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2 episodes with Mark Goldblatt
2 episodes with Mark Goldblatt
2 episodes with Mark Goldblatt
#1,061 - Mark Goldblatt Now, Mark Goldblatt joins The Paul Leslie Hour! Are you here? You belong here, and that's why you're here tuned into episode number 1,061 of The Paul Leslie Hour. You're joining us today for a razor-sharp chat with Mark Goldblatt, author of I Feel, Therefore I Am: The Triumph of Woke Subjectivism. We dive into the messy rise of wokeism and its shaky foundations—you don't want to miss it. And in fact, you don't want to miss any of our episodes, which is why you should subscribe to Paul's YouTube channel and follow @thepaulleslie on X, formerly known as Twitter. And with that, let's start the show! The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.
Louis Cameron Gossett Jr. (May 27, 1936 – March 29, 2024) was an American actor. He made his stage debut at the age of 17. Shortly thereafter, he successfully auditioned for the Broadway play Take a Giant Step. Gossett continued acting onstage in critically acclaimed plays including A Raisin in the Sun (1959), The Blacks (1961), Tambourines to Glory (1963), and The Zulu and the Zayda (1965). In 1977, Gossett appeared in the popular miniseries Roots, for which he won Outstanding Lead Actor for a Single Appearance in a Drama or Comedy Series at the Emmy Awards.Gossett continued acting in high-profile films, television, plays, and video games. In 1982, for his role as Gunnery Sergeant Emil Foley in An Officer and a Gentleman, he won the Academy Award for Best Supporting Actor and became the first African-American actor to win in this category. At the Emmy Awards, Gossett continued to receive recognition, with nominations for The Sentry Collection Presents Ben Vereen: His Roots (1978), Backstairs at the White House (1979), Palmerstown, U.S.A. (1981), Sadat (1983), A Gathering of Old Men (1987), Touched by an Angel (1997), and Watchmen (2019). He won and was nominated at other ceremonies including the Golden Globe Awards, Black Reel Awards, and NAACP Image Awards. Gossett was also well known for his role as Colonel Chappy Sinclair in the Iron Eagle film series (1986–1995).Gossett's other film appearances include Hal Ashby's The Landlord (1970), Paul Bogart's Skin Game (1971), George Cukor's Travels with My Aunt (1972), Stuart Rosenberg's The Laughing Policeman (1974), Philip Kaufman's The White Dawn (1974), Peter Yates's The Deep (1977), Wolfgang Petersen's Enemy Mine (1985), Christopher Cain's The Principal (1987), Mark Goldblatt's The Punisher (1989), Daniel Petrie's Toy Soldiers (1991), and Blitz Bazawule's The Color Purple (2023), his television appearances include Bonanza (1971), The Jeffersons (1975), American Playhouse (1990), Stargate SG-1 (2005), Boardwalk Empire (2013), The Book of Negroes (2015).PICTURE: By Los Angeles Times - https://digital.library.ucla.edu/catalog/ark:/13030/hb40000626, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=146890888
THE PUNISHER review starts at 51:10 Movie Recap: The Mutations (1974) Heavyweights (1995) BOOM! A Film About the Sonics (2018) Season of the Witch (2011) Valley Girl (1983) Support: patereon.com/notforeveryone Drink more coffee: https://www.foxnsons.com/ PROMOCODE: NFE
Mark and John discuss the 1989 action film The Punisher. Directed by Mark Goldblatt and starring Dolph Lundgren, Louis Gossett Jr., and some motorcycle friendly sewers, the comic book adaptation is a delightfully cheesy experience. On top of talking about Dolph Lundgren's face stubble, they also discuss random Yakuza, spin kicks, and remote control cars that deliver booze. Enjoy!
Brothers Pete and Paul Escarcega, joined by Pete Busch and Jake Fenske, revisit one of Arnold Schwartzeneggar's best films, "Terminator 2: Judgement Day."Terminator 2: Judgment Day - 1991 - Rated R - 2h 17mA cyborg, identical to the one who failed to kill Sarah Connor, must now protect her ten year old son John from an even more advanced and powerful cyborg.Director: James CameronWriters: James Cameron, William WisherStars: Arnold Schwarzenegger, Linda Hamilton, Edward FurlongIMDB Rating: 8.6Metascore: 75Budget: $102 MillionBox Office Worldwide: $502 MillionTop rated movie #28Won 4 Oscars39 wins & 33 nominations total1992 Nominee Oscar - Best Cinematography: Adam Greenberg1992 Winner Oscar - Best Sound: Tom Johnson, Gary Rydstrom, Gary Summers, Lee Orloff, Mark Goldblatt1992 Nominee Oscar - Best Film Editing: Conrad Buff IV, Mark Goldblatt, Richard A. Harris1992 Winner Oscar - Best Effects, Sound Effects Editing: Gary Rydstrom, Gloria S. Borders, Dennis Muren1992 Winner Oscar - Best Effects, Visual Effects: Dennis Muren, Stan Winston, Gene Warren Jr., Robert Skotak1992 Winner Oscar - Best Makeup: Stan Winston, Jeff DawnThe group also picks their Top 5 Arnold Schwartzeneggar Films and Best James Cameron Movies!To listen to other episodes with Jake Fenske and Pete Busch:, tune in here:"Rocky IV"https://youtu.be/LVZ1I1iNs1M"Die Hard"https://youtu.be/yH8Fm3Vp8XA"Back to the Future"https://youtu.be/m2aBAf8N-cg"The Karate Kid"https://youtu.be/MDLIOhnVJkw"Top Gun"https://youtu.be/DHUQ9z5poywTo listen on Apple Podcast:https://podcasts.apple.com/us/podcast/aaaction-podcast/id1634666134To listen on Spotify:https://open.spotify.com/show/1L78fn3C6RlKKdUihtiLyR?si=f31450db95724290Please like and subscribe to the Aaaction podcast for more movie news and reviews!https://www.youtube.com/channel/UCzJFoiUHvdbaHaiIfN37BaQ#aaactionpodcast #podcast #film #movie #moviereview #classicmovies #tombstone #rocky #moviepodcast #terminator #terminator2judgmentday #arnoldschwarzenegger #scifi #jamescameron #sarahconnor #johnconnor #judgementday #top5
pWotD Episode 2523: Louis Gossett Jr. Welcome to popular Wiki of the Day where we read the summary of a popular Wikipedia page every day.With 441,029 views on Friday, 29 March 2024 our article of the day is Louis Gossett Jr..Louis Cameron Gossett Jr. (May 27, 1936 – March 29, 2024) was an American actor. Born in Coney Island, Brooklyn, New York City, he made his stage debut at the age of 17. Shortly thereafter, he successfully auditioned for the Broadway play Take a Giant Step. Gossett continued acting onstage in critically acclaimed plays including A Raisin in the Sun (1959), The Blacks (1961), Tambourines to Glory (1963), and The Zulu and the Zayda (1965). In 1977, Gossett appeared in the popular miniseries Roots, for which he won Outstanding Lead Actor for a Single Appearance in a Drama or Comedy Series at the Emmy Awards.Gossett continued acting in high-profile films, television, plays, and video games. In 1982, for his role as Gunnery Sergeant Emil Foley in An Officer and a Gentleman, he won the Academy Award for Best Supporting Actor and became the first black actor to win in this category. At the Emmy Awards, Gossett continued to receive recognition, with nominations for The Sentry Collection Presents Ben Vereen: His Roots (1978), Palmerstown, U. S. A. (1981), Sadat (1983). Gossett appeared in 1985's Enemy Mine with Dennis Quaid, A Gathering of Old Men (1987), Touched by an Angel (1997), and Watchmen (2019). He won and was nominated at other ceremonies including the Golden Globe Awards, Black Reel Awards, and NAACP Image Awards. Gossett was also well-known for his role as Colonel Chappy Sinclair in the Iron Eagle film series (1986-1995).Gossett's other film appearances include Hal Ashby's The Landlord (1970), Paul Bogart's Skin Game (1971), George Cukor's Travels with My Aunt (1972), Stuart Rosenberg's The Laughing Policeman (1974), Philip Kaufman's The White Dawn (1974), Peter Yates's The Deep (1977), Wolfgang Petersen's Enemy Mine (1985), Christopher Cain's The Principal (1987), Mark Goldblatt's The Punisher (1989), Daniel Petrie's Toy Soldiers (1991), and Jasper, Texas (2003), and his television appearances include Bonanza (1971), The Jeffersons (1975), American Playhouse (1990), Stargate SG-1 (2005), Left Behind: World at War (2005), Boardwalk Empire (2013), and The Book of Negroes (2015).This recording reflects the Wikipedia text as of 01:19 UTC on Saturday, 30 March 2024.For the full current version of the article, see Louis Gossett Jr. on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Matthew Neural.
Come promesso, iniziamo la settimana CaRfatica Podcast tutta dedicata alla furia vendicativa di Frank Castle, alias Il Punitore, al cinema! Sì perché il nostro vigilante dal teschio sul petto e i modi spicci, è stato portato su grande schermo per ben tre volte, con risultati non proprio felicissimi, purtroppo. Ciononostante, il vostro CaRfa di quartiere non si esime a chiacchierare di pellicole che, tutto sommato, sono divenute dei piccoli cult, nonostante gli evidenti difetti. E iniziamo con la prima, diretta da Mark Goldblatt, che vede Castle avere il volto di un impenetrabile Dolph Lundgren. Un Punitore parecchio fallace, che non rispecchia affatto il fumetto Marvel dedicato al violento antieroe (e infatti i fan insorsero pesantemente...) e che se la deve vedere con mafiosi abbastanza idioti e la feroce Yakuza. Una pellicola a tratti ridicola, che ha però qualche ideuzza qua e là. Non bastano a salvarla, certo...ma una visione disincantata la si può anche dare, se non altro per l'impegno che si è messo nel realizzarla e poi...gli stiletti con il teschio non sono manco il diavolo su!
The boys review The Punisher from 1989 directed by Mark Goldblatt and written by Boaz Yakin, and discuss Immortal Thor #4 and what they've been reading and watching! - 0:00 - Intro 2:27 - The Punisher (1989) Review 9:39 - Immortal Thor #4 Discussion 14:00 - The Marvels (Jacob )23:33 - Doctor Strange by Aaron & Bachalo Omnibus (Spencer) 30:34 - Lights Out (Film)(Jacob) 35:40 - Doctor Strange Vol. 5: Secret Empire (Spencer) 40:53 - Outro - Collin is on a hiatus until March 2024(ish) to work on The Space Adventure, PLEASE go support him while he puts his nose to the grindstone! https://www.instagram.com/melancholy_gray/ https://twitter.com/Melancholy_Gray https://www.patreon.com/melancholy_gray
Originally Recorded July 28th, 2023 About Professor Mark Goldblatt: https://www.fitnyc.edu/creative-nexus/faculty/directory/goldblatt-mark.php Check out Professor Goldblatt's book, I Feel, Therefore I Am: The Triumph of Woke Subjectivism: https://www.amazon.com/Feel-Therefore-Am-Triumph-Subjectivism/dp/1637582854 Get full access to Unlicensed Philosophy with Chuong Nguyen at musicallyspeaking.substack.com/subscribe
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! ⚠️⚠️ATENCIÓN, ESTE PODCAST HA PERMANECIDO EN ABIERTO 48 HORAS DESDE SU PUBLICACIÓN, ANTES DE PASAR A ESTAR DISPONIBLE SOLO PARA FANS. Bienvenidos, queridos remakers, a un nuevo episodio de “Los Lunes de Videoclub”. Pero “ojo cuidao”, que diría nuestro millenial, porque esta temporada el formato viene con novedades. Así, si bien el programa se emitió en directo en Youtube, Twicht y Facebook; ya ha desaparecido de estas redes y solo podrás escucharlo en abierto durante las próximas 48 horas, antes de quedar limitado solo para fans. Esperemos que disfrutéis este regalo, y que os haya gustado la elección de nuestro primer título, sacado directamente de la última repisa del videoclub. “Estamos muertos o qué” (88), película dirigida por Mark Goldblatt, es toda una rareza dentro de las buddy cops, y eso que cumple varios de los tópicos y prototipos de este subgénero. Sin embargo, se permite el lujo de matar a sus protagonistas, y de convertirlos en zombis-detectives, que se enfrentan a la sempiterna malvada corporación, con las armas y herramientas que solo un zombi posee. Los diálogos y conversaciones, profundas y simples al mismo tiempo, se alternan con escenas de persecuciones alocadas, tiroteos sin límite, frases lapidarias, animalitos-zombis sacados de la carta del restaurante chino del barrio, melenitas ondeantes al viento, ropa hortera, agujeros de guion, relámpagos mágicos y caras derretidas, conformando un carrusel ochentero que bien vale invertir 86 minutitos en verla. Para disfrutar de esta experiencia, nos hemos reunido el añorado Javi García, más zombi que nunca en su faceta de padre novato, el atolondrado Óscar Cabrera, que a veces parece más muerto que vivo, y el insigne Juan Pablo Molina, conocedor de la clave que todo ricachón desea. Ser inmortal. Y la única forma de lograrlo es ser un auténtico remaker. ----------------------------------------------------------------- Escúchanos también en www.remakealos80.com Recuerda suscribirte a nuestro canal de You Tube para estar al día de nuestros directos https://www.youtube.com/@remakealos80 Síguenos en Instagram y Twitter @Remakealos80 y búscanos en Telegram, te dejamos el enlace a nuestro grupo de para que compartas tus opiniones e interactúes con nosotros: https://t.me/joinchat/GXsRJYMd3wQVBG2vEscucha este episodio completo y accede a todo el contenido exclusivo de Remake a los 80, cine y videoclub. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/248910
The Sizzling Summer of Cinematic Shenanigans concludes with a tribute to the great Treat Williams and a look back at one of his most purely entertaining films, DEAD HEAT! Joined by special guest Jarrod Burt, the baddest boys in podcasting celebrate the career of Treat, the development of DEAD HEAT, Mark Goldblatt's career as an editor and director, Joe Piscopo's rise in the early 80's and Vincent Price! Plus, early memories of the film, the new take on a zombie film, where this stands as a buddy cop film, how it holds up today & so much more! You can't keep a good podcaster dead... it's DEAD HEAT! Twitter/IG: @reconcinemation facebook.com/reconcinemation Cover and Episode Art by Curtis Moore (IG: curt986) Theme by E.K. Wimmer (ekwimmer.com)
Mark Goldblatt is an author, essayist, and theologian. In his recent book “I Feel, Therefore I Am: The Triumph of Woke Subjectivism," Goldblatt examines the tension between subjective belief and the inescapable demands of reality. Goldblatt is an education professor at SUNY's Fashion Institute of Technology. His other books include “Might as Well Be Dead,” the "Twerp" series, and "Bumper Sticker Liberalism." Goldblatt's essays can be found in The New York Times, Newsday, The New York Post, USA Today, Reason Magazine, and many other publications.Watch the episode on YouTube.
Welcome back to your favorite podcast about some of the biggest cinematic bombs of all time. This week, the guys are so excited to have Amy and Freddy Morris from the longest running horror podcast of all time - Night of the Living Podcast. If you have some of the foremost experts on horror on your show, you have to jump into the zombie realm and that's actually what we did! This week, the gang tackles the 1988 buddy cop action zombie comedy film - Dead Heat. As one of the more insane buddy cop films, Dead Heat failed to make an impact upon release with both audiences and critics. The movie fell short of expectations forcing the studio to cancel the planned sequel. Does Dead Heat deserve a second look? Are pee and poop jokes funny when you're in your 40's? Is Vincent Price the greatest horror actor of all time? Listen to this week's episode and find out!Timestamps: Intro - (2:09), 5 Burning Questions - (3:30), Box Office Results and Critical Response - (16:02), People Involved - (19:50), Production and Development - (42:04), Why did it Bomb? - (43:37), Commerical Break - (50:06), Dead Heat Discussion - (52:06), Is it a Bomb? - (86:52), Robo Reviewer100 - (90:35), and Outro - (101:46)Dead Heat is directed by Mark Goldblatt and stars Treat Williams, Joe Piscopo, Darren McGavin, Lindsay Frost, and Vincent Price.Freddy and Amy host one of the longest running horror podcasts on the internet - Night of the Living Podcast, please go check it out! They just celebrated 17 years in podcasting!If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com or Contact Us - here. Also, if you like what you hear, leave a review on Apple Podcast.Cast: Brad, Troy, Amy, Freddy
* This episode of The Glenn Show was taken down by YouTube on grounds that it constitutes “hate speech.” Give a listen and decide for yourself. Mark Goldblatt's recent book, I Feel, Therefore I Am: The Triumph of Woke Subjectivism … Wokeism's roots in postmodern thought … The “mysticism” of woke thinking … Learning from […]
Mark Goldblatt's recent book, I Feel, Therefore I Am: The Triumph of Woke Subjectivism ... Wokeism's roots in postmodern thought ... The “mysticism” of woke thinking ... Learning from Christine Blasey Ford's accusations ... John breaks his silence on transgender issues ... The political consequences of subjectivism ... Why Mark thinks transgender people are mentally disordered ... What does the T have to do with the LGB? ... Mark: Transgender people deserve respect ... Distinguishing between strategy and reality ...
Mark Goldblatt's recent book, I Feel, Therefore I Am: The Triumph of Woke Subjectivism ... Wokeism's roots in postmodern thought ... The “mysticism” of woke thinking ... Learning from Christine Blasey Ford's accusations ... John breaks his silence on transgender issues ... The political consequences of subjectivism ... Why Mark thinks transgender people are mentally disordered ... What does the T have to do with the LGB? ... Mark: Transgender people deserve respect ... Distinguishing between strategy and reality ...
This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon. This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying. And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s. But first, as always, some backstory. Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research. Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee. That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940. In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man. In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee. In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics. Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men. And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series. But movies were a different matter. The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company. Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films. Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself. So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming. Spider-Man. A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay. There was just one small problem. Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character. Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death. To say Stan Lee hated it would be an understatement. Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man. Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later. In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter. By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies. And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman. Who? Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa. Don't remember Salsa? That's okay. Neither does anyone else. But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits… Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone. A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later. There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s. But the one that would stick? Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years? The one that would become the star of the first ever theatrically released motion picture based on a Marvel character? Howard the Duck. Howard the Duck was not your average Marvel superhero. Howard the Duck wasn't even a superhero. He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City. Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly. The perfect character to be the subject of the very first Marvel movie. A PG-rated movie. Enter George Lucas. In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism. Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for. “What else you got, kid?” they'd ask. Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck. Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen. Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office. It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character. For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off. Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene. To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier. After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date. Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time. As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung. By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics. The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m. The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet. Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales. Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott. Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit. Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller. Phew. If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford, and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film. And it sucked. Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills. And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres. In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle. And a debacle it was. But just how bad? So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!” And it did. Well, sort of. When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate. And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews. But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film. Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married. For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades. And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky. Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band. But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If… There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment. It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today. Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, 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.
This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon. This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying. And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s. But first, as always, some backstory. Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research. Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee. That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940. In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man. In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee. In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics. Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men. And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series. But movies were a different matter. The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company. Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films. Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself. So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming. Spider-Man. A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay. There was just one small problem. Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character. Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death. To say Stan Lee hated it would be an understatement. Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man. Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later. In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter. By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies. And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman. Who? Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa. Don't remember Salsa? That's okay. Neither does anyone else. But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits… Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone. A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later. There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s. But the one that would stick? Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years? The one that would become the star of the first ever theatrically released motion picture based on a Marvel character? Howard the Duck. Howard the Duck was not your average Marvel superhero. Howard the Duck wasn't even a superhero. He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City. Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly. The perfect character to be the subject of the very first Marvel movie. A PG-rated movie. Enter George Lucas. In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism. Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for. “What else you got, kid?” they'd ask. Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck. Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen. Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office. It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character. For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off. Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene. To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier. After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date. Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time. As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung. By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics. The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m. The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet. Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales. Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott. Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit. Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller. Phew. If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford, and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film. And it sucked. Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills. And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres. In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle. And a debacle it was. But just how bad? So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!” And it did. Well, sort of. When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate. And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews. But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film. Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married. For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades. And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky. Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band. But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If… There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment. It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today. Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, 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.
What is wrong with wokeism? Mark Goldblatt explains. Links from the show:* I Feel, Therefore I Am: The Triumph of Woke Subjectivism* Chad O. Jackson on Inside the War Room* Connect with Mark* Subscribe to the newsletterAbout my guest:Mark Goldblatt is a novelist, columnist and book reviewer as well as a college professor at Fashion Institute of Technology of the State University of New York.His controversial first novel, Africa Speaks, a satire of black urban culture, was published in 2002 by The Permanent Press. His second novel, Sloth, a comedic take on postmodernism, was published in June 2010 by Greenpoint Press.Goldblatt is perhaps best known as a political commentator. He has written hundreds of opinion pieces for a combination of the New York Post, the New York Times, USA Today, the Daily News, Newsday, National Review Online and the American Spectator Online. He has been a guest on the Catherine Crier Show on Court TV and done dozens of radio interviews for stations across the country and in England. His integrity has been called into question by the Village Voice - which should count for something.Goldblatt's book reviews have appeared in The Common Review, Commentary, Reason Magazine, and the Webzine Ducts. His academic articles have appeared in Philosophy Now, Academic Questions, Sewanee Theological Review, English Renaissance Prose, Issues in Developmental Education 1999, the Encyclopedia of Tudor England and the Dictionary of Literary Biography. Get full access to Dispatches from the War Room at dispatchesfromthewarroom.substack.com/subscribe
Mark Goldblatt is the award-winning author of the middle grade novels Twerp and its sequel Finding the Worm, as well as a half dozen novels and nonfiction books for adults. How Wokeness has Worn Down the Foundations of Basic Truth
Monday's "Connecticut Today" featured host Paul Pacelli wondering why former President Donald Trump would have any support for a possible 2024 election run (0:30). Quinnipiac University Professor Emeritus David Cadden joined us to chat about layoffs at Amazon and other high-tech companies (10:54). We also spoke with columnist Mark Goldblatt, author of, "I Feel, Therefore I Am: The Triumph of Woke Subjectivism" (20:35). Image Credit: Reuters
Join your host Chris D and his special guest Smash Trivia John as they tackle the 1st live action adaptation of Marvel's the Punisher!Follow John on Twitter @SmashTriviaJohn♡ Download and use Newsly today at www.newsly.me▪︎ Please our promo code CULTF1LM for a month of their premium service FREE◇ Check out all the fine creators at www.blindknowledge.com♤ All title cards by paolinoContact him at paolinoArtworks@gmail.com Hosted on Acast. See acast.com/privacy for more information.
Join your host Chris D and his special guest Smash Trivia John as they tackle the 1st live action adaptation of Marvel's the Punisher!Follow John on Twitter @SmashTriviaJohn♡ Download and use Newsly today at www.newsly.me▪︎ Please our promo code CULTF1LM for a month of their premium service FREE◇ Check out all the fine creators at www.blindknowledge.com♤ All title cards by paolinoContact him at paolinoArtworks@gmail.com Hosted on Acast. See acast.com/privacy for more information.
Ha llegado el momento de que los culpables encuentren castigo. No se trata de venganza, sino de simple justicia. Y es de justicia recuperar una película olvidada para muchos y vilipendiada por otros cuantos, en la que un personaje de cómics Marvel se encarna en el fornido y musculado cuerpo de Dolph Lundgren. En The Punisher (1989) o El Vengador, como se le llamó en España, se vuelve a la figura del vigilante, tan presente en la década de los 70 y 80, pero tomando como base un personaje de cómic que gozó de grandes momentos y que, a día de hoy, sigue siendo un digno protagonista. El equipo de Remake a los 80 se impone la honrosa misión de analizar y despedazar esta cinta, dirigida por Mark Goldblatt, dejando al descubierto sus tripas, sus intestinos e impartiendo un elaborado veredicto. Para esta tarea, se suma al equipo el infatigable Carlos, dueño de la librería de comics Tatooine, en Jaén. Carlos pone sus bastos conocimientos al servicio del programa, y nos desarrolla el origen del personaje, como antagonista de Spiderman, repasando sus diferentes etapas. Además, detallamos cómo se decidió llevar a cabo esta película, con un presupuesto bajo y sin pretensiones, hasta el punto de que ni siquiera se atrevieron a poner en el pecho del protagonista la consabida carabela, marca de la casa. Pero esa no es la única diferencia entre el cómic y la película. De eso hablamos también, como no. Por supuesto, también fijamos nuestro punto de mira en la dirección y el elenco, hablamos de las escenas de acción, de los yakuza, del componente teológico y simbolismo de Castle (o al menos de este Castle), de la fotografía y de anécdotas y curiosidades que rodearon la grabación. El programa se emitió en riguroso y calamitoso directo en Youtube, por lo cual nos ponemos en manos de vosotros, queridos remakers, aceptando el castigo que penséis oportuno. Tened piedad del joven Javi García, que aun no ha vivido ningún Vietnam. Sed misericordes con el pobre Óscar Cabrera, objetor de conciencia usado como rata de alcantarilla para hacer saltar las minas antipersona. Y desde luego, sed benevolentes con el Capitán de la tropa, el justiciero Juan Pablo Molina, que poco puede hacer con la carne de cañón que le ha tocado en suerte. Eso sí, gastad toda la munición de la que disponéis con nuestro Fran Delgado. Os aseguramos que incluso así, volverá una y otra vez a seguir luchando a nuestro lado. _______________________________________________ Escúchanos también en www.remakealos80.com Síguenos en Twitter @Remakealos80, Instagram @remakealos80 y búscanos en Telegram, te dejamos el enlace a nuestro grupo de para que compartas tus opiniones e interactúes con nosotros: https://t.me/joinchat/GXsRJYMd3wQVBG2v
Welcome back to another exciting episode of Not A Bomb, the podcast that reexamines some of the biggest financial flops and critically panned films. On this week's show, Troy and Brad are still talking comic book movies and this time it's 1989's The Punisher. This is one of the rare straight-to-video films discussed on the show. The Punisher was released in theaters internationally but never saw a domestic release. American audiences weren't exposed to this interpretation of Frank Castle and his war on crime until 1991 via VHS. Brad and Troy also spend a little time talking about the Punisher mythos and take a look at the other two theatrical adventures of Frank Castle, The Punisher (2004) and Punisher: War Zone (2008)Lots of Punisher movie talk isn't enough for you? The guys have a little surprise this week for all of you comic book lovin' goofballs. As an added bonus this week, Troy gets a chance to sit down and have a little chat with comic book artist Todd Fox. Back in the early 90's, Todd drew our favorite antihero for Marvel comics. You'll get to hear about Todd's influences and his time working with writer Chuck Dixon on The Punisher and The Punisher War Journal.Timestamps:Intro - (0:53)Punisher Character Discussion - (3:55)Box Office and Critical Response - (8:14)Behind the Camera - (11:20)In Front of the Camera - (17:02)The Punisher (1989) Film Discussion - (37:02)Is it a Bomb? - (65:15)Punisher (2004) & Punisher: War Zone Discussion - (67:45)Todd Fox Interview - (80:23)Film for next week - (132:02)Outro - (144:01)The Punisher is directed Mark Goldblatt and starts Dolph Lundgren and Louis Gossett Jr. Check out Todd Fox's latest work over at www.indyplanet.com and make sure you read Aym Geronimo and the Postmodern Pioneers!If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com. Also, if you like what you hear, leave a review on Apple Podcast.Cast: Brad, Troy
The icy cold hand of "The Horror of 1988" is upon us again for Deaduary. We resurrect this buddy cop film starring a lot of familiar faces including Vincent Price, Shane Black and Joe Piscopo. This film has it all, zombies, walking bbq, and Treat Williams in suit. Directed by one of my favorite editors, Mark Goldblatt, if you know the 80s and 90s you should know his name. Find out if this is still worth a watch, who loves it and who almost didn't. Don't forget to check out our Patreon Page, subscribe to us on Itunes, twitter @specialmarkpro and @spoilerroompdcs. Email us at spoilerroom.smp@gmail.com
Cette semaine, Marie-Lune a écouté pour nous la série en podcast « Who Killed April Lavigne », le film « The Tinder Swindler » et nous parle de la refonte de la télésérie « Goosebumps » pour Disney+. Simon nous fait part des plus récentes sorties Blu-ray, de son appréciation des longs métrages « Girlfriend from Hell », Shrunken Heads » et l'arc narratif de Nick Spencer sur « The Amazing Spider-Man ». Benoit nous parle en rafale de la nouvelle chaine YouTube de David Letterman, de la participation de David Lynch dans le prochain projet de Steven Spielberg, du film de Madame Web et de la nouvelle minisérie de « Fantastic Four ». En dernière partie, on discute du film douteux « Dead Heat » (1988) réalisé par Mark Goldblatt, mettant en vedette Treat Williams et Joe Piscopo. Depuis 16 ans, les Mystérieux étonnants c'est votre balado (podcast) québécois dédié à la culture populaire. Diffusion originale : 7 février 2022 Site web : MysterieuxEtonnants.com © Les Mystérieux Étonnants. Tous droits réservés.
After 39 episodes of punishment, Adam finally snaps. He's pissed. Ryan and Will cannot defend themselves against his wrath. We also talk about The Punisher (1989), the first Marvel film. It stars Dolph Lundgren and is directed by acclaimed action movie editor Mark Goldblatt. It was released straight to video in 1990. IMDb: imdb.com/title/tt0098141/ Trailer: youtube.com/watch?v=Rio64bK74BY The Pizza Man clip we spend ten minutes talking about: https://twitter.com/menonfilmpod/status/1425128707614597121
C'est confinée que la PIFFFcast Team a fêté sa centième émission. L'occasion de nous remémorer nos premières fois cinéphiliques, avec moults souvenirs de VHS, de salles et mags spécialisés. D'un canard qui parle au cinoche Grindhouse de la 42e Rue, de Peter Jackson à James Cameron, du Roi Singe à Musclor, le PIFFFcast célèbre son anniversaire dans la joie bis et la bonne humeur nostalgique. Et vous, vos premières fois, c'était comment ? Avec Véronique Davidson, Xavier Colon, Talal Selhami, Cyril Despontin et Laurent Duroche. Réalisation : Xavier Colon Musique du générique : Donuts' slap par Laurent Duroche ► Flux RSS pour Android : bit.ly/2FrUwHo ► En écoute aussi sur Itunes : apple.co/2Enma9n ► Sur Deezer : www.deezer.com/fr/show/56007 ► Sur Spotify : open.spotify.com/show/4n3gUOfPZhyxL5iKdZIjHA ► Sur Youtube : https://youtu.be/ggcPknlPnx8 ► La liste des films abordés dans les précédentes émissions : bit.ly/PIFFFcast-List ► Venir discuter avec nous du PIFFFcast : bit.ly/ForumPIFFFcast REFERENCES - Le Roi des singes de Wan Laiming (1965) - Les aventuriers de l’arche perdue de Steven Spielberg (1981) - Howard The Duck de Willard Huyck (1986) - Les maîtres de l’univers de Gary Goddard (1987) - Flic ou zombie de Mark Goldblatt (1988) - Bad Taste de Peter Jackson (1987) - Le chaînon manquant de Picha (1980) - Vampire vous avez dit vampire ? 2 de Tommy Lee Wallace (1988) - Vampire vous avez dit vampire ? de Tom Holland (1985) https://soundcloud.com/pifffcast/pifffcast-47-this-is-halloween - Le Boxeur manchot de Jimmy Wang Yu (1971) - Dick Tracy de Warren Beatty (1990) - Robocop 2 de Irvin Kershner (1990) - Terminator 2 : Le jugement dernier de James Cameron (1991) - Bloodsucking Freaks de Joel M. Reed (1976) - Gremlins 2 de Joe Dante (1990) - La nuit des morts-vivants de Tom Savini (1990) - Le Sous-sol de la peur de Wes Craven (1991) - Planète Hurlante de Christian Duguay (1995)
Jordan Morris (@Midnight, Earth to Ned) is the co-host and co-creator of the world's first podcast, Jordan, Jesse, Go! on the Maximum Fun network. He's also the creator of the scripted sci-fi comedy podcast, Bubble, which he's adapting into a graphic novel and an animated movie for Sony Pictures Animation. He's great on Twitter, and as of a few weeks ago, he's now also on the 'Gram!The Punisher was directed by Mark Goldblatt, with a screenplay by Boaz Yakin. It stars Dolph Lundgren, Louis Gossett, Jr., Jeroen Krabbé, and Kim Miyori. It was produced by New World Pictures and sold to Live Entertainment (now Lionsgate) who released it direct-to-video on VHS and Laserdisc in June 1991. You can now watch it for free on YouTube, which seems illegal but ¯_(ツ)_/¯ "Marvel by the Month" theme by Robb Milne, sung by Barb Allen. All incidental music by Dennis Dreith. Visit us on internet at marvelbythemonth.com and follow us on Instagram at @marvelbythemonth.
It's Halloween week and we're reviewing the scariest sci-fi action horror of 1984... The Terminator! Released October 26th, it's the movie that started it all with high-concepts and intense action. We're joined by Robert Yaniz Jr. (Crooked Table) to see just how well it holds up. Listen to Robert on the Crooked Table Podcast! https://www.crookedtable.com/ Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the show! Facebook: https://fb.me/oldiebutagoodiepod Omny: https://omny.fm/shows/oldie-but-a-goodie YouTube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA Songs from 1984 Playlist: https://open.spotify.com/playlist/39v1MbWf849XD8aau0yA52 Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Nerd-Out Podcast: https://omny.fm/shows/nerdout Zach Adams - Instagram: https://www.instagram.com/zach4dams/ Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.
Comedians H. Foley & Tom Cassidy join Zac for the best damn buddy cop zombie action movie that Joe Piscopo and Treat Williams ever made together! Join Roger Mortis and Doug Bigelow on their pursuit of crooks that are dead serious about crime in 1988's Dead Heat, directed by acclaimed editor Mark Goldblatt.PLEASE VISIT OUR SPONSORS! If you want to last longer, and perform better in bed, head to https://www.bluechew.com and use promo code ZACH for your first shipment free!Kushy Dreams is a new company with a full line-up of premium, smokable CBD. Go to https://kushydreams.com/ and use promo code MIDNIGHT for 20% off your first order.FOLLOW THE SHOW!Zac AmicoInstagram: https://www.instagram.com/zacisnotfunnyH. FoleyInstagram: https://www.instagram.com/foleygramsTwitter: https://twitter.com/HFoleyOnIceTom CassidyInstagram: https://www.instagram.com/cassidycomedyTwitter: https://twitter.com/cassidycomedyThe newest 15 episodes are always free, but if you want access to all the archives, watch live, chat live, access to the forums, and get the show five days before it comes out everywhere else - you can subscribe now at http://www.GaSDigitalNetwork.com and use the code ZAC to save 15% on the entire network.Check out https://www.PodcastMerch.com/ZAC to get EXCLUSIVE Zac Amico merchandise (including the Amico 666 Shirt seen on the Joe Rogan Experience!)
I veckans avsnitt "straffar" vi våra lyssnar genom att prata om Marvels första riktiga superhjältefilm, The Punisher från 1989. Mer känd som "Dolph Lundgrens Punisher". Ett mästerverk som nog kan läggas i kategorin som en av de mest underskattade filmerna någonsin. Allt detta och mer därtill diskuteras i avsnitt #184 av Creative Meltdown Podcast: Dolph Lundgren, Dolph Lundgrens ballsack, Är Dolph världens bästa skådis? one-liners på svenska, Mel Gibsons lillebrorsa och vi fastar förstås en svensk Punisherrulle! Ni hör ju, det här vill ni inte missa! Om filmen: The Punisher är en amerikansk-australisk film från 1989, regisserad av Mark Goldblatt, med Dolph Lundgreni huvudrollen. Filmen baseras på den tecknade serien Punisher(Straffaren). Rollistan: Dolph Lundgren – Frank Castle Louis Gossett, Jr. – Jake Berkowitz Jeroen Krabbé – Gianni Franco Kim Miyori – Lady Tanaka Bryan Marshall – Dino Moretti Nancy Everhard – Sam Leary Länk för att lyssna på alla plattformar: https://linktr.ee/creativemeltdownpodcast Hemsidan: https://creativemeltdownpod.wordpress.com/ Övriga länkar: #iTunes #Apple https://itunes.apple.com/us/podcast/creative-meltdown-podcast/id1171487351 #Android #Smartphone #Samsung http://www.subscribeonandroid.com/creativemeltdownpodcast.podbean.com/feed/ #Podbean https://creativemeltdownpodcast.podbean.com #Acast https://www.acast.com/creativemeltdownpodcast #PlayerFM https://player.fm/series/creative-meltdown-podcast #Spotify https://open.spotify.com/show/1WhckMo5QmkT37CNwSBO7Z?si=VxHA6h0dQiaZD-lNKrOwxw www.creativemeltdownpod.wordpress.com
Analog Jones is back to discuss Terminator 2: Judgment Day (the greatest action movie ever made). We also discuss our favorite special effects master, Stan Winston! Terminator 2: Judgment Day Quick FactsDirected by James CameronProduced by James CameronWritten by James Cameron, William WisherMusic by Brad Fiedel (Returning from The Terminator)Cinematography by Adam Greenburg (Returning from The Terminator)Edited by Conrad Buff, Mark Goldblatt, and Richard A. HarrisProduction Company: Carolco Pictures, Pacific Western Productions, Lightstorm Entertainment (James Cameron and Lawrence Kasanoff’s production house), and Le Studio Canal + S.A. (This company owns the third-largest film library in the world [bought Carolco Pictures, De Laurentiis, Canon films, Hammer and Miramax-international])Distributor: TriStar PicturesReleased: July 3, 1991Budget: $94-102 millionBox Office: $520.8 millionStarring:Arnold Schwarzenegger as Model 101 aka T-800, “The Terminator”Linda Hamilton as Sarah ConnorRobert Patrick as T-1000Joe Morton as Miles DysonEarl Boen as Dr. SilbermanEdward Furlong as John ConnorJenette Goldstein as Janelle Todd Voight Notes on Stan Winston: Born in Richmond VA, 1946, died 2008 at age 62 Attended California State University, Long Beach Moved to Hollywood in 1969 to become an actor. Struggling to find an acting job, he began a makeup apprenticeship at Walt Disney. In 1972, at age 26, won his first Emmy Award for his effects work on the CBS TV movie, Gargoyles (https://www.youtube.com/watch?v=aiT-2zOLFRo) In 1982, at age 36, Winston received his first Oscar nomination for Heartbeeps (https://www.youtube.com/watch?v=GrGBmi3BVfo). This is one of Stephen’s favorite movies to show people, it’s a WEIRD ONE with Any Kaufman. He lost to Rick Baker with “An American Werewolf in London”. In 1987, at age 40, Winston won his first Oscar for Best Visual Effects (along with Robert Skotak, John Richardson, and Suzanne Benson) on another James Cameron film, Aliens. Other nominees included Lyle Conway, Bran Ferren, and Martin Gutteridge with “Little Shop of Horrors”....Richard Edlund, John Bruno, Garry Waller, William Neil with Poltergeist II: The Other Side. Directed three films 1988-Pumpkinhead 1990-A Gnome named Gnorm 1996-T2 3-D: Battle across time Won two more Oscars in 1992, at the age of 46, for Best Makeup (Jeff Dawn) and Best Visual Effects (Dennis Muren, Gene Warren Jr, and Robert Skotak) for Terminator 2: Judgment Day. Other nominees were Hook, Star Trek VI: The Undiscovered Country, and Backdraft. Won his last Oscar for Best Visual Effects in Jurassic Park, 1994, at the age of 48 (other nominees were Cliffhanger and The Nightmare Before Christmas). How to find Analog JonesDiscuss these movies and more on our Facebook page. You can also listen to us on iTunes, Podbean, and Youtube! Email us at analogjonestof@gmail.com with any comments or questions!
PUBLIC VERSION. Oscar nominated editor Mark Goldblatt (TERMINATOR 2: JUDGEMENT DAY, SHOWGIRLS, STARSHIP TROOPERS, BAD BOYS 2, DEAD HEAT, HALLOWEEN 2 (1981), ARMAGEDDON) “virtually” joins Adam, Joe, and Arwen to discuss his astounding career journey. The conversation quickly turns into a master class on editing as Mark obliges the boys with all of their extremely specific questions and comments about Mark's work both as an editor and as a second unit director on some of their favorite films of all time. Dr. Arwen provides emotional support for a listener facing a terrific opportunity but potentially carrying baggage that could get make things difficult and our beloved Crypt Keepers have their burning questions answered in this epic technical geek out with an editorial giant. Don't miss the return of Adam Green's SCARY SLEEPOVER! The first episode of the all new third season premieres to the general public today with Episode 3.1 "Doug Benson" - an episode made possible by the fans of the series that have participated in the series' on-going crowd fund campaign! Watch it now on ArieScope.com or on the ArieScope YouTube channel! TO HEAR THE FULL VERSION OF THIS EPISODE GO TO PATREON.COM/THEMOVIECRYPT. FOR ONLY $1 A MONTH YOU'LL GET EVERY NEW EPISODE, IN ITS ENTIRETY, EVERY MONDAY MORNING! YOU CAN HAVE NEW EPISODES DOWNLOAD DIRECTLY TO YOUR PODCAST APP OF CHOICE USING THE RSS CODE THAT PATREON PROVIDES FOR YOU WHEN YOU SIGN UP!
On the first segment of the podcast, Cinematheque programmers, Jim Healy and Ben Reiser discuss Ice Cold in Alex and assess the fascinating career of director Thompson. In the second segment, we are joined by our special guest, UW Madison alum and esteemed editor Mark Goldblatt. Goldblatt offers his own praise of Ice Cold in Alex and reflects on his time as the editor of J. Lee Thompson’s 1984 movie The Ambassador, which screened at the Cinematheque in 2017.
Mark Goldblatt is the Oscar-nominated editor of Terminator 1 & 2, Starship Troopers, X-Men: Last Stand, Showgirls, True Lies, Piranha, Armageddon, Pearl Harbor, Bad Boys 2, Rise of the Planet of the Apes & more.
We wrap up #Shocktober2019 with an episode on Mark Goldblatt's 1988 film Dead Heat. The film stars Treat Williams as Roger Mortis who, along with his partner Doug Bigelow (Joe Piscopo) investigate a perplexing case that throws them into the world of the supernatural.Learn more about your ad choices. Visit megaphone.fm/adchoices
We wrap up #Shocktober2019 with an episode on Mark Goldblatt’s 1988 film Dead Heat. The film stars Treat Williams as Roger Mortis who, along with his partner Doug Bigelow (Joe Piscopo) investigate a perplexing case that throws them into the world of the supernatural.
We wrap up #Shocktober2019 with an episode on Mark Goldblatt’s 1988 film Dead Heat. The film stars Treat Williams as Roger Mortis who, along with his partner Doug Bigelow (Joe Piscopo) investigate a perplexing case that throws them into the world of the supernatural.
This week Steve spoke with legendary editor Mark Goldblatt. Mark started his career in the 1970's and has since worked on films such as James Camerons "The Terminator", Michael Bays "Pearl Harbor", "X-Men: The Last Stand" and most recently Eli Roths "Death Wish". The Art of the Cut podcast is available on Apple Podcasts, Spotify, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes and tell an editor friend!
During this episode, Legends of Film host Bill Chamberlain talks to Film Editor Mark Goldblatt. Mr. Goldblatt's credits include Rambo: First Blood Part II, Pearl Harbor, True Lies, and the upcoming Movies @ Main feature The Terminator. Join us for a free screening of The Terminator starring Arnold Schwarzenegger on Saturday May 11th at 2:00 p.m. in the first floor auditorium.
Veteran Hollywood editor Mark Goldblatt talks about his lengthy career which began working for Roger Corman. Our L.A correspondent Stephen Vagg talks about Oscars (briefly) and the careers of John Gavin and Laird Cregar.
Eli Roth returns to help you get your scare on as he, his brother Gabe, film editor Mark Goldblatt and Y2J talk slasher films! And that means you'll get plenty of slasher film history and trivia from Eli - starting with the first movies made in Italy to the death of the slasher movie in the early 80s (and the role the Reagan assassination attempt may have played in that) to the slasher resurgence in the late 90s. They offer up favorite flicks, favorite death scenes, and their favorite A-list celebs who got their starts in the genre! They're also talking the original "Halloween," "Friday The 13th," and "Psycho," and discussing directors like Dario Argento, Wes Craven, and Brian De Palma.
Welcome back to the GGtMC!!! We are still having problems getting back to weekly status but dont worry, like a pesky fly we are going nowhere!!! This week we are brought to you by the fine folks at diabolikdvd.com and we have a few Blu Rays to discuss, please head over and pick up some stuff and tell them the fine folks at GGtMC sent ya over please!!! This week we cover Straw Dogs (1971) directed by Sam Peckinpah and The Punisher (1989) directed by Mark Goldblatt and starring Dolph Lundgren!!! Emails to midnitecinema@gmail.com ADIOS!!! --- Send in a voice message: https://anchor.fm/ggtmc/message
El género de la buddy movie policial fue tan explotado durante los 80 que no es de extrañar que acabara cruzándose con otros, como en este caso con el terror y la ciencia ficción. Estamos muertos... ¿o qué? cuenta la historia de dos policías muy diferentes (Tread Williams como el civilizado y Joe Piscopo como el macarra) que se ven envueltos en una conspiración orquestada por una empresa de Los Ángeles que ha inventado un método para devolver a la vida a los muertos.Criminales zombis, máquinas de resurrección y un viejecito Vincent Price son los temas del podcast de hoy.
Popcorn Talk Network proudly presents a vodcast that offers a glimpse into the movies we love to watch with breakdown and analysis of the movies some might call… a "Guilty Movie Pleasure". Join us each week as Ben Begley and Cameron Louis breakdown your favorite films, from the classics to the yet to be seen; it’s all here under one banner… GUILTY MOVIE PLEASURES! Rate us and Download on itunes: https://itunes.apple.com/us/podcast/guilty-movie-pleasures/id909155875?mt=2 This week on GMP, Ben Begley and Cameron Louis break down the 1989 classic, The Punisher! The Punisher is a 1989 Australian-American action film directed by Mark Goldblatt, written by Boaz Yakin, and starring Dolph Lundgren and Louis Gossett, Jr. Based on the Marvel Comics' character of the same name, the film changes many details of the comic book origin and the main character does not wear the trademark "skull". Shot in Sydney, Australia, The Punisher co-stars Jeroen Krabbé, Kim Miyori, Nancy Everhard, and Barry Ot --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Gänget tar sig an ett länge efterlängtat ämne – Marvels fantastiska universum. Man koncentrerar sig på serietidningarnas värld som format generationer av läsare, men glider även in på filmer och tv-serier. Länklista Superior Spider-man (2013, nummer 1-33) https://marvel.com/comics/series/17554/superior_spider-man_2013_-_present Origin: The True Story of Wolverine (2001) https://en.wikipedia.org/wiki/Origin_(comics) Spider-Man (Filmtrilogi, 2002-2007, Sam Raimi) https://en.wikipedia.org/wiki/Spider-Man_(2002_film) https://en.wikipedia.org/wiki/Spider-Man_2 https://en.wikipedia.org/wiki/Spider-Man_3 Spider-Man (Film, 1977) https://en.wikipedia.org/wiki/Spider-Man_(1977_film) Marvel Unlimited (prenumerationstjänst) https://marvel.com/comics/unlimited/home?&options%5Boffset%5D=0&totalcount=12 Civil War (2006-2007, nummer 1-7 + cirka 95 tie-ins) https://marvel.com/comics/events/238/civil_war Civil War II (2016, startar i juni) http://marvel.com/comics/events/330/civil_war_ii Venom (Superskurk, Amazing Spider-Man #252, 1984) https://en.wikipedia.org/wiki/Venom_(comics) Carnage (Superskurk, Amazing Spider-Man #344, 1991) https://en.wikipedia.org/wiki/Carnage_(comics) Elektra: Assassin (Frank Miller, 1986) https://en.wikipedia.org/wiki/Elektra:_Assassin Captain Britain (Alan Moore, 1982) https://en.wikipedia.org/wiki/Captain_Britain Ultimate Spider-man (Brian Michael Bendis, 2000-) https://en.wikipedia.org/wiki/Ultimate_Spider-Man Daredevil (Brian Michael Bendis, 2000-2006) https://en.wikipedia.org/wiki/Daredevil_(Marvel_Comics) Alias (Brian Michael Bendis, 2001-2004) https://en.wikipedia.org/wiki/Alias_(comics) Secret Invasion (Brian Michael Bendis, 2008) https://en.wikipedia.org/wiki/Secret_Invasion The Ultimates (Mark Millar, 2002) https://en.wikipedia.org/wiki/Ultimates Wolverine: Enemy of the state (Mark Millar, 2004) https://en.wikipedia.org/wiki/Wolverine_(comic_book) X-menhttps://en.wikipedia.org/wiki/X-Men Jonathan Hickman https://en.wikipedia.org/wiki/Jonathan_Hickman Fantastic Four (2010-2012) FF (2011-2012) Avengers (2013-2014) Secret Wars (2015) The Punisher https://en.wikipedia.org/wiki/Punisher The Punisher (film, Mark Goldblatt, 1989) http://www.imdb.com/title/tt0098141/ Captain Americas sköld tål kulor! https://www.youtube.com/watch?v=AKHqEKwy90A Stan Lee (marvel-pappa) https://en.wikipedia.org/wiki/Stan_Lee Judge Dredd https://en.wikipedia.org/wiki/Judge_Dredd
THE GUILTY WILL BE PUNISHED! Marvel has had a bad rap for comic book films and this is no different. Before everything turned around for them they were making films like The Punisher. We had fun on this one.
In the inaugural edition of J. Blake and Dion Baia‘s new podcast Saturday Night Movie Sleepovers, the boys fittingly pick the forgotten, some may even call lost and dark Marvel Comics classic, Mark Goldblatt’s The Punisher from 1989, starring Dolph Lundrgen and Lou Gossett Jr. They go in depth about the film, discuss the era and climate it came out in, and […]
After Chuck expresses some rather esoteric opinions on Gay Marriage, Chuck and Patrick are joined by Mark Goldblatt, the author of Bumper Sicker Liberalism for a ruckus and ribald discussion about liberalism. Later in the Show Dave Johnson, writer with the Huffington Post drops in with an anti-Capitalist anti business rant ending with a talk about the progressive idea known as Eugenics.
Stefan, Nick, Derek, and Dan go to war with Mark Goldblatt's 1989 adaptation of "The Punisher", starring Dolph Lundgren and debate the relationship between a successful adaptation and its loyalty to the source material.
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