years, this is 1961 or '62, Kennedy, John F. Kennedy was involved in the making of the movie. He and Sinatra discussed it. Kennedy wanted Lucille Ball to play the role of the mother that Angela Lansbury ended up playing. Kennedy was weighing in on the casting.He and Sinatra were close at that time. Sinatra's the lead in the movie. Kennedy is assassinated in 1963, Malcolm X was later. It was Malcolm X who said that with Kennedy's assassination, the chickens had come home to roost. And then we just go through the decades, it's just a panoply of disaster, whether it's Wallace, whether it's Reagan, whether it's Malcolm X, whether it's Martin Luther King, whether it's RFK, and going on and on to Gerald Ford, two assassination attempts on him, and into the present.As each of these things happened, the movie comes back to people with more and more reverberation because the story, the sense that our politics don't make sense. This is that everything is happening in a world beyond our control, knowledge or even our abilities to comprehend.Lisa Kiefer:And there are so many secrets that we aren't able to know about.Greil Marcus:Yeah, this gets more and more present. So when you end up with a president, a candidate, and then a president who is at the very least beholden to, and at the very worst, under the control of another country, it's almost as if you can't make the Manchurian Candidate argument because it's too trivial. Well, this movie said, but that's what we carry around our heads.But what's shocking about the movie? I want to get back to that because if people haven't seen it, it was unavailable for many years. It was essentially, it wasn't banned in any legal sense, of course, but you couldn't see it for many, many years. It just felt wrong after Kennedy's assassination and it played on TV after Kennedy was assassinated, but then Sinatra controlled the movie. He pulled it. It didn't come out in video. It didn't show on late night TV. It didn't show in revival screenings. It just wasn't there.You could tell people about it as a kind of legend. Now it's available. People can watch it in any way they want, at any time they want. And one of the things that happens in this movie is violence. Violence that from the very first moment is wounding, is disturbing, is hard to take, and it's absolutely in your face. I mean that literally, the movie puts blood splatters in your face. It happens in a way that you're just desperate, as the movie is going on, for it not to go where you know it's going to go. This is not a movie with a happy ending. This has one of the most awful endings that I know. It is an ending of complete despair and self-loathing and hopelessness. The last words of the movie is Sinatra. "Hell, hell, hell!" That's how the movie ends. And there's a thunderclap. Bang. That's it. And you just walk out of there...Lisa Kiefer:Stunned.Greil Marcus:... and it's like your world has been taken away from you. None of this would matter if this movie wasn't made with tremendous glee and excitement on the part of the director and the writer and the editor and the cinematographer and Lawrence Harvey and Frank Sinatra...Lisa Kiefer:Great cast.Greil Marcus:... and Angela Lansbury and Janet Leigh and on and on and on. All these people are working over their heads. They've never been involved in anything that demanded so much of them, that is making them feel, this is what I was born to do. Can I pull this off? Can I make this work? Can I convince people this is who I really am, that I actually would do these terrible things, and going past themselves. None of the people in this movie, to my knowledge or the way I see it, ever did anything as good before or after.They never did anything as innovative. They never did anything as radical. They never did anything as scary. And whether or not they felt that way about their own work in their own lives, don't have any idea, but I don't think so.Lisa Kiefer:I do want you to mention your website, which I have found to be very interesting. What is that?Greil Marcus:Well, there's a writer named Scott Woods who lives in Canada, and he approached me a number of years ago and asked if he could set up a website to collect my writing and just be a gathering place. And I said, "Sure." It's greilmarcus.net, and he just immediately began putting up articles, old things I'd written, recent things I'd written in no particular order, no attempt to be comprehensive, at least not right away. He did it with such incredible imagination and flair, but he started a feature a few years ago. It has the rather corny title of Ask Greil where people write in and ask me questions, and it could be about a song, or a band, or politics, or history or anything, or novels, movies. And I just answered them. I answered them all immediately because if I didn't, they'd pile up and I'd never get back to them. Is Donald Trump a Russian agent? Well, here's why he might be, and that's a complicated argument. So I take some time to talk about it.Lisa Kiefer:Thank you for coming onto Method to the Madness and being our guest here at KALX.Greil Marcus:Well, thank you. It's a thrill to be on your show.Lisa Kiefer:That was musicologist Greil Marcus. He'll be in conversation this Sunday, April 29th at 3:15 with Viv Albertine, formerly of the Slits. This is part of the Bay Area Book Festival in partnership with the San Francisco Chronicle. They'll be speaking at the Goldman Theater of the David Brower Center at 2150 Allston Way. Tickets are $10 ahead.You've been listening to Method to the Madness. You can find all of our podcasts on iTunes University. We'll be back in two weeks. See acast.com/privacy for privacy and opt-out information.

#204 - This time around we go over the Robert De Niro staring, car chase fueled spy thriller, Ronin. We also go over some notable MacGuffins, how Black Mirror can be a tough watch, and list our favorite car chases. Enjoy!   HSF Rating Alex-5, Scott-5, Jeff-4, Category: Movies Please follow and contact us at the following locations: Facebook:Hans Shot First Twitter: http://twitter.com/hansshot1st Email: hansshotfirst@outlook.com iTunes: https://itunes.apple.com/us/podcast/hans-shot-first/id778071182 Google Play: https://play.google.com/music/m/I5q2th5tzsucvpzgmy3kmzgtd44?t=Hans_Shot_First

This week Matt and Mark review the bombastic (and slightly silly) Frankenheimer actioner Ronin! More like a tabletop RPG come to life, Ronin deftly utilizes a McGuffin plot in which to thread its Mamet enhanced characters. For whatever reason, we forgive it its military-grade body count and implausible set pieces. Why? Because its a fun film. Unlike most action drivel, Ronin's interstitial scenes have lives of their own and not just a scaffold to tie the car chases together.Download: 264 Ronin

When Rudy pretends to be Nick to seduce Millie who’s pretending to be Ashley, the girlfriend of Nick who’s pretending to have never met Millie, while Millie as Ashley is pretending to be the sister of Monster, who’s actually her other other boyfriend, things can get pretty dicey. Joe welcomes Jef and Amber Burnham back to the show to discuss John Frankenheimer’s “Christmas” “Classic” Reindeer Games. They get into the true meaning of marriage, their tradition of watching Reindeer Games ever Christmas eve for the past 15 years, Jef’s movie-linked memory, the dark years, various ways to watch the film, long shot plans, working backwards through the plot, not doing Jimmy Stewart impersonations, Michigander stereotypes, transferable skill sets, the density of every moment, Frankenheimer’s commentary, Sidnaw, and candy cane foreplay. Support the podcast with 5 star ratings and positive reviews on Apple Podcasts, donate money at www.patreon.com/wordsalad, and tell your friends about us. We appreciate it! Email us: QuoteUnquoteGuilty@gmail.com Check out our facebook page: www.facebook.com/quoteunquoteguilty Follow us on Twitter: www.twitter.com/QuoteGuilty Follow Joe on Twitter: www.twitter.com/Play_Architect Follow Jef on Twitter: www.twitter.com/Cadaver_Cast Follow Ben Affleck on Twitter: www.twitter.com/BenAffleck Follow Gary Sinise on Twitter: www.twitter.com/GarySinise Follow Charlize Theron on Twitter: www.twitter.com/CharlizeAfrica Follow Danny Trejo on Twitter: www.twitter.com/OfficialDannyT Opening theme composed by Andrew Kroepel (www.twitter.com/VGComposer) Cover Art created by Justin Gibson (www.twitter.com/justingibson) Check out the other word salad podcasts: Dealing With Phillip: www.soundcloud.com/dealingwithphillip CadaverCast: www.soundcloud.com/CadaverCast The Countdown: Movie and TV Reviews: www.thecountdownmoviesandtv.podomatic.com Word Salad Radio: www.soundcloud.com/wordsaladradio Toon In Podcast: www.soundcloud.com/ToonInPod Episode edited by Joe Ketchum © 2016-2017 Joe Ketchum

The Manchurian Candidate and The Mind’s Eye. Across human history, assassinations have driven the path of societies, empires and governments. Along the way, they have accounted for some of the most insidious and mysterious conspiracy theories the world has ever known. Star Trek: The Next Generation’s fourth season episode “The Mind’s Eye” adapted a classic piece of American cinema: The Manchurian Candidate. This 1962 film, directed by John Frankenheimer and starring Frank Sinatra and Laurence Harvey, dealt with the terrifying reality of mind control and political murder. In this episode of Primitive Culture, hosts Tony Black and Duncan Barrett explore TNG’s story of Romulan subterfuge in comparison with Frankenheimer’s movie, drawing parallels and examining how Star Trek frames the concept of political assassination in the 24th century. Chapters Intro (00:00:00) Duncan’s Journey to Star Trek (2:24) The Manchurian Candidate and “The Mind’s Eye” (12:39) Scorpions in a Bottle (20:21) Un-Federation Activities (26:53) A Commander Riker Holiday (32:17) Bashir, Tuvok, and O’Brien (34:36) The Manchurian Backstory (40:36) A Good Adaptation? (52:51) Hosts Tony Black and Duncan Barrett Production Tony Black (Editor) C Bryan Jones (Executive Producer) Matthew Rushing (Executive Producer) Ken Tripp (Executive Producer) Richard Marquez (Production Manager) Brandon-Shea Mutala (Patreon Manager)

*CORRECTED* In 1962, director John Frankenheimer and pop star Frank Sinatra joined forces to turn a biting indictment of Cold War paranoia and McCarthyism politics known as The Manchurian Candidate into a film which would launch both actor and filmmaker into the highest strata of celebrity and coining a political term that would last beyond their lifetimes. But does the film deliver the goods or should it jump into the lake? MovieDude Eric, Kent & special guest Cody play a game of solitaire to find out. * Note: While the discussion is primarily focused on the 1963 classic, there are spoilers for the 2004 remake starring Denzel Washington and Merryl Streep as well.    If you like this episode, you can find more of Arthouse Legends on GonnaGeek.com along with other similar geek podcasts. You can also leave comments at ArthouseLegends@gmail.com or on our Twitter feed @arthouselegends. Music provided by Johnny Ripper, "sundown" Please make sure to leave feedback about the show on your podcast directory, especially on iTunes in order to help us gain more listeners. Thank you.

Adam Curtis's Hypnotoad This week's title was brought to you by Letterboxd user Ned Gilmore and this week's featured film is a streaming title - all the rules are being broken today. We look at De Palma's Body Double as a new Label is launched, silent cold doc The Epic of Everest and Frankenheimer oddity 52 Pickup. Our feature presentation was Adam Curtis' new film Hypernormalisation.

Nice to Eat you to Eat you Nice Weird revelations aplenty on this week's Eclectica. Join us as we look at Frankenheimer's subversive classic Seconds, forgotten early Altman in The Cold Day in the Park, Alan Clarke's dense folk minefield Penda's Fen and one of the films lost under the radar releases from 2014 - 99 Homes. Our film of the week was Hiromasa Yonebayashi's Anime When Marnie was There.

Anthology - 012 - The Fever (The Twilight Zone S01E17) + Seconds (1966) This week, Matt reviews episode 17 from The Twilight Zone’s first season: The Fever. He concludes the episode with a listener recommended review of the 1966 John Frankenheimer film Seconds. Tweet your thoughts on the podcast and The Twilight Zone itself @ObsessiveViewer. You can also reach the show on Anthology’s Facebook Page, email at Matt(at)ObsessiveViewer(dot)com, or call and leave a voicemail for the show: (317) 762-6099. Direct Download Link: http://traffic.libsyn.com/anthologypod/AP12.mp3 iTunes Google Play Runtime: 40:25 Timestamps Intro - 00:33 The Fever - 02:11 Obsessive Viewer Promo - 28:09 Bonus Review: Seconds (1966) - 29:55 Outro - 38:36  Show Notes Obsessive Viewer Podcast - This week's promo clip came from The Obsessive Viewer podcast episode 164 – Bonus Ep – 11.22.63 – A Hulu Event Series (Guest: Brian Davids from Film Schlubs) Facebook: AnthologyPod - Like Anthology on Facebook Twitter: @ObsessiveViewer - Tweet me your thoughts on the show Anthology’s Full Episode Archive Anthology’s RSS Feed Obsessive Viewer Subreddit Obsessive Viewer - Check out plenty of reviews of movies, TV shows and industry commentary at the blog that started it all. Obsessive Book Nerd - OV’s “sister site” where you can find book reviews and commentary on the evolving world of reading.

“Time for a change." James Wong Howe shot color films very well, but it was his black-and-white cinematography that he was really known for. He won two Oscars for his B&W cinematography and played with many techniques that influenced filmmakers and cinematographers long after he was gone. The camera work on John Frankenheimer’s 1966 film “Seconds” is no exception. It fits the tone of the film perfectly, creating a sense of unease and discomfort quite often. Join us — Pete Wright and Andy Nelson — as we finish our B&W cinematography of James Wong Howe with Frankenheimer’s “Seconds.” We talk about the camerawork (paired with the editing) and how it works — or doesn’t work — for us in this thriller. We chat about the talent, notably Rock Hudson, John Randolph, Salome Jens, Will Geer, Murray Hamilton and Jeff Corey, and what they bring to the table. We discuss what works and what doesn’t work for us in this unique sci-fi story. And we touch on Jerry Goldsmith’s music and how much we love — or hate — it in this film. It’s a bit of a divisive conversation this week, but a very fun one. Tune in! Film Sundries Dialog Transcript Original theatrical trailer Original poster artwork Art of the Title Seconds — by David Ely Flickchart Trailers of the Week Andy’s Trailer: The Stanford Prison Experiment — “Having discussed Zimbardo’s experiment in our documentary ’The Joe Show,’ I was super excited to see the trailer for this film. The experiment is a frightening piece of American history and of the history of the psychology field, and it looks like they captured this very well. I can’t wait." Pete’s Trailer: Extinction — “Well, it’s a zombie flick so I pretty much have to pick it. But Matthew Fox I like, and Jeffrey Donovan we know from Burn Notice. I’ll give those guys a shot in an arctic apocalypse, sure." Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Justin "JJ" Jaeger Chadd Stoops Follow Steven Smart on Letterboxd

“Time for a change." James Wong Howe shot color films very well, but it was his black-and-white cinematography that he was really known for. He won two Oscars for his B&W cinematography and played with many techniques that influenced filmmakers and cinematographers long after he was gone. The camera work on John Frankenheimer's 1966 film “Seconds” is no exception. It fits the tone of the film perfectly, creating a sense of unease and discomfort quite often. Join us — Pete Wright and Andy Nelson — as we finish our B&W cinematography of James Wong Howe with Frankenheimer's “Seconds.” We talk about the camerawork (paired with the editing) and how it works — or doesn't work — for us in this thriller. We chat about the talent, notably Rock Hudson, John Randolph, Salome Jens, Will Geer, Murray Hamilton and Jeff Corey, and what they bring to the table. We discuss what works and what doesn't work for us in this unique sci-fi story. And we touch on Jerry Goldsmith's music and how much we love — or hate — it in this film. It's a bit of a divisive conversation this week, but a very fun one. Tune in! Film Sundries Dialog Transcript Original theatrical trailer Original poster artwork Art of the Title Seconds — by David Ely Flickchart Trailers of the Week Andy's Trailer: The Stanford Prison Experiment — “Having discussed Zimbardo's experiment in our documentary 'The Joe Show,' I was super excited to see the trailer for this film. The experiment is a frightening piece of American history and of the history of the psychology field, and it looks like they captured this very well. I can't wait." Pete's Trailer: Extinction — “Well, it's a zombie flick so I pretty much have to pick it. But Matthew Fox I like, and Jeffrey Donovan we know from Burn Notice. I'll give those guys a shot in an arctic apocalypse, sure." Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Justin "JJ" Jaeger Chadd Stoops Follow Steven Smart on Letterboxd

James Wong Howe shot color films very well, but it was his black-and-white cinematography that he was really known for. He won two Oscars for his B&W cinematography and played with many techniques that influenced filmmakers and cinematographers long after he was gone. The camera work on John Frankenheimer's 1966 film “Seconds” is no exception. It fits the tone of the film perfectly, creating a sense of unease and discomfort quite often. Join us — Pete Wright and Andy Nelson — as we finish our B&W cinematography of James Wong Howe with Frankenheimer's “Seconds.” We talk about the camerawork (paired with the editing) and how it works — or doesn't work — for us in this thriller. We chat about the talent, notably Rock Hudson, John Randolph, Salome Jens, Will Geer, Murray Hamilton and Jeff Corey, and what they bring to the table. We discuss what works and what doesn't work for us in this unique sci-fi story. And we touch on Jerry Goldsmith's music and how much we love — or hate — it in this film. It's a bit of a divisive conversation this week, but a very fun one. Tune in!

James Wong Howe shot color films very well, but it was his black-and-white cinematography that he was really known for. He won two Oscars for his B&W cinematography and played with many techniques that influenced filmmakers and cinematographers long after he was gone. The camera work on John Frankenheimer's 1966 film “Seconds” is no exception. It fits the tone of the film perfectly, creating a sense of unease and discomfort quite often. Join us — Pete Wright and Andy Nelson — as we finish our B&W cinematography of James Wong Howe with Frankenheimer's “Seconds.” We talk about the camerawork (paired with the editing) and how it works — or doesn't work — for us in this thriller. We chat about the talent, notably Rock Hudson, John Randolph, Salome Jens, Will Geer, Murray Hamilton and Jeff Corey, and what they bring to the table. We discuss what works and what doesn't work for us in this unique sci-fi story. And we touch on Jerry Goldsmith's music and how much we love — or hate — it in this film. It's a bit of a divisive conversation this week, but a very fun one. Tune in!

Movie Meltdown - Episode 304 This week, after a quick hang out and injury session with Kate, we then sit down with Pat Healy to discuss acting and working in the entertainment industry for the last twenty years. Pat has been building an amazing career over the years, appearing in Magnolia, Ghost World, Rescue Dawn as well as an impressive amount of television appearances. But in the last decade, he's moved into the leading man role in a terrific string of smaller films like The Great World Of Sound, Compliance, The Innkeepers and Cheap Thrills. We examine what's it's like to be a working actor in Hollywood as well as how to delve into some of the super dark subject matter he has in recent films.  Then, Pat joins us for this week's Sofa Theater feature: John Frankenheimer's film Seconds. A nightmarish science fiction story about changing your identity and starting your life over... if you can?  And as some of us barely survive the dreaded Pelvis Attack, we also discuss... Bloodsucking Bastards, A Clockwork Orange, getting cadavered, getting pelvised, a movie freak with my three brothers, a Faustian bargain, in the middle of the corn fields, dancing around to records, the hallway of doom, chopping Chris Evan's head off, stomping, wine, building a career, spilling coffee on yourself, making lateral moves, Rock Hudson, leading roles in smaller films,  a flaming ashtray, Sum 41, Captain America, Steppenwolf Theatre, playing the wolfman, I Walk the Line, Julianne Moore, reborns, melted through the toilet, that's the tragedy I think of most people... is they never really get to know each other... and as a result, they are never really in great contact or relationships with other people, being able to sit down and have a conversation with Jason Robards for just a few minutes, Tom Green waving at you, Marian Seldes, Twilight Zone, the John Hughes machine, Shaun of the Dead, winning two Academy Awards, being kept in a glass case, walking around with an oxygen tank, a weird dude snapping in my bathroom, Paul Thomas Anderson, real freedom, Craig Zobel, getting a call from a dead friend, not eating gluten, feels like a nightmare, being special, It feels that it's worked out the way it's supposed to, Simon Pegg, a throbbing hip, just pulling faces, saying words wrong, run through the gamut of what my life experience has been, John Randolph, The Gypsy Moths, there's only so much time... and you could really waste it, the truth about who you are, Mark Duplass, eating applesauce, Paul Newman, learning how to reel yourself back in, my cat kept getting in the way and making dinosaur noises.  Spoiler Alert: We go in detail on John Frankenheimer's "Seconds". So go watch it beforehand. "It's one of the great gifts, that I get to do as an actor, is I get to go and peer into the abyss."

The T100P passes the halfway point with podcast #62, a paranoid, sweaty thriller. It’s also a satire, one that can see the humour in brainwashing, political power-grabs and multiple murders. Fantastic film. Check out our chat!

Hi Movie Lovers and Everyone Else! Here's the fourth episode of our Over/Under Movies podcast, where our film panel chooses one overrated and one under-appreciated film and discuss them in great detail. This episode's theme is "Second Chance at Life" Movies. The overrated film is Limitless (2011): http://www.imdb.com/title/tt1219289/ The under-appreciated film is Seconds (1966): http://www.imdb.com/title/tt0060955/ We get around 50-100 downloads per episode, which is very encouraging. But please, please, please give us some comments and feedback at the bottom of this page. You can also find this podcast on iTunes (https://itunes.apple.com/us/podcast/over-under-movies/id579531147?mt=2) so you can subscribe and listen on your iPhone or iPad. Thank You! Oktay Ege Kozak

One of John Frankenheimer's best films came late in his career — 1998's Ronin. A seemingly simple story about a group of mercenaries who take a job trying to get a mysterious case is twisted around with double-crosses and plot twists, and becomes a perfect example of Hitchcock's MacGuffin. Join us — Pete Wright and Andy Nelson — on this week's episode of Movies We Like as we continue our great car chase series. We talk about the great car chases in this film and how they were executed, as well as why Frankenheimer chose to film them the way he did. We discuss the script and the writers, most notably David Mamet, and how he ended up deciding to get credited as co-screenwriter under an alias. We chat about the great actors and what they bring to the film, yet how one of them never has felt right to us in his role, as great of an actor as he is. And we chat about the title of the film, the nature of ronin warriors, and what it means in context of this film. It's a great action thriller with amazing car chases and definitely a film worth talking about. Listen in!

One of John Frankenheimer's best films came late in his career — 1998's Ronin. A seemingly simple story about a group of mercenaries who take a job trying to get a mysterious case is twisted around with double-crosses and plot twists, and becomes a perfect example of Hitchcock's MacGuffin. Join us — Pete Wright and Andy Nelson — on this week's episode of Movies We Like as we continue our great car chase series. We talk about the great car chases in this film and how they were executed, as well as why Frankenheimer chose to film them the way he did. We discuss the script and the writers, most notably David Mamet, and how he ended up deciding to get credited as co-screenwriter under an alias. We chat about the great actors and what they bring to the film, yet how one of them never has felt right to us in his role, as great of an actor as he is. And we chat about the title of the film, the nature of ronin warriors, and what it means in context of this film. It's a great action thriller with amazing car chases and definitely a film worth talking about. Listen in!

One of John Frankenheimer's best films came late in his career — 1998's Ronin. A seemingly simple story about a group of mercenaries who take a job trying to get a mysterious case is twisted around with double-crosses and plot twists, and becomes a perfect example of Hitchcock's MacGuffin. Join us — Pete Wright and Andy Nelson — on this week's episode of Movies We Like as we continue our great car chase series. We talk about the great car chases in this film and how they were executed, as well as why Frankenheimer chose to film them the way he did. We discuss the script and the writers, most notably David Mamet, and how he ended up deciding to get credited as co-screenwriter under an alias. We chat about the great actors and what they bring to the film, yet how one of them never has felt right to us in his role, as great of an actor as he is. And we chat about the title of the film, the nature of ronin warriors, and what it means in context of this film. It's a great action thriller with amazing car chases and definitely a film worth talking about. Listen in!

One of John Frankenheimer's best films came late in his career — 1998's Ronin. A seemingly simple story about a group of mercenaries who take a job trying to get a mysterious case is twisted around with double-crosses and plot twists, and becomes a perfect example of Hitchcock's MacGuffin. Join us — Pete Wright and Andy Nelson — on this week's episode of Movies We Like as we continue our great car chase series. We talk about the great car chases in this film and how they were executed, as well as why Frankenheimer chose to film them the way he did. We discuss the script and the writers, most notably David Mamet, and how he ended up deciding to get credited as co-screenwriter under an alias. We chat about the great actors and what they bring to the film, yet how one of them never has felt right to us in his role, as great of an actor as he is. And we chat about the title of the film, the nature of ronin warriors, and what it means in context of this film. It's a great action thriller with amazing car chases and definitely a film worth talking about. Listen in!

In one of their earliest episodes, Tom and Derrick promised they were going to do an episode about one of their favorite directors. And now, five years later, an hour-long celebration of the man behind "The Paranoia Trilogy" is here! The Guys Outta Brooklyn talk about why they love John Frankenheimer, discuss their favorite films from his career (and their least favorite), and recommend the films you need to see to begin your Frankenheimer education. Plus the return of The Bagel in the Briefcase! You don't want to play a game of solitaire, so get to clicking!

In one of their earliest episodes, Tom and Derrick promised they were going to do an episode about one of their favorite directors. And now, five years later, an hour-long celebration of the man behind "The Paranoia Trilogy" is here! The Guys Outta Brooklyn talk about why they love John Frankenheimer, discuss their favorite films from his career (and their least favorite), and recommend the films you need to see to begin your Frankenheimer education. Plus the return of The Bagel in the Briefcase! You don't want to play a game of solitaire, so get to clicking!

In one of their earliest episodes, Tom and Derrick promised they were going to do an episode about one of their favorite directors. And now, five years later, an hour-long celebration of the man behind "The Paranoia Trilogy" is here! The Guys Outta Brooklyn talk about why they love John Frankenheimer, discuss their favorite films from his career (and their least favorite), and recommend the films you need to see to begin your Frankenheimer education. Plus the return of The Bagel in the Briefcase! You don't want to play a game of solitaire, so get to clicking!

In one of their earliest episodes, Tom and Derrick promised they were going to do an episode about one of their favorite directors. And now, five years later, an hour-long celebration of the man behind "The Paranoia Trilogy" is here! The Guys Outta Brooklyn talk about why they love John Frankenheimer, discuss their favorite films from his career (and their least favorite), and recommend the films you need to see to begin your Frankenheimer education. Plus the return of The Bagel in the Briefcase! You don't want to play a game of solitaire, so get to clicking!

What if we were back? What if we talked about YOUR pick between Thor, Cap and GL? What if we talked movie news? What if we talk Wizard of Oz!? What if someone else directed a movie? What if Frankenheimer directed I Am Legend? What if Speilberg directed Harry Potter? Give us YOUR what if. hectorandtodd@gmail.com or leave a voicemail (508)925-0443.