Podcast appearances and mentions of Jason Gedrick

Up next on the Beeper Bob Classics is Iron Eagle, the quintessential jet fighter movie of the 1980's. Starring Lou Gossett Jr. and Jason Gedrick, Iron Eagle follows the story of Doug Masters, who is on a mission to save his father Ted who is being held as a prisoner of war in a foreign land. With help from his friends and fighter ace Chappy Sinclair, Doug's mission quickly turns into a reality that he wasn't totally prepared for.Support the showCatch new episodes of the Where to Stick It Podcast every Tuesday and Thursday. If you like the show, please consider supporting us on Patreon where we upload exclusive content each month for only $3 a month.

Welcome to **"Retro Life 4 You,"** where we're flying high today as we take a thrilling look back at the 1986 action-packed classic, **"Iron Eagle."** Directed by **Sidney J. Furie** and starring **Jason Gedrick** as Doug Masters, a determined teen who takes to the skies in a daring mission to rescue his father, a captured fighter pilot. With the help of retired Air Force Colonel Chappy Sinclair, played by the legendary **Louis Gossett Jr.**, Doug embarks on a dangerous and adrenaline-fueled rescue mission that tests his courage and skill.In this episode, we'll break down the film's intense aerial combat scenes, its pulse-pounding soundtrack, and the bond between Doug and Chappy that makes **"Iron Eagle"** a beloved 80s military adventure. We'll also explore the film's impact on the era, its rivalry with **"Top Gun,"** and how it became a cult favorite among fans of 80s action cinema. So strap in and join us as we soar through the high-flying action and unforgettable moments of **"Iron Eagle!"**If you are new to the podcast then please consider following us on the platform that you love, we can be found most anywhere that you listen to your favorite podcasts. Please leave us a rating and review if you listen on iTunes and a 5 star rating if you listen on Spotify. If you like what you hear then please share the show with your friends and family. If you would like to help support the podcast by donating a small amount or any custom amount you choose then please visit the following link:https://retrolife4u.com/supportThis is not a membership or anything just a way for you to help support us without paying a reoccurring monthly fee when you feel like you are able to help. If you have any questions, comments, suggestions for shows or you have a question you would like us to read on air then email us at retrolife4you@gmail.com You can find us on social media at the following places:FacebookInstagramTik TokYouTubeRetro Life 4 You Website

```htmlHey everybody, welcome to Hit Rewind. This is Michael, and Jacob's on the other side. We are discussing the films of 1997. We're finally here! Yes! Look, I know- Action, baby! We had a game plan, and I got bored. I'm sorry, I'm a little erratic. We were going to go through the 60s and 70s and pick up stuff we missed in the 80s and 90s, and I said, I can't take any more westerns and war movies! Movies and other than that it seems like it's gonna be really hard to finish off the 60s and then hopefully we can burn through the 70s but for now i think for the rest of this year until you go on hiatus again we're just gonna do 97 probably 98 i seriously doubt we'll get through 99 but let's get started everybody what's the first movie of 1997 you want to discuss, well this one i wanted to get out of the way i hadn't seen this before and i didn't even know it was sort of like a follow-up to fish called wanda fierce creatures you know what's funny is you usually miss it you're like i'm gonna get this out of the way because this thing's a piece of fucking shit no i mean you have to start someone with these lists yeah to any of them well a lot of people do a lot of people do think this is a piece of shit it was a huge flop, critics hated it it got dumped like the second week of january no one gave a flying fart about it i don't think it's that bad is it is it because fish called one is probably considered at least bare minimum on every list a top 25 comedy of all time. Do you think those expectations are what ruined Fierce Creatures? Definitely have an impact. That would be a contributing factor. Yeah. You can't rule it out. The director did switch halfway through the movie and there was some reshoots to fix the entire ending. The last 20 minutes or so were completely reshot. So when his father shows up at the zoo, he died in a completely different way so before he gets shot in the head that whole thing was re-shot so that cost a lot of money and delayed release and stuff like that so that was a little bit. A little bit part of it's like flow is a little off. I think the only thing that really hurts this movie to me is I think some of the jokes don't work and they're not, they're not as macabre as they should be. It's so dark and weird in fish called one. I feel like they're pulling their punches a little bit in this one. Yeah. Oh, but for that, Oh God, that scene at the end, she did not expect that. Yeah. I mean, yeah, you get your supporting cast, like you got like Michael Palin coming back as well. Along with Jamie Lee Curtis, Kevin Kline playing two roles, you know, basically the owner of the company trying to buy the zoo and then his son, you know, trying to show that he can run things. Yeah, you know what's funny is in the original cut, he shows up as his mother. So he played three characters. Oh, no, Kevin Kline could pull that off. It's funny, I mean, especially after Wild Wild West. Yeah. It's so funny is after he won the Oscar, It seemed like he struggled in mainstream films that he had to go do smaller, more independent-minded movies. Life is a House and, oh, there's a teacher one that he did that was really good. But it's like whenever he does a big studio film, it seems like it's a struggle. Oh, In-N-Out, right? Is that what you're talking about? Well, yeah, In-N-Out's the one that won him the, I don't think he won, but he might have got the nomination. But it just seemed like he would jump from major movie and then just, like, it wouldn't do very well. then he would go do some independent smaller stuff and then that would, you know, rock the house. Because if you remember, the first entry in this, the whole Fish Called Wanda, was an independent movie that was picked up by MGM. Oh, wow. Oh, this was produced by Danny DeVito. See, that makes me even more depressed because it should have been more demented. Oh, absolutely. I mean, come on. I mean, after, what, War of the Roses, and The Law from the Train, and then later on Death of Smoochie, yeah, no, you'd think it would be a little bit more crazy. Yeah, I'm looking... Go ahead. but yeah that scene though like near the end to like you know open keep things up going yeah that did throw me for a loop I was like holy shit I did not expect that to happen of course Michael Palin's character you know being one of the loop keepers. You know, keep his area funded, you know, always talking about like deadliest animals. They have to be. And then, bam, the little piece shooter. Like, oh, my God. Well, that's if you haven't seen this movie, what it is, is this is a takedown of Fox News. This is a Kevin Kline is playing Rupert Murdoch. He flat out is. And his whole thing is consume. And it's still going today. Consume whatever you can to make your corporation even bigger. But in order to turn a profit from what you just spent buying a thing, you have to do massive cuts. So they're they're they're firing people. They're adding tons and tons of stupid advertising, but they're also getting ready some of the animals. And Rallo, who's played by John Cleese, is in charge. He's ex-military and they think that he can be really hardcore, you know, cutting this place down to the bone to make a profit. Because it's not just a profit, though. Wasn't it 20 percent is what they had to have? Yes that's insane like especially in the beginning of owning something you kind of have to eat the the profits for a while until you get things up and running and exactly you gotta spend some money to make yeah but you saw this with rupert murdoch and stuff like that and other guys like ted turner who bought shit up and didn't really fucking care as long as it built his empire and made money so and what they just happened with disney disney buying up ironically fox but also Also, like shutting down Blue Sky, you know, trimming the fat on any independent movies, small stuff. They basically destroyed Fox Searchlight. It barely exists now. So this is nothing new. So 25, almost 30 years ago, this movie really had their finger on the pulse. Pretty much. Oh, gosh. It does make a whole lot of sense. Just like how they had to have like some of the zoo staff dressed up as animals. All these stupid little, you know, advertisement boards and posters. The fake panda. Oh god yes animatronics and all that you know i know that gorilla suit is fake but god that was convincing that was really really good make yes god i mean honestly as much as i enjoy congo yeah that looked a lot more accurate than congo yeah but yeah so he has to find ways of keeping the animals alive keeping the place open but there's this whole subplot of somehow rollo keeps getting in these like situations that make him look like the biggest swinger in all of england like the most fuckable man in the whole place and everybody's just kind of confused by it i mean jimmy curtis seems to be confused by him and also amused and turned on exactly that's why she's kind of seducing him in the end yeah and all the while like kevin klein the son when he's playing the son he's trying to get with earth they have something like no this is purely a partnership you know this is a workplace professional relationship but i think nothing intimate it works out for him because he is a fucking what do you call that sex pest yeah he's a sex pest his whole thing but they finally find a piece for his character in that you know you've, To be fair, it took him accidentally killing his father. But, you know, like, give him the zoo. Just let us run this. Or no, get him to run the corporation, whatever. Now, the whole thing about faking the death is one of the most ridiculously comical things I've ever. The whole, oh, I'm in my dark phases. I gotta go be by myself in the barn. Oh, yeah. Then the whole shtick, trying to find everything, put everything in the right place. Make sure there's no suspicion that it was actually a suicide. Yeah. Like, the space in the gun and everything. And then having to carry on and provide those lines. Yeah, I think it's a really fun movie. But, yeah, it tanked so hard. Originally meant to be $18 million. The reshoots cost another $7 million. And it only made about $8 million in America. Thankfully, it made some decent money overseas. But in comparison, this only made $40 million. Dollars fish kawada beat 198 million and it only cost half of this oh yeah that's a huge drop, all right so what is our next film this one okay this is a bit of a turn this is we're going a little we're going dramatic with this one and this is what you know mainstream audiences take johnny depp far more seriously yeah donnie brosco i'm trying to think was he he was in that nick of time movie a couple years before this that you and i both enjoyed but guess what nobody saw it was a huge flop yeah before this it's either his movies were very very small independent movies like dead man or it was him just being quirky and cute you know like benny what did bonnie and june benny and june benny and june right stuff like that you know where he played quirky eccentric this is the first one besides nick of time that people are like oh he can play a normal dude which he rarely did. And I still think Pirates of the Caribbean is the worst fucking thing that could have happened to him. I mean, at the time it seemed great, but who knew that all that money, all that excess, all those demands for him to play weirdo characters for the rest of his goddamn life until just recently would just undo him. Absolutely. That and, of course, his on-set behavior. Yeah. I'm not really going to get into it, but I just think both of them are kind of fucked up. I don't know. I'm not choosing a side. It's just sometimes you look at the parties and go, yeah, you guys should have never been together in the first place. This is just... Yeah. No, fuck both of you. Yeah. So, yeah, Donnie Brasco is actually the only dramatic one in this bunch because it's weird how I make my list. And this just happens sometimes where we get predominant copies. I think the next one is predominantly thrillers. But yeah, this one is based on a true story. Undercover officer in the 1970s who had to infiltrate the mob. And it's really interesting is having Robert De Niro or Al Pacino play mobster gangster kind of guys was nothing new at this point. Both of them had done at least three or four movies in this vein by this point. But what's interesting is Al Pacino had the guts to accept a role where he was a fucking loser. Pretty much. Yeah, I know. know he was just a wise guy street hustler you know yeah just real low level bottom never gonna be running his own crew this is the closest he's gonna get to success and he gets there with the help of donnie brasco and just just the fucking tension throughout this movie it's not like like suspense movie dread you know like where you think it's gonna be big jumps there's just this This never-ending, oh God, at some point they're going to figure it out. What is going to happen? Is Al Pacino going to sell him down the river? Is Johnny Depp going to have to kill Al Pacino? You just don't know. Exactly. And then there's supporting characters. You've got other wise guys. Michael Madsen did a great job. And in one particular scene, yeah, he kind of screws over Al Pacino. Yeah, there was a point where Michael Madsen, he was never like a big star. But he was always getting quality work and supporting parts. And then he would go off and do like little independent stuff, sometimes trash, sometimes not. And now you look the last 20 years of his career since Kill Bill has been fucking embarrassing. Because he, like Eric Roberts, have this thing where they will literally accept any role for a certain amount of pay a day. And I shit you not, I looked it up. He gets $8,000 a day. He'll do any giant piece of fucking garbage they'll shoot everything in a day or two slap his name at the top of the the post or whatever and that's it he did have a part in sin city yeah so long ago man yeah and then of course there was the the hateful eight, Yeah, if Tarantino or Rodriguez are not involved, it's going to be garbage. I don't know what it is, if he's difficult to work with or he's lazy and tired. I don't know. But it's always a shame when you see actors just do this. I know. It sucks, especially when they had such prominent careers. Yeah. And then there's James Russo, who's another one of those that guy kind of. He's like Michael Madsen's right hand man. It's one of those works filled with guys who just did lots of gangster monster movies. This kind of seems almost like not a goodbye to the whole thing because I feel like Casino was kind of saying goodbye for a while. But this is because it's based on a true story. There's something just slightly different than trying to be a Goodfellas clone. Almost somewhat, yeah. Whoa, Donnie Brasco was a massive hit. I had no fucking clue. It made $125 million worldwide. That's wild to me. Yeah, absolutely. So, yeah, this is what definitely catapulted Johnny Depp to success. And he needed it because it'd been a while since he had a hit, I think. Yeah, I mean, especially if, like, Tim Burton's name wasn't attached to it. Yeah, because Don Juan DeMarco and Benny and June were probably his biggest, but they weren't, like, you're talking like $30 million. That's not a big hit. So this is kind of that next level. And I don't know what's next that really breaks big. Sleepy Hollow, maybe? No, I'm pretty sure there was something else. Yeah. No, Blow is after Sleepy Hollow. But yeah, he's just interesting watching his career go. I wonder if the director, Mike Newell, had seen him on 21 Jump Street where he plays more of a character like this. And that's why he cast him. Because he was an undercover cop. Yeah. So I wonder if that's why he cast him. Oh, man. I will tell you one thing. Like the intensity in that Japanese restaurant. Yeah, exactly what I was going to say. But he couldn't because he had the wire there and off. He also ended up giving the group some balls yeah the uh they're disrespectful as hell it's incredibly underrated i think kind of been forgotten in his oeuvre i think the most tense scene though is the one where there's a rat in the group and they're talking about when they're arrested and and and al pacino is kind of saying it and you know oh fuck they're gonna come after him but then you also start remembering bruno kirby was pulling some side deals with selling inhaling cocaine it's funny is that yeah neither one of them ratted each other out but all of it had here's the thing is the rap part had nothing to do with anybody in the group except that one guy who was going to run the bar and forgot to pay off the cops that's it and if he had just told him like i fuck up i i forgot to pay the cops i don't think he would have been shot but he would have been kicked out of the group and probably had his ass beat and then they wouldn't have had to kill someone else oh yeah exactly yeah oh god. Especially after that big execution scene where they took out rival gangsters. Yeah, yeah. I really thought that, oh, they're going to bring him in and they're going to at least bare minimum beat the fucking shit out of him. But no, they were just setting Bruno Kirby up. So they knew about the coke deal. Yeah, it's hard when you're undercover, you're not supposed to break the law. And while he doesn't take part of the shooting, he does take part of hacking somebody up, and that's a crime. Exactly. Yeah, I know. Yeah, and again, this being based on a true story, he's been in hiding ever since because there's a big, there's like a bounty on his head. Yeah, there's apparently another movie with his character that another mission that he went on where it's called Wise Gal. I think it was a TV movie with, I think, Jennifer Love Hewitt, Jason Gedrick, and James Caan. Huh, never knew about that. Yeah, I have to look it up, but I feel like his character, Joe Pistone, there's another case that got turned into a movie. What is our next one oh god sorry right one more thing about that ending though al pacino as soon as he like got that call and he was leaving telling his girlfriend you know i'll be back later if not don't wait up he knew it was going to be oh yeah everything just got revealed and he let someone into the organization who was an undercover cop that's why he left all his jewelry and everything yeah that was a really good scene because it's so quiet and he doesn't really do much besides you see the the the resignment i guess in his eyes just finishing it up going accepting his fate instead of going on the run because you know why they probably would have killed her if he ran exactly and it's like doesn't have much doesn't have much longer it's like you know that's pretty much where his life would be did you want to get any lower than where he is oh you know what i'm sorry i said i must have got confused on the way it was turned into a tv TV series with Jason Gedrick in the year 2000 called Falcone, which is just another play on it's still Joe Pistone's story is just they changed the character because it's a different mission. There is a really, really good TV show that came out the same exact time as 20 on Jump Street from the same creator. And it's called Wise Guy. It was only on for four years and really just watched the first year and it's about a guy who goes deep undercover with the mob and so every 13 episodes there's a new arc where he goes on a new mission you should watch that first season it's really fucking good yeah. What is our next for sure next will okay definitely part of a classic part of a classic franchise for Warner Brothers starring Chevy Chase called Vegas Vacation not the final entry I think a lot of people don't know that Christmas Vacation 2 even exists it was a TNT movie where it's cousin Eddie and the family and I think the very first Audrey goes with them to an island they They get kind of like, what is it, Robin Crusoe kind of thing, where they just trap the island trying to survive during Christmas. It's a comedy, but it's not very good. But for most people, this is it. And look, I know there's a lot that doesn't work in this. There's a lot of jokes that seem to kind

In this first episode of PCU's VHS Chronicles, Pete and Armand discuss the *other* 1986 military warplane movie, Iron Eagle, starring Jason Gedrick and the late Louis Gossett Jr.The VHS Chronicles are PCU's retro review of video store classics from the the golden age of VHS home video.

0:00 - Intro & Summary2:00 - Movie Discussion50:46 - Cast & Crew/Awards59:50 - True Crime & Pop Culture 1:06:43 -  Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

On this week's show, we take a look at 1986's first entry in the fighter pilot genre, Iron Eagle (Sorry Top Gun). Starring Louis Gossett Jr., Jason Gedrick, and David Suchet, this movie's unintentionally hilarious plot is only overshadowed by its over the top performances, but at least it moves at a swift pace.  Be sure to subscribe. Enjoy!

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

#VALentinesFortnight turns into the #VALentines3weeker as we get the need for speed and talk Top Gun and Iron Eagle. Top Gun(1986) Directed by Tony Scott. Starring Val Kilmer, Tom Cruise and Anthony Edwards. Trailer: https://www.youtube.com/watch?v=ArOMXELHiLw Iron Eagle(1986) Directed by Sidney J. Furie. Starring Louis Gosset Jr. and Jason Gedrick. Trailer: https://www.youtube.com/watch?v=Py1LeIf3xQE Twitter: @DoubledFeature Instagram: DoubledFeature Email: DoubledFeaturePodcast@Gmail.com Dan's Twitter: @DannyJenkem Dan's Letterboxd: @DannyJenkem Max's Twitter: @Mac_Dead Max's Letterboxd: @Mac_Dead Executive Producer: Koolaid --- Send in a voice message: https://anchor.fm/doubledfeature/message

Break the sound barrier. Break the speed barrier. Break out some 80s Revisited as we talk about Iron Eagle (1986)! 80srevisited@gmail.com to talk with us, and leave a review for us! Thank you for listening 80s Revisited, hosted by Trey Harris. Produced by Jesse Seidule.

Patreon Glynn Davies is our guest this week and chose a childhood favorite, Iron Eagle. Released in the same year as Top Gun, this is directed by Sidney J. Furie and written by Kevin Alyn Elders. And stars Louis Gossett Jr., Jason Gedrick, and David Suchet. If you enjoy the show we have a Patreon, become a supporter. www.patreon.com/thevhsstrikesback Plot Summary: A young pilot plans a rescue mission when his father is shot down over enemy territory and captured. thevhsstrikesback@gmail.com https://linktr.ee/vhsstrikesback --- Support this podcast: https://anchor.fm/thevhsstrikesback/support

The rest of the action community may be talking about the upcoming Top Gun sequel, Top Gun Maverick, but on Episode 67 of The Bulletproof Podcast Chris the Brain, Chad Cruise and special guest Chris DePetrillo from Figures Toy Company look back at the other jet fighter movie from 1986! The awesome cast that included Louis Gossett Jr, Jason Gedrick and Tim Thomerson, the awesome soundtrack that included Twisted Sister, Queen and Dio are among the talking points of this episode... plus, should Toy Soldiers have been a Chappy Sinclair spin off? Check out this jet fueled edition of The Bulletproof Podcast right now!!!  

KJ brings their criminal justice background and takes a strong stance on dating in the workplace. This week KJ, Meredith, Rivera, and Moira are trying to contextualize the 600 pop culture references in this weeks' episode as the law catches up to the Winchesters and Dean is once again caught red-handed at the scene of a murder. You can also try beating KJ's daily Superdle scores @SPNOpinionsPod on Twitter. CW Episode Description: Sam and Dean investigate the murders of a lawyer and his wife who claimed to have seen a ghost right before they died. However, after local detectives Ballard (guest star Linda Blair) and Sheridan (guest star Jason Gedrick) uncover the Winchesters' records, they arrest the brothers for a double homicide before they are able to find the ghost. When the ghost begins to visit Ballard, she begins to wonder if the tale Sam and Dean are telling her could be true, and if she might be the next to die.Linktree including sign up sheet to be on the podcast: https://linktr.ee/SupernaturalOpinionsPodcastGuest social medias:Meredith (tiktok, instagram and Tumblr): shaedsofdeianeiraMoira: moira_friske on all things!Rivera: canonicallygayblackbeard on tiktok

More like Doomtown, am I right?Boomtown was an earnest police drama set in Los Angeles that aired in the early 2000s. With Band of Brothers alumnus Graham Yost at the helm, the show initially attempted to employ an innovative non-linear approach to storytelling. Then network executives swooped in during the second season, and changed it into a flavorless police procedural.Season two premiered on September 26, 2003. The show quickly got yanked from the air, until NBC dumped four episodes in late December.In this final season, the show introduces Vanessa Williams as Detective Katherine Pierce. Donnie Wahlberg's LAPD Detective Joel Stevens, Mykelti Williamson's LAPD Detective Bobby "Fearless" Smith, Neal McDonough's Assistant District Attorney David McNorris, Gary Basaraba's LAPD Officer Ray Hechler, Jason Gedrick's LAPD Officer Tom Turcotte, and Lana Parilla's EMT Teresa Ortiz also return.Listen as Áine and Kevin boo this season's baffling storytelling choices, investigate an unnamed host's crush on Rebecca De Mornay, and bid a booming farewell to a once-promising show.Follow us on the usual social media suspects:FacebookTwitterInstagramAnd send your booming missives to mysterytomepodcast@gmail.com.Mystery to Me is a production of Mystery Sheet LLC.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Lethal Mullet Podcast Episode 118: IRON EAGLE “Chappie…!!” with that Doug Masters kicks in the afterburner and heads for enemy territory laying down a can of whoopass with some of the best 80's head banging tunes! On this episode of Lethal Mullet join The Mullet and his costar Kyle Wagner from FPN as they go through the eighties classic IRON EAGLE! Starring Louis Gossett Jr and Jason Gedrick this is one massive VHS cassic with F16s and a payload of great ass kickin tunes! Find Lethal Mullet Network on Podbean: lethalmulletnework.podbean.com You can find The Lethal Mullet Podcast on: Apple / Google Play / Spotify / Stitcher / IHeartRadio Contact: Adam on: @thelethalmullet  Twitter / Facebook / Instagram Kyle on: @akylew Twitter / @akylefandom / Instagram Find Lethal Mullet merch, shirts, hoodies, mugs, posters and more here at TeePublic: https://www.teepublic.com/en-au/t-shirt/22432724-lethal-mullet-lm?store_id=130218 #ironeagle #eighties #action #lethalmulletpodcast #lethalmulletnetwork 

What Now? Or should we be pronouncing it "What NOW"? An extraordinarily salty Christina fills the two-page spread by denigrating Jane Wiedlin's animal activism, casting doubt on Jason Gedrick's sincerity when speaking about his mental health issues, and saves her last bit of poison for Remote Control's Marisol, who was not even still ON Remote Control at the time! Watch It once again lets Neill half-ass a review (this time for the Sasha Mitchell vehicle Spike Of Bensonhurst) amid more considered critiques of Imagine, Memories Of Me, and more. Listen Up brings us reviews of Cruel Story Of Youth (not the movie), Joan Armatrading, and Kylie Minogue's undeniably derivative self-titled debut. One To Watch breaks its curse by profiling someone who is still an actual A-List star in our day: one Mr. Brad Pitt. And for our features, Christina settles for INXS...........guitarist Kirk Pengilly before sitting down for some unwarranted body talk with Hairspray's Ricki Lake. Join us to hear it all!QUICK LINKS

What Now? Or should we be pronouncing it "What NOW"? An extraordinarily salty Christina fills the two-page spread by denigrating Jane Wiedlin's animal activism, casting doubt on Jason Gedrick's sincerity when speaking about his mental health issues, and saves her last bit of poison for Remote Control's Marisol, who was not even still ON Remote Control at the time! Watch It once again lets Neill half-ass a review (this time for the Sasha Mitchell vehicle Spike Of Bensonhurst) amid more considered critiques of Imagine, Memories Of Me, and more. Listen Up brings us reviews of Cruel Story Of Youth (not the movie), Joan Armatrading, and Kylie Minogue's undeniably derivative self-titled debut. One To Watch breaks its curse by profiling someone who is still an actual A-List star in our day: one Mr. Brad Pitt. And for our features, Christina settles for INXS...........guitarist Kirk Pengilly before sitting down for some unwarranted body talk with Hairspray's Ricki Lake. Join us to hear it all!Visual Aids

Gather round, ace Boomtown-booms!Boomtown was a police drama set in Los Angeles that premiered on September 29, 2002. Created by Band of Brothers alumnus Graham Yost, the show employs an innovative non-linear approach to storytelling. Episodes are divided between the perspective of Donnie Wahlberg's LAPD Detective Joel Stevens, Mykelti Williamson's LAPD Detective Bobby "Fearless" Smith, Neal McDonough's Assistant District Attorney David McNorris, Gary Basaraba's LAPD Officer Ray Hechler, Jason Gedrick's LAPD Officer Tom Turcotte, Nina Garbiras' reporter Andrea Little, and Lana Parilla's EMT Teresa Ortiz.Sounds like a lot? Well, yeah. It's a lot. Despite early critical acclaim, Boomtown met its doom-town after just one and a third seasons. Season one came to a close on April 20, 2003. Listen as Áine and Kevin lower the boom on every single episode in this wacky season!Follow us on the usual social media suspects:FacebookTwitterInstagramAnd send your booming missives to send to mysterytomepodcast@gmail.com.Mystery to Me is a production of Mystery Sheet LLC.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The next sequel we are reviewing is "Iron Eagle IV" and this week we are talking with one of the stars of this one, Actor Jason Cadieux. Jason takes over the role of "Doug Masters" played by Jason Gedrick in the original. Jason talked about how his big break came from a high school play, Lou Gossett Jr, his love of theatre, the Shaw Festival, and lots more. Awesome chat. This is a video interview you can watch at sequelsonly.com/jasoncadieux Links mentioned in the interview: Fright-Rags https://www.fright-rags.com/ Jason's Instagram @cadieuxjason Shaw Festival https://www.shawfest.com/2021-season/ Joanne Vannicola book is "All We Knew But Couldn't Say" Jason's IMDb https://www.imdb.com/name/nm0128218/ Next week we are discussing "Iron Eagle IV" which you can watch for free on Tubi. Lou Gossett Jr and troubled teens is a formula I LOVE. Follow us on all social media @sequelsonly and our website is sequelsonly.com Review, rate, and share us with your friends! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Won't you take me to Freaktown?Boomtown was a short-lived police drama set in Los Angeles that came out in 2002 to critical acclaim. It's artsy claim-to-fame was its non-linear approach to storytelling, with episodes featuring different points of view, including the perspectives of detectives, patrol cops, lawyers, reporters, paramedics, victims, and criminals. Airing on November 3, 2002, "The Freak" is a pivotal episode of this series. This episode focuses on Mykelti Williamson's Detective Bobby "Fearless" Smith, with Donnie Wahlberg, Neal McDonough, Gary Basaraba, Lana Parilla, Nina Garbiras, Jason Gedrick, Annika Peterson, and Miguel A. Núñez Jr. rounding out the ensemble.In this episode, Fearless promises to protect a mother and child after they witness a Russian mobster gun a man down in a restaurant. But ... what's this? Our charismatic detective keeps sadly looking off into the distance, while music from La Strada plays in the background? Could it be that an old friend from the war has returned from beyond the grave to remind Fearless of the importance of keeping promises?Buckle up, because things are about to get freaky. We're talking ghosts-and-guns-akimbo freaky. Because we're not in Boomtown anymore. Tune into Áine and Kevin getting their freak on and losing their damn minds talking about this wild episode of television. Follow us on the usual social media suspects:FacebookTwitterInstagramAnd send your freakiest missives to send to mysterytomepodcast@gmail.com.Mystery to Me is a production of Mystery Sheet LLC.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Zach & Zo are joined by Special Guest Host: Toby Gribben from The Toby Gribben Show featured on Shout Radio every Thurs. & Fri. from 3pm-6pm (UK time) (10am-10pm EST). Together they venture into the heart of an angry beast and examine the family dynamics of two feuding brothers while, at the same time, attempt to solve series of mysterious backdraft fires. All of these great elements are included in the incredibly emotional and exiting movie: Backdraft. Check that door for heat!Toby Gribben Twitter: @TobyGribbenShout Radio Twitter: @YourShoutRadiowww.backlookcinema.comEmail: fanmail@backlookcinema.comTwitter: @backlookcinema Facebook: The Back Look Cinema Podcast Instagram: backlookcinemapodcast

Pop culture in June 1988: let's get into it! What Now serves up Weird Al (kind of), newlyweds "Leonard" Kravitz and Lisa Bonet, and beach book recommendations. The reviews introduce you to Feargal Sharkey, Toni Childs, Little Nikita, and the now months-old Beetlejuice. WAS George Newbern One To Watch? Your panel is divided! And we get not one, not two, but THREE features: profiles of Ziggy Marley and Jason Gedrick, and an essay on whether your celebrity boy crushes make the real-life boys in your life feel bad. Turn off that new Stacey Q album and listen to us instead!QUICK LINKS

Pop culture in June 1988: let’s get into it! What Now serves up Weird Al (kind of), newlyweds “Leonard” Kravitz and Lisa Bonet, and beach book recommendations. The reviews introduce you to Feargal Sharkey, Toni Childs, Little Nikita, and the now months-old Beetlejuice. WAS George Newbern One To Watch? Your panel is divided! And we get not one, not two, but THREE features: profiles of Ziggy Marley and Jason Gedrick, and an essay on whether your celebrity boy crushes make the real-life boys in your life feel bad. Turn off that new Stacey Q album and listen to us instead! Visual Aids #jtg-3758 .modula-item { border-radius: 10px; }#jtg-3758 .modula-item .jtg-social a, .lightbox-socials.jtg-social a{ color: #ffffff }#jtg-3758 .modula-item .jtg-social svg, .lightbox-socials.jtg-social svg { height: 16px; width: 16px }#jtg-3758 .modula-item .jtg-social a:not(:last-child), .lightbox-socials.jtg-social a:not(:last-child) { margin-right: 10px }#jtg-3758 .modula-item .figc {color:#ffffff;}#jtg-3758 .modula-item .modula-item-content { transform: scale(1) }#jtg-3758 { width:;}#jtg-3758 .modula-items .figc p.description { font-size:14px; }#jtg-3758 .modula-items .figc p.description { color:#ffffff;}#jtg-3758.modula-gallery .modula-item > a, #jtg-3758.modula-gallery .modula-item, #jtg-3758.modula-gallery .modula-item-content > a { cursor:zoom-in; } #jtg-3758 .modula-item .modula-item-overlay, #jtg-3758 .modula-item.effect-layla, #jtg-3758 .modula-item.effect-ruby,#jtg-3758 .modula-item.effect-bubba,#jtg-3758 .modula-item.effect-sarah,#jtg-3758 .modula-item.effect-milo,#jtg-3758 .modula-item.effect-julia,#jtg-3758 .modula-item.effect-hera,#jtg-3758 .modula-item.effect-winston,#jtg-3758 .modula-item.effect-selena,#jtg-3758 .modula-item.effect-terry,#jtg-3758 .modula-item.effect-phoebe,#jtg-3758 .modula-item.effect-apollo,#jtg-3758 .modula-item.effect-steve,#jtg-3758 .modula-item.effect-ming{ background-color:#ffffff; }#jtg-3758 .modula-item.effect-oscar { background: -webkit-linear-gradient(45deg,#ffffff 0,#9b4a1b 40%,#ffffff 100%);background: linear-gradient(45deg,#ffffff 0,#9b4a1b 40%,#ffffff 100%);}#jtg-3758 .modula-item.effect-roxy {background: -webkit-linear-gradient(45deg,#ffffff 0,#05abe0 100%);background: linear-gradient(45deg,#ffffff 0,#05abe0 100%);}#jtg-3758 .modula-item.effect-dexter {background: -webkit-linear-gradient(top,#ffffff 0,rgba(104,60,19,1) 100%); background: linear-gradient(to bottom,#ffffff 0,rgba(104,60,19,1) 100%);}#jtg-3758 .modula-item.effect-jazz {background: -webkit-linear-gradient(-45deg,#ffffff 0,#f33f58 100%);background: linear-gradient(-45deg,#ffffff 0,#f33f58 100%);}#jtg-3758 .modula-item.effect-lexi {background: -webkit-linear-gradient(-45deg,#ffffff 0,#fff 100%);background: linear-gradient(-45deg,#ffffff 0,#fff 100%);}#jtg-3758 .modula-item.effect-duke {background: -webkit-linear-gradient(-45deg,#ffffff 0,#cc6055 100%);background: linear-gradient(-45deg,#ffffff 0,#cc6055 100%);}#jtg-3758 .jtg-title {font-weight:400; }#jtg-3758 p.description {font-weight:normal; }#jtg-3758:not(.modula-loaded-scale) .modula-item .modula-item-content { transform: scale(1) translate(0px,0px) rotate(0deg); }@keyframes modulaScaling { 0% {transform: scale(1) translate(0px,p0x) rotate(0deg);} 50%{transform: scale(1) translate(0px,0px) rotate(0deg);}100%{transform: scale(1) translate(0px,p0x) rotate(0deg);}}#jtg-3758.modula-gallery .modula-item.effect-terry .jtg-social a:not(:last-child){margin-bottom:10px;}.modula-fancybox-container.modula-lightbox-jtg-3758 .modula-fancybox-caption .modula-fancybox-caption__body, .modula-fancybox-container.modula-lightbox-jtg-3758 .modula-fancybox-caption .modula-fancybox-caption__body p {text-align:center}.modula-fancybox-container.modula-lightbox-jtg-3758 .modula-fancybox-bg{background:rgba(0,0,0,0.85);opacity:1 !important;}html body .modula.modula-columns .modula-items.grid-gallery .modula-item.effect-under .modula-item-content { height:auto;}@media screen and (max-width:480px){#jtg-3758 .modula-item .figc .jtg-title { font-size: 12px; }#jtg-3758 .modula-items .figc p.description { color:#ffffff;font-size:10px; }}#jtg-3758 .modula-items .modula-item:hover img{opacity:1;} { "@context": "http://schema.org", "@type" : "ImageGallery", "id" : "https://listentosassy.com/feed/podcast", "url" : "https://listentosassy.com/feed/podcast" }

Teenagers form up to take down an evil empire in their flying ships. Oh and rescue daddy. And get sage advice from an older veteran. Oh and act like a bunch of idiots along the way. So I had no idea how bad Iron Eagle actually is. I had a level of expectation that it was mostly dumb and corny but WOW Iron Eagle is over-the-top stupid. I mean its hard to describe. It truly has to be seen to believed. Between the plot of a teenager likely bringing about WWIII while rocking out to Queen to flying through Beggar's Canyon in a deathrace to Jason Gedrick's constant deadpan in the face of death AND bad grades, you can just read what a stinker this thing is. I guess if we had to complain, its pretty lackluster in the action department. The action in the front end takes about 3 minutes and there is a long complaining, training and failing sequence before about 15 minutes of action at the end. And by action I mean model airplanes suspended by fishline and strapped with firecrackers getting blown up for about 4 frames. It at no point is very exciting or visually interesting.  While all that is said Iron Eagle is a must view for stinker fans. You might not even remember how bad it is so buckle in for a Hades bomb of dumb and fun.

Get ready to take to the skies! This week, we head to the danger zone, as we watch the one and only fighter pilot action movie from the 1980s. We are, of course, talking about the 1986 film, Iron Eagle, starring Louis Gossett Jr. and Jason Gedrick. Strap in as we go headfirst into the 80s cheese, as we talk about this curious piece of 1980s American propaganda. We discuss the excellent soundtrack, the impressive aerial footage, and the fact that our heroes are basically war criminals. Find us on Twitter, Facebook, and Instagram @themaindamie. We are a proud member of Geek Vibes Nation and you can find them at gvnation.com.Our theme music was written and performed by Dave Katusa. He can be found on Instagram @dkat_productions.

Get ready to take to the skies! This week, we head to the danger zone, as we watch the one and only fighter pilot action movie from the 1980s. We are, of course, talking about the 1986 film, Iron Eagle, starring Louis Gossett Jr. and Jason Gedrick. Strap in as we go headfirst into the 80s cheese, as we talk about this curious piece of 1980s American propaganda. We discuss the excellent soundtrack, the impressive aerial footage, and the fact that our heroes are basically war criminals. Find us on Twitter, Facebook, and Instagram @themaindamie. We are a proud member of Geek Vibes Nation and you can find them at gvnation.com ( https://geekvibesnation.com/ ). Our theme music was written and performed by Dave Katusa. He can be found on Instagram @dkat_productions. Support this podcast at — https://redcircle.com/geek-vibes-nation/donations Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

A slab of food descends floor by floor in a podcast studio. The hosts above eat heartily, leaving those below starving and desperate. A rebellion is imminent. On Episode 414 of Trick or Treat Radio, we discuss The Platform, the Netflix exclusive from first time feature filmmaker, Galder Gaztelu-Urrutia. We also discuss 80s toys once again, the class system and how it continues to function through fear, and why Garth Ennis’ Preacher is so important! So grab as much food as you can in two minutes, call up Buffalo Bill for tech support and strap on for the world's most dangerous podcast! Stuff we talk about: Airplane, movie theaters opening, Contagion II: Still Tagion, Art Bradish, anxiety about movies, Twitch of the Death Nerve, the re-release of Fetus, 10 minutes is 2 butts, what can you buy if you don’t smoke?, G1 Sixshot, Jetfire, MZ getting yelled at, first non-car autobot, Vinegar Syndrome, Slaughterhouse, Splatter University, Splatterhouse Video Game, Ghostbusters, GI Joe, Sergeant Slaughter, Rocky Balboa, 80s toy talk, Boulder Mountain, M.A.S.K., Iron Eagle, Larry B. Scott, Robbie Rist, Jason Gedrick - the poor man’s Jason Patrick, Buffalo Bill Tech Support, Turbulence 3: Heavy Metal, The Platform, High Rise, Galder Gaztelu-Urrutia, Ivan Massagué, Preacher, David Coppafeel, Johan Solo, floor zero, Chow Daddy, limitations of society, we are living in a post-apocalyptic film, we welcome aliens, surprise fecal play, Panna Cotta, Don Quixote, the messiah, The Host, Boon Joon-ho, baby-tossing, An Evening with Beverly Luff Linn, Let’s Do Some Bloodletting Dog, The Greasy Strangler, Scrotumus Prime, Star Wars, lightsabers, whiskey for new whiskey drinkers, Alan Moore, Neil Gaiman, Maker’s Mark, Canadian Club, Jesse Custer, Garth Ennis, Hellblazer, Steve Dillon, Naked Gun, and Blasphemy Bollocks and Blackouts.Support us on Patreon: https://www.patreon.com/trickortreatradioSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TheDeaditesTVInstagram: http://instagram.com/TrickorTreatRadioSupport the show (https://www.patreon.com/trickortreatradio)

Brooke Lewis Bellas (a.k.a. Brooke Lewis) is an award-winning actress and producer, known for the mystery, thriller “iMurders” (2008) opposite Billy Dee Williams, Gabrielle Anwar and Frank Grillo, the mobster movie “Sinatra Club” (2010) opposite Danny Nucci and Jason Gedrick, the horror, thriller “Kinky Killers” (2007) opposite Charles Durning and Michael Pare, and her comedic mobster Vampire “alter-ego” character and passion project “Ms. Vampy”. After growing up and beginning her creative dreams in Philly, she moved to New York City and got her first little/big “break” playing Donna Marsala in the Actors' Equity Off-Broadway hit comedy “Tony n' Tina's Wedding”. She made her living acting in New York for four years, before packing it up and heading to Hollywood. Never forgetting her ties to the LOVE statue and Geno's Steaks, she launched Philly Chick Pictures in 2002 to create more opportunities for herself as an actress.In 2007, she played Dr. Grace Sario in the horror, mystery “Kinky Killers” on SHOWTIME and had the title ‘Scream Queen' bestowed upon her in the entertainment industry. In 2010, she was honored with the ‘B-Movie Award for Scream Queen of The Year' for her work in “Slime City Massacre”. In 2015, she was a guest at the prestigious SAG-AFTRA Foundation Independent Features Screening Series with “The Mourning”. In 2016, she was honored with the ‘Mary Pickford Award' to “Highlight Women in The Film Arts” at Zed Fest. In 2017, she was honored by the prestigious Actors Awards with the ‘Best Actress In A Drama Award' for her work in “Sprinkles”. In 2017, she was also acknowledged with the honorable ‘Stella Adler Acting Award' at the Action On Film International Film Festival, ‘Grace Kelly Gold Actor Award' at the West Coast International Film Festival, as well as the Los Angeles Film Awards ‘Inspiring Woman in a Film' Award. In 2018, she was honored by the prestigious Actors Awards with the ‘Best Actress In An Indie Film Award' for her work in “Psycho Therapy” and the West Coast International Film Festival with the ‘Legendary Actress' Jury Award. In 2019, she was inducted into The Carney Board for the honorable Carney Awards Character Actor Hall Of Fame created in honor of character actor icon Art Carney. She has been fortunate to work opposite a long list of talented veteran actors, which includes, Mark Ruffalo, Andy Richter, Charles Durning, Michael Pare, Michael Madsen, Tony Todd, Billy Dee Williams, William Forsythe, Gabrielle Anwar, Danny Nucci, Jason Gedrick, Michael Nouri, Joey Lawrence, Dominique Swain, Courtney Gains and many others.In 2009, Brooke launched the “Ms. Vampy” TV/talk show/web series, in which she created, starred and produced. In 2011, Brooke followed with the teen smash hit TV/talk show/web series “Ms. Vampy's Tween Tawk, Teen Tawk & In Between Tawk”, which won the coveted 18th Annual Communicator Awards (2012) ‘Award Of Distinction for Social Responsibility' and the Los Angeles Film Awards May 2017 ‘Inspiring Woman In A Film Award'. In 2016, she followed the series with the young adult book Ms. Vampy's Teen Tawk: There's A Lotta Power In Ya Choices, which hit #1 New Release in both Social Situations and Self-esteem on Amazon Kindle and was the Winner of the Paris Book Festival Awards 2017 Young Adult Book and New York Book Festival Awards 2017 Young Adult Book.www.brookelewis.comwww.beyouandbefearlesslifecoach.comwww.msvampy.netwww.phillychickpictures.com

Brooke Lewis Bellas (a.k.a. Brooke Lewis) is an award-winning actress and producer, known for the mystery, thriller “iMurders” (2008) opposite Billy Dee Williams, Gabrielle Anwar and Frank Grillo, the mobster movie “Sinatra Club” (2010) opposite Danny Nucci and Jason Gedrick, the horror, thriller “Kinky Killers” (2007) opposite Charles Durning and Michael Pare, and her comedic mobster Vampire “alter-ego” character and passion project “Ms. Vampy”. After growing up and beginning her creative dreams in Philly, she moved to New York City and got her first little/big “break” playing Donna Marsala in the Actors’ Equity Off-Broadway hit comedy “Tony n’ Tina’s Wedding”. She made her living acting in New York for four years, before packing it up and heading to Hollywood. Never forgetting her ties to the LOVE statue and Geno’s Steaks, she launched Philly Chick Pictures in 2002 to create more opportunities for herself as an actress. In 2007, she played Dr. Grace Sario in the horror, mystery “Kinky Killers” on SHOWTIME and had the title ‘Scream Queen’ bestowed upon her in the entertainment industry. In 2010, she was honored with the ‘B-Movie Award for Scream Queen of The Year’ for her work in “Slime City Massacre”. In 2015, she was a guest at the prestigious SAG-AFTRA Foundation Independent Features Screening Series with “The Mourning”. In 2016, she was honored with the ‘Mary Pickford Award’ to “Highlight Women in The Film Arts” at Zed Fest. In 2017, she was honored by the prestigious Actors Awards with the ‘Best Actress In A Drama Award’ for her work in “Sprinkles”. In 2017, she was also acknowledged with the honorable ‘Stella Adler Acting Award’ at the Action On Film International Film Festival, ‘Grace Kelly Gold Actor Award’ at the West Coast International Film Festival, as well as the Los Angeles Film Awards ‘Inspiring Woman in a Film’ Award. In 2018, she was honored by the prestigious Actors Awards with the ‘Best Actress In An Indie Film Award’ for her work in “Psycho Therapy” and the West Coast International Film Festival with the ‘Legendary Actress’ Jury Award. In 2019, she was inducted into The Carney Board for the honorable Carney Awards Character Actor Hall Of Fame created in honor of character actor icon Art Carney. She has been fortunate to work opposite a long list of talented veteran actors, which includes, Mark Ruffalo, Andy Richter, Charles Durning, Michael Pare, Michael Madsen, Tony Todd, Billy Dee Williams, William Forsythe, Gabrielle Anwar, Danny Nucci, Jason Gedrick, Michael Nouri, Joey Lawrence, Dominique Swain, Courtney Gains and many others. In 2009, Brooke launched the “Ms. Vampy” TV/talk show/web series, in which she created, starred and produced. In 2011, Brooke followed with the teen smash hit TV/talk show/web series “Ms. Vampy’s Tween Tawk, Teen Tawk & In Between Tawk”, which won the coveted 18th Annual Communicator Awards (2012) ‘Award Of Distinction for Social Responsibility’ and the Los Angeles Film Awards May 2017 ‘Inspiring Woman In A Film Award’. In 2016, she followed the series with the young adult book Ms. Vampy’s Teen Tawk: There’s A Lotta Power In Ya Choices, which hit #1 New Release in both Social Situations and Self-esteem on Amazon Kindle and was the Winner of the Paris Book Festival Awards 2017 Young Adult Book and New York Book Festival Awards 2017 Young Adult Book. www.brookelewis.com www.beyouandbefearlesslifecoach.com www.msvampy.net www.phillychickpictures.com

Join hosts Bryan Frye, Chad Robinson and Russell Guest for the Retro Movie Roundtable as they revisit Backdraft (1992) [R] Genre: Crime, Drama, Mystery   Starring: Kurt Russell, William Baldwin, Robert De Niro, Donald Sutherland, Jennifer Jason Leigh, Scott Glenn, Rebecca De Mornay, Jason Gedrick, J.T. Walsh, Anthony Mockus Sr., Cedric Young, Juan Ramírez, Kevin Casey, Jack McGee    , Mark Wheeler   Download from Apple Podcasts, Stitcher, Spotify, Google Play, iTunes, iHeartRadio or wherever you get your podcasts. Please share your thoughts on the movie or the Episode....   Director: Ron Howard

I catch up with Nancy Valen, fans remember her well as Samantha Thomas on Baywatch. Saved by the Bell fans know her as "Nurse Jennifer", probably the most memorable guest star(sorry Becky the Duck)on the show, She talks about that role and who the original choice was. Nancy starred alongside Jason Gedrick in one of the most underrated 80's films, The Heavenly Kid. Nancy starred in the TV musical drama, Hull High, and gives her thoughts on why it unfortunately failed. She fills us in on what she's been up to.

In Retro Movie Geek Episode 123, we’re talking about Iron Eagle (1986), starring Louis Gossett, Jr., Jason Gedrick, and Tim Thomerson. Retro Movie Geek, is a weekly show where we talk about movies that are 20 years old, or older. Of … Continue reading →

Wicked Horror Show Presents Brooke Lewis Michael O'Hear & Alexander S. McBryde talk about Killer RackPOWERED BY THE DORKENING PODCAST NETWORKWatch us LIVE EVERY Sunday | Tuesday | Thursday Streaming LIVE on Facebook - Youtube - Periscope - Twitch Dorkening Apparel NOW AVAILABLE on Amazon! RENT Killer Rack on Amazon http://amzn.to/2oJIGAnWe are #LIVE with Ms. Vampy Brooke Lewis along with Michael O'Hear and Alexander Sloan McBryde from Killer Rack Movie! These three starred in the hilarious horror comedy Killer Rack! Killer Rack is a comedy about a woman suffering from low self esteem who gets breast enhancement surgery, unaware that her surgeon worships H.P. Lovecraft's elder gods, and the surgery is part of a diabolical plot to rule the world.Brooke is the "Killer Rack" and Alexander & Michael play detectives Bartles & James!Michael O'Hear is known for his work on Dry Bones (2013), Something Dark (2008) and Lonely Bananas (2016).Alexander S. McBryde was born on October 8, 1980 in Buffalo, New York, USA as Sloan Alexander Mc Bryde. He is known for his work on Killer Rack (2015), Ombis: Alien Invasion (2013) and Lonely Bananas (2016).Follow all 3 on Social Media & IMDBBrooke Lewis https://twitter.com/BrookeLewisLA https://www.instagram.com/brookelewisla http://brookelewis.com/ http://www.imdb.com/name/nm0506989/?ref=nmmimi_nmAlexander McBryde https://www.facebook.com/sloanalexandermcbryde https://www.instagram.com/alexandermcbryde/?hl=en https://twitter.com/ImaStripClubDj http://www.imdb.com/name/nm2546610/bio?ref=nmovbiosmMichael O'Hear https://www.facebook.com/michael.ohear http://www.imdb.com/name/nm2430531/bio?ref=nmovbiosmKiller Rack http://www.imdb.com/title/tt3369624/?ref=nmflmgact8Brooke Lewis is an actress who has appeared in many different genres, but is most known for the mystery, thriller "iMurders" (2008), mobster movie "Sinatra Club" (2010) and her comedic mobster Vampire "alter-ego" character and passion project "Ms. Vampy". After growing up and beginning her creative dreams in Philly, she moved to New York City and got her first little/big "break" playing Donna Marsala in the Off-Broadway hit comedy "Tony n' Tina's Wedding". She made her living acting in New York for four years, before packing it up and heading to Hollywood. Never forgetting her ties to the LOVE statue and Geno's Steaks, she launched Philly Chick Pictures in 2002 to create more opportunities for herself as an actress. In 2007, she played Dr. Grace Sario in the horror, mystery "Kinky Killers", which aired on Showtime, and had the title 'Scream Queen' bestowed upon her in the entertainment industry. In 2010, she was honored with the 'B Movie Golden Cob Award for Scream Queen Of The Year' for her work in "Slime City Massacre". She has been fortunate to work opposite a long list of talented veteran actors, which includes, Mark Ruffalo, Andy Richter, Charles Durning, Michael Pare, Michael Madsen, Tony Todd, Billy Dee Williams, William Forsythe, Gabrielle Anwar, Danny Nucci, Jason Gedrick, Michael Nouri, Joey Lawrence, Dominique Swain and many others. She has been an active force in several charities for women battling breast cancer and programs supporting teens, and is a speaker for female empowerment.Michael O'Hear is known for his work on Dry Bones (2013), Something Dark (2008) and Lonely Bananas (2016). Alexander S. McBryde was born on October 8, 1980 in Buffalo, New York, USA as Sloan Alexander Mc Bryde. He is known for his work on Killer Rack (2015), Ombis: Alien Invasion (2013) and Lonely Bananas (2016). Subscribe to The Dorkening on YoutubeFollow The Dorkening Facebook - Twitter - Instagram - Join our mailing list!The Dorkening: Leo Pond @TheDorkening Kevin Crook @Aknuckle Regular co-hosts: Wolfie @The13thWOlfman Tony @TonyHas9Fingers James @LongTimeStorm YoYo @BoyMeetsPhone Vlad @NECCReviews Cee Pee @WILIreviewsFind out more at https://wicked-horror-show.pinecast.coSend us your feedback online: https://pinecast.com/feedback/wicked-horror-show/28bf634f-97b7-4665-be13-00296b882420

Episode 230 of Trick or Treat Radio takes place on a dark, rainy night and the hosts of the show are locked in a barn with lots of booze, polish wedding music, and a restless spirit named JahJahBlinks. The spirit will not rest until the crew watch a VHS tape from Blinkbuster Video. Only then will they free the spirit so that he can drink as well! For real, we are joined by our buddy Jarret Blinkhorn to review his Blinkbuster Video selection of Silent Night, Deadly Night 2 and then we have a discussion about the Polish possession film, Demon. So grab your six-shooter, get ready for garbage day and strap on! Stuff we talk about: Ravenshadow’s new 8.5” x 11”, Blackest Night, Channel Zero, American Horror Story, the stereotypical goofy movie deputy, cinematic christmas films shot in warm weather climates, Shudder 31 photo contest, Outcast, Chip, haunting films, Black Christmas, the Silent Night, Deadly Night controversy, horror without gore or scares, The Possession, Room 237, Polish weddings, focus pulling, Creepy Girl and MZ, the Dybbuk, Munstah Churro, drinking at weddings, Silent Night, Deadly Night, Daddy Roebucks, Slumber Party Massacre series, Blinks’ shirts, MonsterZero’s "cold day" vendetta, the IVE release, Eric Freeman, Marcin Wrona, W. D. T. T., over genrefication, weddings, MZ's vacation, our X-Mas gifts, Lee Harry, movie ads in newspapers, eyebrow movement supercut montage, sequels with different tones, Silent Night, Bloody Night, "punish", Dark Knight Returns’ Robin figure, The Hills Have Eyes 2, Jason Gedrick, Garbage Day, movie killers using guns, the back cover of Slumber Party Massacre 2 VHS, killer style, 31 commentary, Lethal Weapon, The Shining, Children of the Corn, Public Enemy, The Exorcist TV show, Rogue One: A Star Wars Story, Elm Street Kids Movie Club Episode 50, Overwatch, Neon Maniacs, the further adventures of DJM, and punching Santa Claus.Support the show (https://www.patreon.com/trickortreatradio)

CELEBRITY CHEF, RESTAURATEUR AND BESTSELLING AUTHOR BOBBY TALKS ABOUT HIS NEWLY RELEASED COOKBOOK BRUNCH @ BOBBY'SBRUNCH @ BOBBY'S - 140 RECIPES FOR THE BEST PART OF THE WEEKENDBestselling author and Food Network star Bobby Flay may be best known for his skills at the grill, but brunch is his favorite meal of the day. In BRUNCH @ BOBBY's: 140 Recipes for the Best Part of the Weekend (Clarkson Potter; On Sale: September 29th, 2015), Bobby includes 140 recipes for his all-time favorite breakfasts starting with the lip-smacking cocktails we have come to expect from Bobby—along with spiked and virgin, hot and iced coffees and teas. He then works his way through eggs, pancakes, waffles, and french toast (including flavored syrups and spreads), pastries (a first for Bobby), breads, salads and sandwiches and side dishes all in signature fashion.Eggs Benedict head to the Gulf Coast for an upgrade, served atop homemade johnnycakes and crab cakes with Old Bay hollandaise sauce. Pancakes get a double dose of chocolate before being drowned in salted caramel sauce. English popovers come stateside when made with cracked black pepper and Vermont cheddar. And salmon definitely benefits from a bright and crunchy Brussels sprout-apple slaw. So pull up a seat at the table and enjoy a Sangria Sunrise, Carrot Cake Pancakes with Maple-Cream Cheese Drizzle, Sautéed Bitter Greens Omelets, and Wild Mushrooms-Yukon Gold Hash.  This is how Bobby does brunch.BOBBY FLAY, a New York Times bestselling author, is the chef-owner of six fine-dining restaurants, including Gato, Bar Americain, Mesa Grill, and Bobby Flay's Steak, and an expanding roster of Bobby's Burger Palaces. He is the host of numerous popular cooking shows on Food Network—from the Emmy-winning Bobby Flay's Barbecue Addiction to the Iron Chef America series, Throwdown! With Bobby Flay, and Food Network Star—as well as Brunch@Bobby's on Cooking Channel. BOBBYFLAY.COMJOE PISTONE – DONNIE BRASCO WAS THE ALIAS OF JOSEPH PISTONE, AN UNDERCOVER FBI AGENT THAT INFILTRATED THE BONANNO CRIME FAMILYJoseph Dominick Pistone, alias Donnie Brasco, (born September 17, 1939), is a former FBI agent who worked undercover for six years infiltrating the Bonanno crime family and to a lesser extent the Colombo crime family, two of the Five Families of the Mafia in New York City. Pistone was an FBI agent for 27 years and is considered to be one of the greatest FBI agents.Pistone was a pioneer for deep long-term undercover work. The FBI's former director, J. Edgar Hoover, who died in 1972, did not want FBI agents to work undercover, because of the danger of the agents becoming corrupted. But Pistone's work later helped convince the FBI that using undercover agents in lieu of relying exclusively on informants was a crucial tool in law enforcement.BiographyPistone was born in Erie, Pennsylvania, and grew up in Paterson, New Jersey. He graduated from Paterson State College (now William Paterson University) with a B.A. in elementary education social studies in 1965, then worked as a teacher for one year before taking a position at the Office of Naval Intelligence. Pistone joined the FBI in 1969; after serving in a variety of roles, he was transferred to New York in 1974 and assigned to the truck hijacking squad.His ability to drive 18-wheel trucks and bulldozers led to his being chosen for what would become his first undercover operation, infiltrating a gang stealing heavy vehicles and equipment. His penetration of the group in February 1976 led to the arrest of over 30 people along the Eastern Seaboard - described at the time as one of the largest and most profitable theft rings ever broken in America. The name Donald ("Donnie") Brasco was chosen to be Pistone's alias.Operation Donnie Brasco (1976–1981)Pistone was selected to be an undercover agent because he was of Sicilian heritage, fluent in Italian and acquainted with the mob from growing up in New Jersey. He also said that he did not perspire under pressure and was aware of the Mafia's codes of conduct and system. The operation was given the code name "Sun-Apple" after the locations of its two simultaneous operations: Miami ("Sunny Miami") and New York ("The Big Apple"). After extensive preparation including FBI gemology classes and again using the alias Donnie Brasco, he went undercover as an expert jewel thief.In September 1976, Pistone walked out of the FBI office and did not return for the next six years. The FBI erased Pistone's history. Officially, he never existed; and anyone who called asking for him would be told that no one by that name was employed there. His co-workers, friends, and informants had no idea what had happened to him. Pistone stated that it was not the original aim to penetrate the Mafia; rather, the focus was to be on a group of people fencing stolen property from the large number of truck hijackings taking place each day in New York (five to six a day). It was intended that the undercover operation last for around six months.An FBI surveillance photograph of Donnie Brasco, Benjamin "Lefty" Ruggieroand Tony Rossi. Original notations by Joseph D. Pistone, made during the filming of Rossella Biscotti's 2008 film The Undercover Man.At the same time that Pistone was investigating the Bonanno crime family, Bob Delaney of theNew Jersey State Police, under the assumed names of "Bobby Covert" and "Bobby Smash", began investigating the New Jersey organized crime scene. During the investigation, he maintained an open association with the crime families who would alleviate their business pressures from the unions for a price. The two met through Colombo crime family caporegimeNicholas Forlano, although at the time neither man knew that the other was working undercover.Pistone became an associate in Jilly Greca's crew from the Colombo family. Greca's crew was involved mostly in hijacking trucks and selling the stolen merchandise. Because only a few people knew Pistone's real identity, FBI and NYPD investigations had Pistone down as an actual Mafia associate called Don Brasco. He later moved to the Bonanno family and subsequently developed a close relationship with Anthony Mirra and Dominick "Sonny Black" Napolitano, and was tutored in the ways of the wise guy by Bonanno soldier Benjamin "Lefty Guns" Ruggiero. It was by doing this that Ruggiero inadvertently provided much evidence to Pistone, as Mafia members will not normally talk to non-members about the inner workings of the Mafia. Ruggiero became very close friends with Pistone and told him that he would "die with him".Pistone was responsible for a lucrative business venture in Holiday, Florida, when he opened and operated the King's Court Bottle Club. In Florida, Pistone worked with another FBI agent working undercover as Tony Rossi. Pistone stated that he would have become a mademember of the Bonanno family if he had murdered capo Philip Giaccone in December 1981. The hit was called off, but Pistone was later contracted to murder Alphonse "Sonny Red" Indelicato's son, Anthony "Bruno" Indelicato, who previously evaded a meeting which left Indelicato, Giaccone and Dominick Trinchera dead.After Pistone had spent six years undercover, he was ordered to end his operation. He wanted to continue at least until he became amade man; he believed Napolitano would lie about him "making his bones," participating in a mafia-ordered hit to prove his loyalty, and felt the FBI would never again have the opportunity to humiliate the Mafia by revealing that an agent had been inducted into the ranks. However, Pistone's superiors decided that the operation was becoming too dangerous and set an end date of July 26, 1981. Only after Pistone departed did FBI agents Doug Fencl, Jim Kinne, and Jerry Loar inform Napolitano and Ruggiero that their longtime associate was an FBI agent.AftermathShortly thereafter, Napolitano was murdered for having allowed an FBI agent to infiltrate the family; he was shot dead and his hands were cut off.  Anthony Mirra, who initially brought Donnie Brasco to the family, was also killed. Ruggiero was to be killed as well, but was arrested by the FBI while on his way to a meeting, in order to prevent his death.  Napolitano's girlfriend Judy later contacted Pistone and told him, "Donnie, I always knew that you weren't cut out for that world because you carried yourself different, you had an air of intelligence, you know? I knew that you were much more than just a thief. You were a good friend to Sonny and me. Sonny didn't have any ill feelings toward you." Even after finding out that Pistone was an undercover agent, Napolitano expressed no ill will, even saying, "I really loved that kid."The Mafia put out a $500,000 open contract on Pistone and kicked the Bonanno family off the Commission. FBI agents visited Mafia bosses in New York and told them not to even bother with the contract. The evidence collected by Pistone led to over 200 indictments and over 100 convictions of Mafia members. Although the infiltration of Donnie Brasco nearly destroyed the Bonanno family, it later became a blessing in disguise for the family. When the Mafia Commission Trial saw the top leadership of the Five Families sent to prison, the Bonanno family was the only major family whose leadership was not decimated because the family had been kicked off the Commission. By dodging this bullet, the family kept its leadership intact and was able to consolidate its power once again. The boss who led that resurgence, Joseph Massino, was convicted in 2004 of ordering Napolitano to be killed for allowing Pistone into the family.Pistone still travels disguised, under assumed names and with a license to carry a firearm. He will not set foot in any location with high Mafia presence. However, in the book Unfinished Business, he said that he went to New York while working as a consultant on the movie Donnie Brasco and mentions that some people recognized him. Pistone continues to be active as an author and consultant to worldwide law enforcement agencies, including Scotland Yard, and has been called to testify before the United States Senate as an expert on organized crime.In September 2012, Pistone testified in Montreal, Quebec at the Charbonneau Commission public inquiry into corruption, as an expert witness.MediaPistone detailed his undercover experience in his 1988 book Donnie Brasco: My Undercover Life in the Mafia. The book was the basis for the critically acclaimed 1997 film Donnie Brasco, starring Johnny Depp as Pistone and Al Pacino as "Lefty" Ruggiero, and for the short-lived 2000 TV series Falcone, starring Jason Gedrick as Pistone (whose mob alias was changed from "Donnie Brasco" to "Joe Falcone" for copyright reasons). Pistone was a consultant on Donnie Brasco to add authenticity to the fictionalized portrayals and settings. His life was used in an episode of FBI: The Untold Stories.Pistone revisited his experiences as Donnie Brasco in his books The Way of the Wiseguy (2004) and Donnie Brasco: Unfinished Business(2007). Pistone wrote a novel titled, The Good Guys, with Joseph Bonanno's son, Salvatore "Bill" Bonanno. He has also written several works of fiction such as Deep Cover, Mobbed Up and Snake Eyes. He has served as an executive producer on movies relating to the Mafia, including the 2006 film 10th & Wolf. In 2008, Italian artist Rossella Biscotti interviewed Pistone in her video The Undercover Man. A play based on Donnie Brasco opened at the Pennsylvania Playhouse.Pistone is featured in the eighth episode of UK history TV channel Yesterday's documentary series Mafia's Greatest Hits. A Secrets of the Dead episode, "Gangland Graveyard," features Pistone and his infiltration of the Mafia as part of the long-running investigation into the murder of three Mafia captains by Massino.

A big one this week! Pryant and Bat talk to ’80s and ’90s teen idol Devin Dando, who’s plugging his new book, Down and Out and Back: Confessions of a Teen Heartthrob. The hard-partying star, whose credits include teen classics Tyler (1983) with Jason Gedrick and Tiffany and Am I Still Dreaming? (1991) with Christy Swanson and Al Jarreau, tells of his wild behind-the-scenes stories, as well as a bit about his unusual upbringing. Hey, man, it’s all in the book. Later, Bat and semi-permanent guest Owern talk to UFC Welterweight Champion and beloved French Canadian Georges St-Pierre, who is due to defend his belt against Nick Diaz in UFC 158 on March 16. With his inimitable Quebec accent, GSP talks shop, his enthusiasm for the work of Devin Dando, practicing sidekicks with Michael Jai White and his fearlessness in taking on Diaz next month. Hee’s not scared, omee. Also, Basil calls in with the special poem, “Skulldruggery.” GSP wants to know: Are you down? LIKE US ON FACEBOOK!!! http://www.facebook.com/PryantAndBat SUBSCRIBE ON iTUNES!!! http://itunes.apple.com/us/podcast/pryant-and-bat-prodcast-hourn/id564592572?mt=2 SUBSCRIBE ON YOUTUBE!!! http://www.youtube.com/user/pryantandbat

In Episode 3 I check out this awesome flick and talk about Jason Gedrick, listen to a killer soundtrack and I read the first email and Itunes review!

Writer Cathryn Humphris joins the conversation. She shares stories about the writing process, the excitement of working with Linda Blair and Jason Gedrick, and the challenges of blending genres. Plus, Ruth Connell joins to review the episode. Great stuff!Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy