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4 episodes with Mary Elizabeth Mastrantonio
2 episodes with Mary Elizabeth Mastrantonio
3 episodes with Mary Elizabeth Mastrantonio
4 episodes with Mary Elizabeth Mastrantonio
2 episodes with Mary Elizabeth Mastrantonio
3 episodes with Mary Elizabeth Mastrantonio
2 episodes with Mary Elizabeth Mastrantonio
2 episodes with Mary Elizabeth Mastrantonio
2 episodes with Mary Elizabeth Mastrantonio
One of James Cameron's least know films, The Abyss takes you to the deepest depths in what could be seen as science fiction, or near catastrophe. Ed Harris stars alongside Mary Elizabeth Mastrantonio while Stephen Fenech unpacks some fascinating details about the making of this movie. Watch the extended version if you have the time.
En este episodio nos sumergimos en las profundidades de abismos insondables, guiados por la mirada meticulosa y exigente de James Cameron, para disfrutar de un espectáculo visual original y rompedor, como ya es marca registrada del director. The Abyss (1989) se rodó, en gran parte, en condiciones realmente extremas, tanto para el elenco como para el equipo técnico. La producción estuvo plagada de accidentes y situaciones de riesgo que estuvieron a punto de hacer naufragar el proyecto. Y no es para menos. Decidir rodar directamente bajo el agua fue, en su momento, una apuesta tan valiente como arriesgada. Pero Cameron llevaba años gestando esta historia en su cabeza y no estaba dispuesto a “bajarse del burro” fácilmente. Para llevarla a cabo, se rodeó de auténticos expertos en sus respectivas áreas: especialistas acuáticos, investigadores y un equipo técnico y artístico de primer nivel. Como rostros más visibles —aunque ocultos tras escafandras— destacan Ed Harris y Mary Elizabeth Mastrantonio, quienes forman un tándem perfecto para contar esta historia de “rescate” que, como era habitual en el cine de la época, se transforma en una alegoría de la Guerra Fría. Pero Cameron no se queda ahí: se adentra aún más en las profundidades de la sociedad contemporánea para lanzar un mensaje ecologista, utilizando para ello a unos peculiares alienígenas pasivo-agresivos. En este episodio hablamos de todo esto y más. Repasamos la curiosa novelización escrita por Orson Scott Card —tan atípica como el propio proyecto—, disfrutamos de la banda sonora compuesta por Alan Silvestri, y nos detenemos en un sinfín de curiosidades y anécdotas que rodean a la película. Para abordar este viaje épico al corazón del misterio abisal, por fin se reúne al completo el equipo “oficial” del podcast, el “presionado” Javi García, el “profundo” Óscar Cabrera y, liderando la inmersión, el acuático Juan Pablo “Videoclubsero”. Déjanos tu opinión en redes y acompáñanos en esta expedición cinematográfica a lo más hondo del océano… y del alma humana. ---------------------------------------------------------------- RECUERDA QUE PUEDES APOYARNOS A TRAVÉS DEL SISTEMA DE SUSCRIPCIÓN DE FANS ➡️https://www.ivoox.com/support/248910 ----------------------------------------------------------------- Escúchanos también en www.remakealos80.com Recuerda suscribirte a nuestro canal de YouTube 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/GXsRJYMd3wQVBG2v
This week we have a pair of thrillers about guys who meet a “New Friend from Hell” and pay the consequences. Explore the dark side with BAD INFLUENCE (1990) from writer David Koepp and director Curtis Hanson, starring James Spader and Rob Lowe. Then it's time to get way to close to the creepy new neighbors in CONSENTING ADULTS (1992) starring Kevin Kline, Mary Elizabeth Mastrantonio, Kevin Space, and Rebecca Miller.
This week Don finally picked the movie he's been talking about for a long time the 1983 crime drama film Scarface. Directed by Brian De Palma and written by Oliver Stone it tells the story of Cuban refugee Tony Montana who arrives in Miami and becomes a powerful drug lord. The film stars Al Pacino, Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, Robert Loggia, Míriam Colón and F. Murray Abraham. Come join us!!! Website : http://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod
Welcome to Myopia Movies, after that brief diversion to celebrate 500 episodes, we turned to Robin Hood: Men in Tights, I mean, Robin Hood: Prince of Thieves. I guess American Robin Hoods don't even need to try accents...you know what? It is for the best. Make sure to like and subscribe where ever you are getting this! Please leave us a review and follow us everywhere! How will Robin Hood: Prince of Thieves hold up? Host: Nic Panel: Alex, Keiko, Nur, Matt Directed by Kevin Reynolds Starring: Kevin Costner, Morgan Freeman, Mary Elizabeth Mastrantonio, Christian Slater, Alan Rickman, Geraldine McEwan, Michael McShane, Brian Blessed, Michael Wincott
Welcome to Myopia Movies, after that brief diversion to celebrate 500 episodes, we turned to Robin Hood: Men in Tights, I mean, Robin Hood: Prince of Thieves. I guess American Robin Hoods don't even need to try accents...you know what? It is for the best. Make sure to like and subscribe where ever you are getting this! Please leave us a review and follow us everywhere! How will Robin Hood: Prince of Thieves hold up? Host: Nic Panel: Alex, Keiko, Nur, Matt Directed by Kevin Reynolds Starring: Kevin Costner, Morgan Freeman, Mary Elizabeth Mastrantonio, Christian Slater, Alan Rickman, Geraldine McEwan, Michael McShane, Brian Blessed, Michael Wincott
Marc, Joe and Greg examine the 1986 pool hall classic from Martin Scorsese "The Color of Money," starring Paul Newman in an Oscar-winning performance, alongside Tom Cruise and Mary Elizabeth Mastrantonio.E-mail Prime Cut Podcast at theprimecutpodcast@gmail.comPrime Cut is on TikTok @PrimeCutPodcastFollow and Subscribe to the Prime Cut Podcast on YouTube at - https://www.youtube.com/@ThePrimeCutPodcastFollow us on Instagram at https://www.instagram.com/prime_cut_podcast/
Couch Potato Theater: The Abyss (1989) Fandom Podcast Network YouTube Channel Link: https://www.youtube.com/@FandomPodcastNetwork Couch Potato Theater Audio Podcast Link: https://fpnet.podbean.com/category/couch-potato-theater Welcome to Couch Potato Theater, where we celebrate our favorite movies on the Fandom Podcast Network! On this episode we celebrate James Cameron's underwater sci-fi adventure drama, The Abyss (1989). The Abyss is a 1989 American science fiction film written and directed by James Cameron and starring Ed Harris, Mary Elizabeth Mastrantonio, and Michael Biehn. When an American submarine sinks in the Caribbean, a US search and recovery team works with an oil platform crew, racing against Soviet vessels to recover the boat. Deep in the ocean, they encounter something unexpected. The film was released on August 9, 1989, receiving generally positive reviews and grossed $90 million. It was nominated for four Academy Awards and won the Academy Award for Best Visual Effects. Fandom Podcast Network Contact Information - - Fandom Podcast Network YouTube Channel: https://www.youtube.com/c/FandomPodcastNetwork - Master feed for all FPNet Audio Podcasts: http://fpnet.podbean.com/ - Couch Potato Theater Audio Podcast Master Feed: https://fpnet.podbean.com/category/couch-potato-theater - Facebook: https://www.facebook.com/Fandompodcastnetwork - Email: fandompodcastnetwork@gmail.com - Instagram: https://www.instagram.com/fandompodcastnetwork/ - X: @fanpodnetwork / https://twitter.com/fanpodnetwork -Bluesky: @fanpodnetwork / https://bsky.app/profile/fanpodnetwork.bsky.social Host & Guest Contact Info: - Kyle Wagner on X: @AKyleW / Instagram & Threads: @Akylefandom / @akyleW on Discord / @Ksport16: Letterboxd / Bluesky: @akylew - Kevin Reitzel on X, Instagram, Threads, Discord & Letterboxd: @spartan_phoenix / Bluesky: @spartanphoenix - Lacee Aderhold on X, Letterboxd, Bluesky, Discord & Bluesky: @LaceePants / Instagram: @thelaceepants - Dan Hadley on X: @the_spacebook / Instagram: @the_spacebook - Type 40 is @Type40doctorwho on X / @type40doctorwho on Instagram #CouchPotatoTheater #CPT #FandomPodcastNetwork #FPNet #FPN #TheAbyss #TheAbyss1989 #TheAbyssMovie #JamesCameron #EdHarris #MaryElizabethMastrantonio #MichaelBiehn #GaleAnneHurd #AlanSilvestri #80sSciFiMovies #80sActionMovies #1989Movies #KevinReitzel #KyleWagner #LaceeAderhold #DanHadley
For their 182nd episode, two suspicious film critics, two Corvette-driving dads, and two sheriff-wannabe teachers, Will Johnson and Don Shanahan, dipped their toes into the wellspring that is the movie resume of the Oscar-nominated Willem Dafoe. This week's show covers 1992's "White Sands," directed by Roger Donaldson and starring Dafore alongside Mary Elizabeth Mastrantonio, and Mickey Rourke. Will has long been a huge admirer of Willem Dafore, but, much to our mutual surprise, he had never heard of or seen "White Sands" until Don recommended it. Those fresh eyes paired with a veteran's make this a fun talk. Come learn more and stay for the mutual love and respect that fun movies encapsulate. Enjoy our podcast!https://www.teepublic.com/user/ruminationsradionetworkhttps://www.instagram.com/cinephilehissyfit/https://www.instagram.com/casablancadon/Twitter: https://twitter.com/CinephileFitwww.RuminationsRadioNetwork.comwww.instagram.com/RuminationsRadioNetworkTwitter: RuminationsRadioNetwork@RuminationsNProduction by Mitch Proctor for Area 42 Studios and SoundEpisode Artwork by Charles Langley for Area 42 Studios and Soundhttps://www.patreon.com/RuminationsRadiohttps://everymoviehasalesson.com/https://ruminationsradio.transistor.fm/ ★ Support this podcast on Patreon ★
In this episode, we conclude our month of underwater adventure with James Cameron's 1989 science fiction diving romp, "The Abyss", starring Ed Harris, Mary Elizabeth Mastrantonio and Michael Biehn! Listen now!
On this weeks Episode Will, Ian and Nora welcome back A.E. BENNETT , writer of The Serrulata Saga to talk about one of her Favorite movies. But first they'll join together to fight the Law, live in the trees and give money to the poor... and swordfight. A little archery, mostly sword fighting.... So, yea, they get all- ROBINHOOD: PRINCE OF THIEVES (1991)(extended cut)(PG-13. 155 minutes) Directed by: Kevin Reynolds. Starring: Kevin Costner, Morgan Freeman, Alan Rickman, Christian Slater, Mary Elizabeth Mastrantonio, Geraldine McEwan, Michael McShane, Brian Blessed, Michael Wincott, Soo Drouet, Nick Brimble and Many Other Talented People! 00:00:30- Welcome back A.E. Bennett! 00:03:00- First Thoughts 00:13:30- Watcha Been Watchin'? (Ian- Robinhood: Men in Tights. A.E. Bennett- American Fiction, The New Look. Will- LOTR extended cuts, Princess of Thieves, RObinhood: Men in Tights, The Adventures of Robinhood (1938). Nora- Outer Banks, Robin Hood (1973), Robin Hood (2010), Robin and Marian, Princess of Thieves, Robin Hood Men in Tights, Robin and the 7 Hoods) 00:26:00- ROBIN HOOD PRINCE OF THIEVES (1991) 00:30:00- Tasty Morsels 00:33:00- Rating/Review 01:22:00- Totals 01:22:30- A Request 01:23:00- Next Week 01:25:00- Thank You A.E. Bennett! Patreon: patreon.com/THELastActionCritics Instagram: @TheLastActionCritics email: Thelastactioncritics@gmail.com Next Week: Boondock Saints (1999)(available on Peacock)
National take a hike day. Entertainment from 2022. US Capitol moved from Philadelphia to Washington D.C., Suez Cannal opened, Computer Mouse invented, 1st party fraternity formed. Todays birthdays - Rock Hudson, Toto, Martin Scorsese, Danny DeVito, Gordon Lightfoot, Stephen Root, Mary Elizabeth Mastrantonio, Ronnie DeVoe, Rachel McAdams, Isaac Hanson. Augeste Rodin died.Intro - Pour some sugar oln me - Def Leppard http://defleppard.com/Take a hike song - Jeff AltAnti-hero - Taylor SwiftYou Proof - Moran WallenBirthdays - in da club - 50 Cent https://en.wikipedia.org/wiki/50_CentSundown - Gordon LightfootPoison - Bell Biv DeVoeMMMBop - HansonExit - It's not love - Dokken http://dokken.net/Follow Jeff Stampka at cooolmedia.co, facebook linkedIn
Hannah and Cameron talk Martin Scorsese's only Tom Cruise movie, starring Academy Award-winner Paul Newman and nominee Mary Elizabeth Mastrantonio. They talk Tom Cruise's earring, minimal vs maximal acting, Scorsese's eighties, and more.
CINEPHILE HISSY FIT #174 (October 11, 2024): For their 174th episode, two roughneck film critics, two bioluminescent dads, and two teachers with the bends, Will Johnson and Don Shanahan, venture below the waves to the deep trench of James Cameron hallmarks that compose “The Abyss,” starring Ed Harris, Mary Elizabeth Mastrantonio, and Michael Biehn. They pull out all the oxygen tanks and “water weenies” out for a good show. Come learn more and stay for the mutual love and respect that the fun movies encapsulate. Enjoy our podcast!https://www.teepublic.com/user/ruminationsradionetworkhttps://www.instagram.com/cinephilehissyfit/https://www.instagram.com/casablancadon/Twitter: https://twitter.com/CinephileFitwww.RuminationsRadioNetwork.comwww.instagram.com/RuminationsRadioNetworkTwitter: RuminationsRadioNetwork@RuminationsNProduction by Mitch Proctor for Area 42 Studios and SoundEpisode Artwork by Charles Langley for Area 42 Studios and Soundhttps://www.patreon.com/RuminationsRadiohttps://everymoviehasalesson.com/ ★ Support this podcast on Patreon ★
En este episodio conversamos sobre la película del año 1983, “Scarface” (Caracortada) del director Brian De Palma, protagonizada por Al Pacino, Michelle Pfeiffer, Steven Bauer, Mary Elizabeth Mastrantonio y Robert Loggia.
Diane and Sean discuss the greatest movie of the 90's, Robin Hood: Prince of Thieves. Episode music is "(Everything I Do) I Do it for You", performed by Bryan Adams, written by Bryan Adams, Michael Kamen, and Robert "Mutt" Lange, from the OST.- Our theme song is by Brushy One String- Artwork by Marlaine LePage- Why Do We Own This DVD? Merch available at Teepublic- Follow the show on social media:- IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD- Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the Show.
Joe, Greg and Producer Marc take a look at the groundbreaking 1989 sc-fi adventure drama "The Abyss," directed by James Cameron, and starring Ed Harris, Mary Elizabeth Mastrantonio, and Michael Biehn.E-mail Prime Cut Podcast at theprimecutpodcast@gmail.comPrime Cut is on TikTok @PrimeCutPodcastFollow and Subscribe to the Prime Cut Podcast on YouTube at - https://www.youtube.com/@ThePrimeCutPodcastFollow us on Instagram at https://www.instagram.com/prime_cut_podcast/
Cʹest un jeu qui se joue en salle, avec des billes, des queues, des tapis verts. Un jeu à lʹiconographie patente, imprimée sur nos rétines depuis lʹavènement du film de Martin Scorcese, La couleur de lʹargent, The Color of Money, sorti en 1986. Un film événement qui lance, en Europe et dans le monde, la mode du billard américain, voyant ouvrir dans son sillage de nombreux clubs et de nombreuses salles. Mais ça, cʹest de lʹhistoire sociale. Quant à lʹhistoire du film, Martin Scorcese reprend, sous un autre angle, le personnage de Paul Newman, Fast Eddie, héros de lʹArnaqueur de 1961 de Robert Rossen. 25 ans plus tard, cʹest la suite de la vie de Fast Eddie Felson qui intéresse Scorcese. Le réalisateur joue sur les relations dʹun arnaqueur déclinant qui devient mentor dʹun jeune prometteur joué par Tom Cruise. Cʹest un film sur un rapport de force, puis sur un passage de témoin, qui nʹest pas la suite littérale de lʹArnaqueur. Il y a de lʹamour, il y a de la haine, il y a du jeu, il y a de lʹarnaque. Paul Newman, 60 ans, fait un come-back spectaculaire face à Tom Cruise auréolé du succès de Tom Gun. Il y gagne même lʹoscar du meilleur acteur. Un troisième personnage, Mary Elizabeth Mastrantonio, donne un contrepoint salutaire, une distance à ce duo dʹhommes pris dans leurs jeux de la vie et du hasard. Martin Scorcese filme au plus près des tables de billard, au plus près des bouteilles de bourbon. Les images sont presque tactiles. La couleur de lʹargent est maîtrisé de bout en bout par Scorcese, qui est comme un joueur de billard devant ses billes. Le film est un succès au box-office et permet au réalisateur de se lancer à corps perdu dans le projet de sa vie : La dernière tentation du Christ. REFERENCES Martin Scorsese interviewé pour la Couleur de lʹArgent Antenne 2, téléjournal 1987 Michael HENRY WILSON, Scorcese par Scorcese, Cahiers du Cinéma, 2005 RICHARD SCHICKEL, Conversations avec Martin Scorcese, Sonatine, 2011 Entretien avec Martin Scorcese à propos de la couleur de lʹargent, propos recueillis à New York par Michael Henry Wilson le 28 octobre 1985 pendant la préparation du film. Paru dans Positif de mars 1987.
Um criminoso cubano exilado (Al Pacino) vai para Miami e em pouco tempo está trabalhando para um chefão das drogas. Sua ascensão na quadrilha é meteórica, mas quando ele começa a sentir interesse na amante do chefe (Michelle Pfeiffer) este manda matá-lo. No entanto ele escapa do atentado, mata o mandante do crime, fica com a amante dele - mas simultaneamente sente desejos incestuosos por sua irmã (Mary Elizabeth Mastrantonio) - e assume o controle da quadrilha. Em pouco tempo ele ganha mais dinheiro do que jamais sonhou. No entanto ele está na mira dos agentes federais, que o pegam quando ele está "trocando" dinheiro. Mas seu problema pode ser resolvido se ele fizer um "serviço" em Nova York para um grande traficante e pessoas influentes, que podem manipular o poder para ajudá-lo. Porém, a missão toma um rumo inesperado... PIX: canalfilmesegames@gmail.com Siga o Filmes e Games: Instagram: filmesegames Facebook: filmesegames Twitter: filmesegames Spotify: https://open.spotify.com/show/5KfJKth Podcast: https://anchor.fm/fgcast
Hosts Sonia Mansfield and Margo D. say hello to your little friend and dork out about 1983's SCARFACE, directed by Brian De Palma and starring Al Pacino, Steven Bauer, Mary Elizabeth Mastrantonio, Robert Loggia, and Michelle Pfeiffer.But wait, there's more! They also chat about the making of the movie with author Nat Segaloff, author of SAY HELLO TO MY LITTLE FRIEND: A CENTURY OF SCARFACE. Dork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsSpreakerSpotify Tune In Stitcherhttp://dorkingoutshow.com/https://www.threads.net/@dorkingoutshow https://www.instagram.com/dorkingoutshow/ https://www.facebook.com/dorkingoutshowhttps://twitter.com/dorkingoutshow
Join Steve, Alejandro, and the amazing Raven Adams as they venture into Sherwood Forrest to revisit the epic 1991 American action adventure film. With a stellar cast featuring Keven Costner, Alan Rickman, Mary Elizabeth Mastrantonio, Morgan Freeman, and Christian Slater, will newcomer Steve be won over by Raven's super fan enthusiasm and Alejandro's nostalgic memories? --- Send in a voice message: https://podcasters.spotify.com/pod/show/rememberthatmovie/message
MOST UNDERRATED JAMES CAMERON FILM?! The Abyss Full Movie Reaction Watch Along: https://www.patreon.com/thereelrejects The Abyss Reaction, Recap, Commentary, Analysis, & Spoiler Review for the Science Fiction movie from James Cameron - the director behind Terminator 2 Judgment Day, The Terminator, Avatar, Avatar The Way Of Water, & Titanic. It's about this underwater crew who are on a mission to recover a lost nuclear submarine. But, you know, it's not just a simple search and rescue mission because they encounter some extraterrestrial aquatic beings. So, the crew consists of Bud Brigman (played by Ed Harris), his estranged wife Lindsey (played by Mary Elizabeth Mastrantonio), and a bunch of other characters. They're all working together to find this lost submarine, but things get complicated when they discover these alien creatures living in the deep sea. There's a lot of tension between Bud and Lindsey, and they have to work through their issues while dealing with the aliens. The aliens are pretty cool, by the way. They can manipulate water and even create these water tentacles that can mimic human faces. The climax of the movie involves a big decision for Bud. He has to choose between saving himself or sacrificing himself to prevent a nuclear war. Of course, he chooses the heroic option and dives into the abyss to stop a nuclear warhead from detonating. In the end, Bud survives and the aliens help him return to the surface. The movie ends with a message of hope and the idea that we can all work together to overcome our differences. The movie cast consists of Ed Harris as Virgil 'Bud' Brigman, Mary Elizabeth Mastrantonio as Lindsey Brigman Michael Biehn as Lieutenant Hiram Coffey, Leo Burmester as Catton 'Catfish' De Vries, Todd Graff as Alan 'Hippy' Carnes, John Bedford Lloyd as Jammer Willis, Kimberly Scott as Lisa 'One Night' Standing, J.C. Quinn as Arliss 'Sonny' Dawson. Follow Andrew Gordon on Socials: YouTube: https://www.youtube.com/@MovieSource Instagram: https://www.instagram.com/agor711/?hl=en Twitter: https://twitter.com/Agor711 Follow Coy Jandreau: Tik Tok: https://www.tiktok.com/@coyjandreau?l... Instagram: https://www.instagram.com/coyjandreau/?hl=en Twitter: https://twitter.com/CoyJandreau YouTube: https://www.youtube.com/channel/UCwYH2szDTuU9ImFZ9gBRH8w Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad: Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM: FB: https://www.facebook.com/TheReelRejects/ INSTAGRAM: https://www.instagram.com/reelrejects/ TWITTER: https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM: https://www.instagram.com/thegregalba/ TWITTER: https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, the ReconCinemation team is going into the deepest depths of the ocean as they continue to look at the career of James Cameron with THE ABYSS! Jon, David and Brent deep-dive (pun intended) into the original story concept, James Cameron's career from 1984 to 1989, the incredible effects that would pave the way for T2, the brilliant casting of Ed Harris, Mary Elizabeth Mastrantonio and, of course, Michael Biehn and so much more! Plus early memories of the film, where it stands today, where it ranks amongst JC's other films, the theatrical cut vs the special edition and more!! Keep your podcast-hose on... it's THE ABYSS! Twitter/IG: @reconcinemation facebook.com/reconcinemation Cover and Episode Art by Curtis Moore (IG: curt986) Theme by E.K. Wimmer (ekwimmer.com)
"The Hustler isn't what he used to be, but he has the next best thing. A kid who is." For the 125th movie we spotlight on our show, we are discussing the pool hustling drama 'The Color of Money' starring Paul Newman, Tom Cruise and Mary Elizabeth Mastrantonio. Directed by Martin Scorsese, it is based on the book of the same name by Walter Tevis. The Color of Money - IMDB: https://www.imdb.com/title/tt0090863/?ref_=nv_sr_srsg_1_tt_1_nm_6_q_the%2520color%2520of%2520mo The Color of Money - Rotten Tomatoes: https://www.rottentomatoes.com/m/color_of_money Bill's Letterboxd Ratings: https://letterboxd.com/bill_b/list/bills-all-80s-movies-podcast-ratings/ Jason's Letterboxd Ratings: https://letterboxd.com/jasonmasek/list/jasons-all-80s-movies-podcast-ratings/ Website: http://www.all80smoviespodcast.com X (Twitter): https://twitter.com/podcastAll80s Facebook (META): https://www.facebook.com/profile.php?id=100030791216864 TikTok: https://www.tiktok.com/@all80smoviespodcast Learn more about your ad choices. Visit megaphone.fm/adchoices
In “The Abyss”, after a U.S. nuclear submarine is lost at sea, the U.S. Navy enlists the help of a crew of an underwater oil drilling platform to help find it. A team of Navy SEALs, led by Michael Biehn as Lieutenant Coffey, is sent down to the crew to lead the rescue operation. Unbeknownst to the crew, led by Ed Harris as Bud Brigman and Mary Elizabeth Mastrantonio as Lindsey, the SEALs have another possible mission. A mission that is deadly for all. On top of that, during the rescue operation, deep sea otherworldly beings start appearing and ratcheting up the already high tension even more. Are these otherworldly beings friend or foe? Then to elevate the tension even more, Lieutenant Coffey starts acting psychotic due to pressure sickness from being deep undersea. Not the development you want, especially with a guy in possession of nuclear warheads. Where is this flashpoint going to end up? Is it worth watching to find out? Watch this retro review episode to find out. “The Abyss” is the movie James Cameron made between “Aliens” and “Terminator 2: Judgement Day” and I'll talk all about it in this episode. “The Abyss” also stars Leo Burmester, Todd Graff, John Bedford Lloyd, J.C. Quinn, Kimberly Scott, Captain Kidd Brewer Jr., George Robert Klek, Christopher Murphy, Adam Nelson, Dick Warlock, Jimmie Ray Weeks, J. Kenneth Campbell, Ken Jenkins, Chris Elliott and Peter Ratray. Support the showFeel free to reach out to me via:@MoviesMerica on Twitter @moviesmerica on InstagramMovies Merica on Facebook
We review The Abyss (1989) on The Atomic Cinema Experiment. This is a sci fi movie podcast. The Abyss is directed by James Cameron and stars Ed Harris, Mary Elizabeth Mastrantonio, Michael Biehn patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight discord: https://discord.gg/8fbyCehMTy TWITCH: https://www.twitch.tv/mildfuzztv Email: mftvquestions@gmail.com Audio version: https://the-ace-atomic-cinema-experime.pinecast.co
Welcome to It's A Wonderful Podcast!! A big Paul Newman double feature to close out our opening series of 2024 as Morgan and Jeannine delve into the seedy world of pool hustling and greedy manipulation, and the mind of Fast Eddie Felson in THE HUSTLER (1961) starring Newman alongside George C. Scott, Piper Laure & Jackie Gleason, and Martin Scorsese's THE COLOR OF MONEY (1986) starring him alongside Tom Cruise & Mary Elizabeth Mastrantonio! Our YouTube Channel for Monday Madness on video, Morgan Hasn't Seen TV, Retro Trailer Reactions & More https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow The It's A Wonderful Podcast Theme by David B. Music. Donate: https://www.buymeacoffee.com/ItsAWonderful1 Join our Patreon: https://www.patreon.com/ItsAWonderful1 IT'S A WONDERFUL PODCAST STORE: https://its-a-wonderful-podcast.creator-spring.com/ Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, Amazon Music & more and be sure to rate, review and SHARE AROUND!! Keep up with us on Twitter: Podcast: https://twitter.com/ItsAWonderful1 Morgan: https://twitter.com/Th3PurpleDon Jeannine: https://twitter.com/JeannineDaBean_ Keep being wonderful!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/support
It's a new month and a new theme. "Predictable", you say? How dare you?!? We've got something that would've never guessed we were doing: IT'S FEB-BRU-BURIED. All movies that take place in the desert! Kicking things off in the New Mexican desert is Roger Donaldson's White Sands with Willem Dafoe, Mickey Rourke, Mary Elizabeth Mastrantonio, Samuel L. Jackson, and a gaggle of recognizable character actors. From IMDB: A small southwestern town Sheriff finds a body in the desert with a suitcase and five hundred thousand dollars. He impersonates the man and stumbles into an F.B.I. investigation. ENJOY! YES. SAG-AFTRA HAVE FINALLY JOINED THE WGA, AND HAS COME TO AN AGREEMENT WITH THE AMPTP. IT'S BEEN A VERY LONG AND UPHILL BATTLE FOR NOT JUST THE MEMBERS AND THEIR FAMILIES OF BOTH UNIONS, IT HAS ALSO CAUSED A GREAT DEAL OF HARDSHIP FOR THE REST OF THE INDUSTRY'S PROFESSIONALS AND THEIR FAMILIES. BUT ALL ISN'T BACK TO NORMAL AND WON'T BE FOR SOME TIME. THESE WORKERS AND THEIR FAMILIES ARE GOING TO BE STRUGGLING WHILE THE INDUSTRY STARTS REMEMBERING HOW TO WORK. THE OVERWHELMING BURDEN OF PUTTING FOOD ON THE TABLE AND A ROOF OVER ONE'S HEAD DOESN'T END WHEN THE DEALS ARE MADE OR EVEN RATIFIED. THE INDUSTRY'S USUAL HIATUS/SHUTDOWN THIS MONTH IS MOST LIKELY GOING TO EXTEND ANY KIND OF BREAK FROM "NORMALCY" IN THE FREQUENCY OF WORK. IT COULD EVEN BE MONTHS INTO 2024 BEFORE PRODUCTIONS GET UP TO SPEED AGAIN. BUT EVEN IF THEY WORK THROUGH THAT USUAL "HOLIDAY HIATUS", FOR MANY FAMILIES THEY ARE GOING TO CONTINUE TO NEED ASSISTANCE, EVEN IF THEY RETURN TO WORK. THIS IS WHERE YOU CAN HELP. IF YOU HAVE A FEW DOLLARS TO SPARE, PLEASE CONSIDER DONATING TO THE ENTERTAINMENT COMMUNITY FUND. THE FUND HELPS ALL WORKERS AFFECTED BY THE STRIKE, NOT JUST ACTORS AND WRITERS. Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages
Este é mais um episódio do Podcast Filmes Clássicos e desta vez Alexandre e Fred trazem dois convidados para debater um dos filmes de gângsters mais influente dos anos 80. Fábio Rockenbach, professor da Universidade de Passo Fundo e criador do curso “A Experiência do Cinema”, volta ao PFC e junto dele, Guilherme Ferro, cinéfilo dedicado e um de nossos ouvintes mais antigos. A quadrilha debate “Scarface” (Scarface, 1983), produção dirigida por Brian De Palma, roteirizada por Oliver Stone e estrelada por Al Pacino, Steven Bauer, Robert Loggia, Michelle Pfeiffer, F. Murray Abraham e Mary Elizabeth Mastrantonio. Como muitas vezes aconteceu na história do cinema, o filme teve um desempenho modesto na bilheteria e recebeu críticas divididas, mas o tempo ajudou a revelar a qualidade do filme, hoje um dos clássicos mais cultuados da década de 80. ---------------------- Acesse nosso site: http://www.filmesclassicos.com.br Acesse nossa página no Facebook : https://www.facebook.com/podcastfilmesclassicos/ Nos procure no seu aplicativo de podcast do celular, no Spotify, Deezer, YouTube, Anchor ou iTunes.
Join Dom Cruze and Toni Bankz as they dive into the iconic world of the 1983 film "Scarface." In this exclusive review, we explore the timeless tale of power, crime, and redemption. From Al Pacino's unforgettable performance to the film's impact on pop culture, this discussion takes you on a journey through the cinematic masterpiece. Don't miss our unique insights, anecdotes, and the duo's dynamic chemistry as they revisit and dissect the classic that is "Scarface." Subscribe, like, and hit the bell to stay updated on The Revisit's captivating reviews.Scarface is a 1983 American epic crime drama film directed by Brian De Palma and written by Oliver Stone.[6] Loosely based on the 1930 novel of the same name and serving as a loose remake of the 1932 film,[7][8][9] it tells the story of Cuban refugee Tony Montana (Al Pacino), who arrives penniless in Miami during the Mariel boatlift and becomes a powerful drug lord. The film co-stars Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio and Robert Loggia.[6] De Palma dedicated this version of Scarface to the memories of Howard Hawks and Ben Hecht, the writers of the original filmDon't GET LEFT BEHIND! Make sure to check out the previous video! - https://bit.ly/3MgguSO Bored? Check out this AWESOME video! - https://bit.ly/3Kd721x Enjoying the channel & want to support more? SUBSCRIBE - https://bit.ly/43mI4DkFind the RMHP Crew!RMHProductions Socials - https://linktr.ee/rmhproductionsDOM CRUZE Instagram: https://www.instagram.com/itzdomw/Q Twitter: https://twitter.com/King_QuisemoeInstagram: https://www.instagram.com/king_quisemoe/iLL - https://twitter.com/illest_thrillerToniiBankz - https://linktr.ee/ToniiBankzCorry - https://linktr.ee/corrysawakeWe hope you enjoyed the video and the content we put out here Rebel Media House Productions! Thank you for watching!Melodic Therapy Business inquires: domcruzem
THE COLOR OF MONEY and SEA OF LOVEDirectors with a day job for season 10? What about the most important person behind the scenes NOT the director? The writer.RICHARD PRICE was a renowned author before trying his hand at screenwriting, which resulted in a "calling card" script that everyone loved but no one wanted to make into a movie. Classic Hollywood. As we discuss going over Price's career, he eventually ended up adapting the novel The Color of Money (1986), the sequel to The Hustler. Director Martin Scorsese (what ever happened to that guy?) and Price ended up chucking Walter Tevis' source novel and what we see onscreen is mostly Price, a pool hall road trip with Tom Cruise, Paul Newman and Mary Elizabeth Mastrantonio (no joke, what happened to her?). How the writing of this film informed Price as an author is almost as fascinating as the movie itself. We get into it. In 1989 Price's script for Sea of Love was an immensely important film for star Al Pacino, who'd been in actor jail since the disastrous Revolution (1985), which was preceded by a number of financial disappointments . Pacino has since cemented himself as one of the all time greats but in 1989 a lot of people thought he was washed - going through the motions and box office poison. Sea of Love reestablished Pacino for the big screen and still stands as one of his best roles and maybe sexiest? Has Pacino ever been sexy? Price's script is so good it almost seems embarrassed to have a serial killer plot and we get into that dynamic.Screenwriter and frequent guest Erik and Ken geek out over both films and Price in general. We talk a lot about directors on this show (many would say too much) so it is fitting we give a little love to the lonely art of writing and the weird art of writing for film. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralJack: jackk1096
Ho Ho Ho! It's the 2023 Death By DVD holiday special, Charlie Brown! On this swell seasonal episode we discuss James Cameron's 1989 THE ABYSS, in all of its glory! What does The Abyss have to do with the holiday season, you ask? Nothing! Nothing at all! But, The Abyssmas was a fantastic pun we just couldn't abandon, and thus, the 2023 holiday special was born! Hear everything you needed, and didn't need to know about the movie that almost killed half its cast now on this new merry and bright episode of Death By DVD hosted by the shows classic lineup. Happy Holidays, and thank you for listening! ★ Support this podcast on Patreon ★ New Years is on the rise, which is the perfect time for Death By DVD's all original audio drama WHO SHOT HANK The first of its kind (On this show, at least) an all original narrative audio drama exploring the murder of this shows original host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK this holiday season, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE END WHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES Subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★
This week we say hello to the little friend as A DePalmber to ReMalmber begins with 1983's Scarface, directed by Brian DePalma, written by Oliver Stone, and starring Al Pacino, Michelle Pfeiffer, Steven Bauer, Mary Elizabeth Mastrantonio, Robert Loggia, F. Murray Abraham, Harris Yulin, Mark Margolis, and Richard Belzer. It's an opulent operatic journey to the American Dream, a slick and stylish directorial effort that truly proves subtlety is for cowards. It's an unseen from J Mo's collection that's been gathering dust for north of 17 years, and though a bout with COVID prevented him from joining us for the entire episode, Elite Prospects and EP Rinkside editor-in-chief J.D. Burke calls in and leaves a voicemail in defense of a hot couch classic, and one of his all-time faves. Other works discussed in this episode include Fight Club, Joker, Terminator: Salvation, Top Gun: Maverick, No Hard Feelings, Thanksgiving, Grindhouse, Totally Killer, The Final Girls, Freaky, Happy Death Day, Hostel, the Scream franchise, Payback, Pokerface, Paul T. Goldman, Friday Night Lights, Breaking Bad, Independence Day, Over The Top, Grand Theft Auto: Vice City, Macbeth, GoodFellas, Casino, The Irishman, Jack & Jill, Heat, Dog Day Afternoon, and Hunters, among others. If you'd like to watch the film before listening to our discussion, Scarface is currently streaming in Canada on Netflix, Amazon Prime and Starz at the time of publication. We'll be back next week as A DePalmber to ReMalmber continues with Carlito's Way, a movie currently streaming on Amazon Prime in Canada. Until then, see you at the movies!
Silverado is an 80s western that Jason hates so much he wanted to do a two and a half hour podcast about it. Of course, Jason and Todd barely talk about the movie at all, instead talking about Theresa Russell, the importance of the audition process, and then get in a debate about Mary Elizabeth Mastrantonio and Julianna Margulies. Also they talk about crying.
National take a hike day. Entertainment from 2010. US Capitol moved from Philadelphia to Washington D.C., Suez Cannal opened, Computer Mouse invented, 1st party fraternity formed. Todays birthdays - Rock Hudson, Toto, Martin Scorsese, Danny DeVito, Gordon Lightfoot, Stephen Root, Mary Elizabeth Mastrantonio, Ronnie DeVoe, Rachel McAdams, Isaac Hanson. Augest Rodin died.Intro - Pour some sugar oln me - Def Leppard http://defleppard.com/Take a hike song - Jeff AltWe R who we R - KeshaAs she walks away - Zac Brown Band & Alan JacksonBirthdays - in da club - 50 Cent https://en.wikipedia.org/wiki/50_CentSundown - Gordon LightfootPoison - Bell Biv DeVoeMMMBop - HansonExit - It's not love - Dokken http://dokken.net/https://coolcasts.cooolmedia.com/
The Ringer's Bill Simmons, Chris Ryan, and Van Lathan steal from the rich and pod for the poor as they kick off “Wait, this movie made HOW much money?” month with a rewatch of ‘Robin Hood: Prince of Thieves,' starring Kevin Costner, Morgan Freeman, Alan Rickman, and Mary Elizabeth Mastrantonio. Producer: Craig Horlbeck Learn more about your ad choices. Visit podcastchoices.com/adchoices
Back in December of 1983, this bloody, epic crime saga from director Brian DePalma (Carrie, The Untouchables, Blow Out) opened to middling reviews and box office....after months of hype regarding its extreme violence and how it depicted the Cuban community in Florida. The controversy never quite died down but its reputation only grew as it went on to become one of the most influential films of the 1980's. Starring Al Pacino as the infamous Tony Montana and loosely based on the legend of Al Capone, we follow his meteoric rise from destitute refugee to excessively wealthy crime boss....and the subsequent fall as well. It also stars Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, Robert Loggia, and F. Murry Abraham. Say HELLO to his little friend!!!WARNING: GRAPHIC LANGUAGE & GRAPHIC VIOLENCE PORTRAYED THROUGHOUT MOVIE CLIPS Host & Editor: Geoff GershonProducer: Marlene Gershon https://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/
Ryan and Dylan run through another batch of Scorsese classics. This time it's The Color of Money, Age of Innocence, and Silence.
0:09:45 - Box Office and upcoming releases. 0:14:00 *** What's Streaming *** NETFLIX ROBIN HOOD: PRINCE OF THIEVES, Dir. Kevin Reynolds – Kevin Costner, Morgan Freeman, Mary Elizabeth Mastrantonio, Christian Slater, Alan Rickman, Michael McShane, Geraldine McEwan. 1991. THE IMITATION GAME, Dir. Morten Tyldum – Benedict Cumberbatch, Keira Knightly, Mattew Goode, Allen Leech, Rory Kinnear, Mark Strong. 2014. US, Dir. Jordan Peele – Lupita Nyongo, Winston Duke. 2019 0:21:45 - Trailers: DUNE: PART TWO – Timothee Chalamet, Rebecca Ferguson, Florence Pugh, Zendaya, Javier Bardem, Josh Brolin, Austin Butler, Lea Seydoux, Stellen Skarsgard, Christopher Walken, Dave Bautista, Tim Blake Nelson, Charlotte Rampling. Feature. THE IRON CLAW – Zac Efron, Lilly James, Maura Tierney, Jeremy Allen White, Harris Dickinson, Holt McCallany. Feature THE BOYS IN THE BOAT – Joel Edgerton, Callum Turner. Feature 0:28:30 - THE BURIAL, Dir. Maggie Betts ( Grayson 7.5 / Roger 8 / Chris 7 ) Hosted, produced and mixed by Grayson Maxwell and Roger Stillion. Music by Chad Wall. Guest appearance by Christopher Boughan. Quality Assurance by Anthony Emmett. Visit the new Youtube channel, "For the Love of Cinema" to follow and support our short video discussions. Roger wears aviators! Please give a like and subscribe if you enjoy it. Follow the show on Twitter @lovecinemapod and check out the Facebook page for updates. Rate, subscribe and leave a comment or two. Every Little bit helps. Send us an email to fortheloveofcinemapodcast@gmail.com
This episode is as packed and chaotic as the movie itself, due to Abi and Freda being exhausted from bootlegging and Freda being in an crisis of science faith. Anyways, we finally get to discuss Oceangate. Also, offshore drilling hab(itats), underwater nuclear testing and breathing liquid oxygen strongly features. Finally, Mary Elizabeth Mastrantonio never felt the need to shorten her name.*****Some stuff you might be interested inInterview with Joseph B Keller about underwater nuclear testing: https://www.ams.org/notices/200407/fea-keller.pdfProduction hell of The Abyss: https://www.youtube.com/watch?v=0RyLikHFh78Liquid breathing: https://www.todayifoundout.com/index.php/2021/08/can-humans-breathe-liquid-like-in-the-abyss/ Hosted on Acast. See acast.com/privacy for more information.
Our miniseries on the 1980s movies of director Martha Coolidge ends with a look back at her 1988 film Plain Clothes. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we're going to complete our miniseries on the 1980s films of director Martha Coolidge with her little seen 1988 movie Plain Clothes. When we last left Ms. Coolidge, she had just seen her 1985 film Real Genius get lost in the mix between a number of similarly themed movies, although it would eventually find its audience through home video and repeated cable airings throughout the rest of the decade. Shortly after the release of Real Genius, she would pick out her next project, a comedy mystery called Glory Days. Written by Dan Vining, Glory Days was one of a number of television and movie scripts floating around Hollywood that featured a supposedly young looking cop who goes undercover as a student at a high school. Whatever Coolidge saw in it, she would quickly get to work making it her own, hiring a young writer working at Paramount Studios named A. Scott Frank to help her rewrite the script. Coolidge had been impressed by one of his screenplays, a Neo-noir romantic mystery thriller called Dead Again, and felt Frank was the right person to help her add some extra mystery to the Glory Days screenplay. While Frank and Coolidge would keep some elements of the original Glory Days script, including having the undercover cop's high school identity, Nick Springsteen, be a distant relative of the famous rock star from whose song the script had taken its title. But Coolidge would have Frank add a younger brother for the cop, and add a murdered teacher, who the younger brother is accused of killing, to give the film something extra to work towards. For the cast, Coolidge would go with a mix of newcomers in the main roles, with some industry veterans to fill out the supporting cast. When casting began in early 1987, Coolidge looked at dozens of actors for the lead role of Nick Dunbar, but she was particularly struck by thirty-two year old Arliss Howard, whose film work had been limited to supporting roles in two movies, but was expected to become a star once his role in Stanley Kubrick's next project, Full Metal Jacket, opened later in the summer. Twenty-five year old Suzy Amis, a former model who, like Arlisss, had limited film work in supporting roles, would be cast as Robin, a teacher at the school who Nick develops a crush on while undercover. The supporting cast would include George Wendt from Cheers, Laura Dern's mother Diane Ladd, an Oscar nominee for her role as Flo in Martin Scorsese's Alice Doesn't Live Here Anymore, veteran character actor Seymour Cassel, an Oscar nominee himself for John Cassavetes' Faces, Robert Stack, the original Elliot Ness who was yet another former Oscar nominee, Harry Shearer, and the great Abe Vigoda. The $7.5m film would begin production in the Seattle metro area on May 6th, 1987 and would last for seven weeks, ending on June 30th. Plain Clothes would open in 193 theatres on April 15th, 1988, including 59 theatres in New York City and eight in Seattle. The reviews would be vicious on the film, with many critics pointing out how ludicrous the plot was, and how distracting it was the filmmakers were trying to pass a thirty two year old actor off as a twenty four year old police officer going undercover as an eighteen year old high school student. Audiences would stay away in droves, with only about 57k people buying a ticket to see the film during the opening three days. A performance so bad, Paramount would end up pulling the film from theatres after seven days at a $289k ticket gross, replacing every screen with another high school-set movie, the similarly-titled Permanent Record, featuring Keanu Reeves, Jennifer Rubin and Kathy Baker, which would also be the final film for Martha Coolidge's regular co-star Michelle Meyrink, who would quit acting the following year and develop an affinity in Zen Buddhism. She would eventually open her own acting studio in her hometown of Vancouver, British Columbia. Not so coincidentally, Martha Coolidge is one of advisory board members of the school. There would be one more movie for Martha Coolidge in the 1980s, a made for television mystery called Trenchcoat in Paradise, featuring Dirk Benedict from Battlestar Galactica and The A-Team, Catherine Oxenberg from Dynasty, and Bruce Dern, but it's not very good and not really work talking about. As the 80s moved into the 90s, Coolidge would continue to work both in television and in motion pictures. In 1991, she would direct her Plain Clothes co-star Diane Ladd alongside Ladd's daughter, Laura Dern, in the Depression-era drama Rambling Rose. But despite unanimous critical consent and Oscar nominations for both Ladd and Dern, the first and only mother-daughter duo to be nominated for the same movie or in the same year, the $7.5m movie would only gross $6.3m. 1993's Lost in Yonkers would be the 23rd film written by Neil Simon, an adaptation of his 1991 Pulitzer Prize-winning play. Actors Irene Worth and Mercedes Ruehl would reprise their Broadway roles for the film, although Richard Dreyfuss would replace Kevin Spacey in the pivotal role as the gangster uncle of two teenage boys who go to live with their aunt after their mother dies. Despite good reviews, the $15m Lost in Yonkers would only gross about $9m. Originally written as a starring vehicle for Madonna, the 1994 romantic-comedy Angie would instead star Geena Davis as an office worker in Bensonhurst, Brooklyn, who sets her neighborhood upside-down when she decides to become a single mother. Coolidge's highest budgeted film at $26m, Angie would gross just $9.4m, but would in the years to come become famous for being the first film of James Gandolfini, Michael Rispoli and Aida Turturro, who would all go on to star in five years later. 1995's Three Wishes is a bizarre fantasy drama with Patrick Swayze and Mary Elizabeth Mastrantonio, about two young boys whose mother starts to fall for a mysterious stranger after their father is reported missing during the Korean War. The $10m film would be the worst reviewed movie of Coolidge's career, and would barely gross $7m when it was released. Things would turn around for Coolidge on her next film, Out to Sea. The penultimate film for both Jack Lemmon and Walter Matthau, this weak but genial romp, according to Janet Maslin of the New York Times, finds the regular co-stars on a Mexico-bound cruise ship, where they must work as dance hosts in order to pay for their trip. Also featuring Golden Girls co-stars Estelle Harris and Rue McClanahan alongside Dyan Cannon and Donald O'Connor, Out to Sea would become her highest grossing film to date, bringing in $29m worth of ticket sales. While she would make a couple more movies, 2004's The Prince and Me and 2006's Material Girls, Coolidge would spend 1999 and the 2000s making her mark on television, directing episodes of CSI, Madame Secretary, Psych and Weeds, amongst dozens of shows, as well as the 1999 HBO film Introducing Dorothy Dandridge, which would not only win its lead star Halle Berry a number of awards including the Emmy, the Golden Globe and the Screen Actors Guild Award, it would be the first screenplay to be produced by a young writer named Shonda Rhimes. Coolidge herself would be nominated for an Emmy and a Golden Globe for Outstanding Directing of a Movie Made for Television. But her biggest achievement in Hollywood would come in 2002, when Coolidge would become the first female President of the Directors Guild of America. And in addition to being an advisor to Michelle Meyrink's acting school, she is also a professor of film studies at Chapman University in Southern California. Thank you for joining us. We'll talk again soon. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
Hosts Sonia Mansfield and Margo D. go to a back door sale and dork out about 1992's CONSENTING ADULTS, starring Kevin Kline, Kevin Spacey, Mary Elizabeth Mastrantonio, and Rebecca Miller. Dork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsGoogle PlaySpotify LibsynTune In Stitcherhttp://dorkingoutshow.com/https://twitter.com/dorkingoutshow
What happens when you hire one legendary TOP-tier movie star (Paul Newman) returning to play a character he played once before 25 years prior (Fast Eddie Felson in 1961's The Hustler)....pair him up with one giant up-and-coming movie star (Tom Cruise)....and then hire possibly THE greatest American filmmaker (Martin Scorcese) of the past 50 years to direct?? Well the result might very well be an excellent road movie/sports drama all set within the world of competitive billiards. If nothing else, it might be worth watching just to see Cruise learn the ropes from Newman....or DOES he? Mary Elizabeth Mastrantonio, John Turturro, Helen Shaver, and Forest Whitaker also round out the cast.Host: Geoff Gershon Editors: Geoff and Ella GershonProducer: Marlene Gershonhttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/
Actor, writer and comedian Sam Brown (The Whitest Kids U' Know) joins to discuss Martin Scorsese's THE COLOR OF MONEY starring Paul Newman, Tom Cruise, and Mary Elizabeth Mastrantonio. This 1986 sequel to 1961's THE HUSTLER finds the aging, once-slick pool hustler "Fast Eddie" Felson long retired from the game and making a living as a liquor salesman. When he meets Vincent, a spirited yet naive pool hotshot, Eddie offers to mentor the kid in the ways of the hustle- but can the impetuous Vincent sit still long enough to be taught? THE COLOR OF MONEY earned Paul Newman his first Best Actor Oscar and was Scorsese's first genuine box office hit. Coming during a period of mid-'80s survival for Scorsese, the film has long been considered the director's most "one for them" effort, a minor journeyman film from a major auteur. But with its virtuoso camerawork, razor sharp editing, classic '80s soundtrack, and themes of aging and excellence, has THE COLOR OF MONEY been hustling us this whole time, hiding in plain sight as a secret bonafide Scorsese classic? Cue up our convo to find out, as well as to hear diversions into baby Halloween costumes, Harold and Maude, Eve of Destruction, young John Turturro, Man on a Swing, Netflix originals, leading man physiques, and much, much more!
You know what they say: if you're going to talk about one movie about organized crime that stars Al Pacino…make sure it's Scarface! Erika and Paul take that advice to heart, because there is LITERALLY no other movie that they could have chosen!
On this, our 100th episode, we eschew any silly self-congratulatory show to get right into one of James Cameron's most under appreciated films, his 1989 anti-nuke allegory The Abyss. ----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. We're finally here. Episode 100. In the word of the immortal Owen Wilson, wow. But rather than throw myself a celebratory show basking in my own modesty, we're just going to get right into another episode. And this week's featured film is one of my favorites of the decade. A film that should have been a hit, that still informs the work of its director more than thirty years later. But, as always, a little backstory. As I quite regularly say on this show, I often do not know what I'm going to be talking about on the next episode as I put the finishing touches on the last one. And once again, this was the case when I completed the show last week, on Escape to Victory, although for a change, I finished the episode a day earlier than I usually do, so that would give me more time to think about what would be next. Thursday, Friday, Saturday. All gone. Still have no clue what I'm going to write about. Sunday arrives, and my wife and I decide to go see Avatar: The Way of Water in 3D at our local IMAX theatre. I was hesitant to see the film, because the first one literally broke my brain in 2009, and I'm still not 100% sure I fully recovered. It didn't break my brain because it was some kind of staggering work of heartbreaking genius, but because the friend who thought he was being kind by buying me a ticket to see it at a different local IMAX theatre misread the seating chart for the theatre and got me a ticket in the very front row of the theatre. Now, I don't know if you've ever seen a movie in IMAX 3D, but that first row is not the most advantageous place to watch an IMAX movie in 3D. But because the theatre was otherwise sold out, I sat there, watching Avatar in 3D from the worst possible seat in the house, and I could not think straight for a week. I actually called off work for a few days, which was easy to do considering I was the boss at my theatre, but I have definitely seen a cognitive decline since I saw Avatar in IMAX 3D in the worst possible conditions. I've never felt the need to see it again, and I was fine not seeing the new one. But my wife wanted to see it, and we had discount tickets to the theatre, so off we went. Thankfully, this time, I chose the seats for myself, and got us some very good seats in a not very crowded theatre, nearly in the spot that would be the ideal viewing position for that specific theatre. And I actually enjoyed the movie. There are very few filmmakers who can tell a story like James Cameron, and there are even fewer who could get away with pushing a pro-conservation, pro-liberal, pro-environment agenda on an unsuspecting populace who would otherwise never go for such a thing. But as I was watching it, two things hit me. One, I hate high frame rate movies. Especially when the overall look of the movie was changing between obviously shot on video and mimicking the feel of film so much, it felt like a three year old got ahold of the TV remote and was constantly pushing the button that turned motion smoothing off and on and off and on and off and on, over and over and over again, for three and a half hours. Two, I couldn't also help but notice how many moments and motifs Cameron was seemingly borrowing from his under-appreciated 1989 movie The Abyss. And there it was. The topic for our 100th episode. The Abyss. And, as always, before we get to the movie itself, some more background. James Francis Cameron was born in 1954 in small town in the middle eastern part of the Ontario province of Canada, about a nine hour drive north of Toronto, a town so small that it wouldn't even get its first television station until 1971, the year his family would to Brea, California. After he graduated from high school in 1973, Cameron would attend Fullerton College in Orange County, where would initially study physics before switching to English a year later. He'd leave school in 1974 and work various jobs including as a truck driver and a janitor, while writing screenplays in his spare time, when he wasn't in a library learning about movie special effects. Like many, many people in 1977, including myself, Star Wars would change his life. After seeing the movie, Cameron quit his job as a truck driver and decided he was going to break into the film industry by any means necessary. If you've ever followed James Cameron's career, you've no doubt heard him say on more than one occasion that if you want to be a filmmaker, to just do it. Pick up a camera and start shooting something. And that's exactly what he did, not a year later. In 1978, he would co-write, co-produce, co-direct and do the production design for a 12 minute sci-fi short called Xenogenesis. Produced at a cost of $20,000 raised from a dentist and starring his future T2 co-writer William Wisher, Xenogenesis would show just how creative Cameron could be when it came to making something with a low budget look like it cost far more to produce. There's a not very good transfer of the short available on YouTube, which I will link to in the transcript for this episode on our website, at The80sMoviePodcast.com (). But it's interesting to watch because you can already see themes that Cameron will revisit time and time again are already fully formed in the storyteller's mind. Once the short was completed, Cameron screened it for the dentist, who hated it and demanded his money back. But the short would come to the attention of Roger Corman, The Pope of Pop Cinema, who would hire Cameron to work on several of his company's upcoming feature films. After working as a production assistant on Rock 'n' Roll High School, Cameron would move up becoming the art director on Battle Beyond the Stars, which at the time, at a cost of $2m, would be the most expensive movie Corman would have produced in his then-26 year career, as the production designer on Galaxy of Terror, and help to design the title character for Aaron Lipstadt's Android. Cameron would branch out from Corman to work on the special effects for John Carpenter's Escape from New York, but Corman would bring Cameron back into the fold with the promise of running the special effects department for the sequel to Joe Dante's surprise 1978 hit Piranha. But the film's original director, Miller Drake, would leave the production due to continued differences with the Italian producer, and Cameron would be moved into the director's chair. But like Drake, Cameron would struggle with the producer to get the film completed, and would eventually disavow the film as something he doesn't consider to be his actual work as a director. And while the film would not be any kind of success by any conceivable measure, as a work of storytelling or as a critical or financial success, it would give him two things that would help him in his near future. The first thing was an association with character actor Lance Henriksen, who would go on to be a featured actor in Cameron's next two films. The second thing would be a dream he would have while finishing the film in Rome. Tired of being in Italy to finish the film, and sick with a high grade fever, Cameron would have a nightmare about an invincible cyborg hit-man from the future who had been sent to assassinate him. Sound familiar? We've already discussed how The Terminator came to be in our April 2020 episode on Hemdale Films, so we'll skip over that here. Suffice it to say that the film was a global success, turning Arnold Schwarzenegger into a beloved action star, and giving Cameron the clout to move on to ever bigger films. That even bigger film was, of course, the 1986 blockbuster Aliens, which would not only become Cameron's second big global box office success, but would be nominated for seven Academy Awards, including a well deserved acting nomination for Sigourney Weaver, which came as a surprise to many at the time because actors in what are perceived to be horror, action and/or sci-fi movies usually don't get such an accolade. After the success of Aliens, Twentieth Century-Fox would engage Cameron and his producing partner, Gale Anne Hurd, who during the making of Aliens would become his second wife, on a risky project. The Abyss. Cameron had first come up with the idea for The Abyss while he was still a student in high school, inspired by a science lecture he attended that featured Francis J. Falejczyk, the first human to breathe fluid through his lungs in experiments held at Duke University. Cameron's story would involve a group of underwater scientists who accidentally discover aliens living at the bottom of the ocean floor near their lab. Shortly after he wrote his initial draft of the story, it would be filed away and forgotten about for more than a decade. While in England shooting Aliens, Cameron and Hurd would watch a National Geographic documentary about remote operated vehicles operating deep in the North Atlantic Ocean, and Cameron would be reminded of his old story. When the returned to the United States once the film was complete, Cameron would turn his short story into a screenplay, changing the main characters from scientists to oil-rig workers, feeling audiences would be able to better connect to blue collar workers than white collar eggheads, and once Cameron's first draft of the screenplay was complete, the couple agreed it would be their next film. Cameron and Hurd would start the complex process of pre-production in the early days of 1988. Not only would they need to need to find a place large enough where they could film the underwater sequences in a controlled environment with life-size sets under real water, they would need to spend time designing and building a number of state of the art camera rigs and costumes that would work for the project and be able to capture the actors doing their craft in the water and keep them alive during filming, as well as a communications system that would not only allow Cameron to talk to his actors, but also allow the dialogue to be recorded live underwater for the first time in cinema history. After considering filming in the Bahamas and in Malta, the later near the sets constructed for Robert Altman's Popeye movie nearly a decade before, Cameron and Hurd would find their perfect shooting location outside Gaffney, South Carolina: an uncompleted and abandoned $700m nuclear power plant that had been purchased by local independent filmmaker Earl Owensby, who we profiled to a certain degree in our May 2022 episode about the 3D Movie craze of the early 1980s. In what was supposed to be the power plant's primary reactor containment vessel, 55 feet deep and with a 209 foot circumference, the main set of the Deepcore rig would be built. That tank would hold seven and a half million gallons of water, and after the set was built, would take five days to completely fill. Next to the main tank was a secondary tank, an unused turbine pit that could hold two and a half million gallons of water, where most of the quote unquote exteriors not involving the Deepcore rig would be shot. I'm going to sidetrack for a moment to demonstrate just how powerful a force James Cameron already was in Hollywood by the end of 1987. When word about The Abyss was announced in the Hollywood trade papers, both MGM and Tri-Star Pictures started developing their own underwater action/sci-fi films, in the hopes that they could beat The Abyss to theatres, even if there was scant information about The Abyss announced at the time. Friday the 13th director Sean S. Cunningham's DeepStar Six would arrive in theatres first, in January 1989, while Rambo: First Blood Part Two director George P. Cosmastos' Leviathan would arrive in March 1989. Like The Abyss, both films would feature deep-sea colonies, but unlike The Abyss, both featured those underwater workers being terrorized by an evil creature. Because if you're trying to copy the secret underwater action/sci-fi movie from the director of The Terminator and Aliens, he's most definitely going to do evil underwater creatures and not peace-loving aliens who don't want to hurt humanity. Right? Suffice it to say, neither DeepStar Six or Leviathan made any kind of impact at the box office or with critics. DeepStar Six couldn't even muster up its modest $8.5m budget in ticket sales, while Leviathan would miss making up its $25m budget by more than $10m. Although, ironically, Leviathan would shoot in the Malta water tanks Cameron would reject for The Abyss. Okay. Back to The Abyss. Rather than cast movie stars, Cameron would bring in two well-respected actors who were known to audiences but not really that famous. For the leading role of Bud Brigman, the foreman for the underwater Deepcore rig, Cameron would cast Ed Harris, best known at the time for playing John Glenn in The Right Stuff, while Mary Elizabeth Mastrantonio would be recognizable to some for playing Tom Cruise's girlfriend in The Color of Money, for which she was nominated for an Academy Award for Best Supporting Actress. Other actors would include Michael Biehn, Cameron's co-star from The Terminator and Aliens, Leo Burmester, who had been featured in Broadcast News and The Last Temptation of Christ, Todd Graff, who had starred in Tony Bill's Five Corners alongside Jodie Foster and John Turturro, character actor John Bedford Lloyd, Late Night with David Letterman featured actor Chris Elliott in a rare non-comedy role, and Ken Jenkins, who would become best known as Doctor Kelso on Scrubs years down the road who had only made two movies before this point of his career. More than two millions dollars would be spent creating the underwater sets for the film while Cameron, his actors and several major members of the crew including cinematographer Mikael Salomon, spent a week in the Cayman Islands, training for underwater diving, as nearly half of the movie would be shot underwater. It was also a good distraction for Cameron himself, as he and Hurd had split up as a couple during the earliest days of pre-production. While they would go through their divorce during the filming of the movie, they would remain professional partners on the film, and do their best to not allow their private lives to seep into the production any more than it already had in the script. Production on The Abyss would begin on August 15th, 1988, and would be amongst the toughest shoots for pretty much everyone involved. The film would endure a number of technical mishaps, some due to poorly built supports, some due to force majeure, literal Acts of God, that would push the film's production schedule to nearly six months in length and its budget from $36m to $42m, and would cause emotional breakdowns from its director on down. Mastrantonio would, during the shooting of the Lindsey resuscitation scene, stormed off the set when the camera ran out of film during the fifteenth take, when she was laying on the floor of the rig, wet, partially naked and somewhat bruised from being slapped around by Harris during the scene. “We are not animals!” she would scream at Cameron as she left. Harris would have to continue shooting the scene, yelling at nothing on the ground while trying to save the life of his character's estranged wife. On his way back to his hotel room after finishing that scene, Harris would have to pull over to the side of the road because he couldn't stop crying. Biehn, who had already made a couple movies with the meticulous director, noted that he spent five months in Gaffney, but maybe only worked three or four weeks during that entire time. He would note that, during the filming of one of his scenes underwater, the lights went out. He was thirty feet underwater. It was so dark he couldn't see his own hand in front of him, and he genuinely wondered right then and there if this was how he was going to die. Harris was so frustrated with Cameron by the end of the shoot that he threatened to not do any promotion for the film when it was released into theatres, although by the time that happened, he would be making the rounds with the press. After 140 days of principal photography, and a lawsuit Owensby filed against the production that tried to kick them out of his studio for damaging one of the water tanks, the film would finally finish shooting on December 8th, by which time, Fox had already produced and released a teaser trailer for the movie which featured absolutely no footage from the film. Why? Because they had gotten word that Warners was about to release their first teaser trailer for their big movie for 1989, Tim Burton's Batman, and Fox didn't want their big movie for 1989 to be left in the dust. Thirty-four years later, I still remember the day we got both trailers in, because they both arrived at my then theatre, the 41st Avenue Playhouse in Capitola, Calfornia, within five minutes of each other. For the record, The Abyss did arrive first. It was the Tuesday before Thanksgiving, the day before we opened the Bill Murray comedy Scrooged, and both Fox and Warners wanted theatres to play their movie's trailer, but not the other movie's trailer, in front of the film. I programmed both of them anyway, with Batman playing before The Abyss, which would be the last trailer before the film, because I was a bigger Cameron fan than Burton. And as cool as the trailer for Batman was, the trailer for The Abyss was mind-blowing, even if it had no footage from the film. I'll provide a link to that first Abyss teaser trailer on the website as well. But I digress. While Cameron worked on editing the film in Los Angeles, two major teams were working on the film's effects. The artists from Dreamquest Images would complete eighty effects shots for the film, including filming a seventy-five foot long miniature submarine being tossed around through a storm, while Industrial Lights and Magic pushed the envelope for computer graphics, digitally creating a water tentacle manipulated by the aliens that would mimic both Bud and Lindsey in an attempt to communicate with the humans. It would take ILM six months to create the minute and fifteen second long sequence. Originally slated to be released in time for the Fourth of July holiday weekend, one of the busiest and most important weekends of the year for theatres, The Abyss would be held back until August 9th, 1989, due to some effects work not being completed in time, and for Cameron to rework the ending, which test audiences were not too fond of. We'll get back to that in a moment. When The Abyss opened in 1533 theatres, it would open to second place that weekend with $9.3m, only $350k behind the Ron Howard family dramedy Parenthood. The reviews from critics was uniformly outstanding, with many praising the acting and the groundbreaking special effects, while some would lament on the rather abrupt ending of the storyline. We'll get back to that in a moment. In its second week, The Abyss would fall to third place, its $7.2m haul behind Parenthood again, at $7.6m, as well as Uncle Buck, which would gross $8.8m. The film would continue to play in theatres for several weeks, never losing more than 34% of its audience in any given week, until Fox abruptly stopped tracking the film after nine weeks and $54.2m in ticket sales. By the time the film came out, I was managing a dollar house in San Jose, a point I know I have mentioned a number of times and even did an episode about in September 2021, but I can tell you that we did pretty good business for The Abyss when we got the film in October 1989, and I would hang on to the film until just before Christmas, not because the film was no longer doing any business but because, as I mentioned on that episode, I wanted to play more family friendly films for the holidays, since part of my pay was tied to my concessions sales, and I wanted to make a lot of money then, so I could buy my girlfriend of nearly a year, Tracy, a nice gift for Christmas. Impress her dad, who really didn't like me too much. The film would go on to be nominated for four Academy Awards, including for Mikael Salomon's superb cinematography, winning for its special effects, and would enjoy a small cult following on home video… until shortly after the release of Cameron's next film, Terminator 2. Rumors would start to circulate that Cameron's original cut of The Abyss was nearly a half-hour longer than the one released into theatres, and that he was supposedly working on a director's cut of some kind. The rumor was finally proven true when a provision in James Cameron's $500m, five year financing deal between Fox and the director's new production company, Lightstorm Entertainment, included a $500k allotment for Cameron to complete his director's cut. Thanks to the advancements in computer graphics between 1989 and 1991, Industrial Lights and Magic was able to apply what they created for T2 into the never fully completed tidal wave sequence that was supposed to end the movie. Overall, what was now being called The Abyss: Special Edition would see its run time expanded by 28 minutes, and Cameron's anti-nuke allegory would finally be fully fleshed out. The Special Edition would open at the Loews Village VII in New York City and the Century Plaza Cinemas in Century City, literally down the street from the Fox lot, on land that used to be part of the Fox lot, on February 26th, 1993. Unsurprisingly, the critical consensus for the expanded film was even better, with critics noting the film's story scope had been considerably broadened. The film would do fairly well for a four year old film only opening on two screens, earning $21k, good enough for Fox to expand the footprint of the film into more major markets. After eight weeks in only a total of twelve theatres, the updated film would finish its second run in theatres with more than $238k in ticket sales. I love both versions of The Abyss, although, like with Aliens and Cameron Crowe's untitled version of Almost Famous, I prefer the longer, Special Edition cut. Harris and Mastrantonio gave two of the best performances of 1989 in the film. For me, it solidified what I already knew about Harris, that he was one of the best actors of his generation. I had seen Mastrantonio as Tony Montana's sister in Scarface and in The Color of Money, but what she did on screen in The Abyss, it still puzzles me to this day how she didn't have a much stronger career. Did you know her last feature film was The Perfect Storm, with George Clooney and Mark Wahlberg, 23 years ago? Not that she stopped working. She's had main or recurring roles on a number of television shows since then, including Law and Order: Criminal Intent, Blindspot and The Punisher, but it feels like she should have had a bigger and better career in movies. Cameron, of course, would become The King of the World. Terminator 2, True Lies, Titanic, and his two Avatar movies to date were all global box office hits. His eight feature films have grossed over $8b worldwide to date, and have been nominated for 45 Academy Awards, winning 21. There's a saying amongst Hollywood watchers. Never bet against James Cameron. Personally, I wish I could have not bet against James Cameron more often. Since the release of The Abyss in 1989, Cameron has only made five dramatic narratives, taking twelve years off between Titanic and Avatar, and another thirteen years off between Avatar and Avatar 2. And while he was partially busy with two documentaries about life under water, Ghosts of the Abyss and Aliens of the Deep, it seems that there were other stories he could have told while he was waiting for technology to catch up to his vision of how he wanted to make the Avatar movies. Another action film with Arnold Schwarzenegger. An unexpected foray into romantic comedy. The adaptation of Taylor Stevens' The Informationalist that Cameron has been threatening to make for more than a decade. The adaptation of Charles Pelligrino's The Last Train from Hiroshima he was going to make after the first Avatar. Anything. Filmmakers only have so many films in them, and Cameron has only made eight films in nearly forty years. I'm greedy. I want more from him, and not just more Avatar movies. In the years after its initial release, both Ed Harris and Mary Elizabeth Mastrantonio have refused to talk about the film with interviewers and at audience Q&As for other movies. The last time Harris has ever mentioned The Abyss was more than twenty years ago, when he said he was never going to talk about the film again after stating "Asking me how I was treated on The Abyss is like asking a soldier how he was treated in Vietnam.” For her part, Mastrantonio would only say "The Abyss was a lot of things. Fun to make was not one of them.” It bothers me that so many people involved in the making of a film I love so dearly were emotionally scarred by the making of it. It's hard not to notice that none of the actors in The Abyss, including the star of his first three films, Michael Biehn, never worked with Cameron again. That he couldn't work with Gale Anne Hurd again outside of a contractual obligation on T2. My final thought for today is that I hope that we'll someday finally get The Abyss, be it the theatrical version or the Special Edition but preferably both, in 4K Ultra HD. It's been promised for years. It's apparently been completed for years. Cameron says it was up to Fox, now Disney, to get it out. Fox, now Disney, says they've been waiting for Cameron to sign off on it. During a recent press tour for Avatar: The Way of Water, Cameron said everything is done and that a 4K UHD Blu-ray should be released no later than March of this year, but we'll see. That's just a little more than a month from the time I publish this episode, and there have been no official announcements from Disney Home Video about a new release of the film, which has never been available on Blu-ray after 15 years of the format's existence, and has been out of print on DVD for almost as long. So there it is. Our 100th episode. I thank you for finding the show, listening to the show, and sticking with the show. We'll talk again soon. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about James Cameron, The Abyss, and the other movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
We're on the road to Avatar 2: The Way Of Water! And on that road there there were three movies from James Cameron's filmography that made it happen, the first of which we'll be looking at is The Abyss from 1989. Starring Ed Harris, Mary Elizabeth Mastrantonio and Michael Biehn among others it tells the harrowing tale of a civilian diving team, a rogue nuclear warhead and aliens of The Deep. I hope you like submarines because boy there's a lot of them. Thanks for listening to our Caravan Of Garbage review! SUBSCRIBE HERE ►► http://goo.gl/pQ39jN Video Edition ► https://youtu.be/KIgK5t1vlcA Help support the show and get early episodes ► https://bigsandwich.co/ Patreon ► https://patreon.com/mrsundaymovies James' Twitter ► http://twitter.com/mrsundaymovies Maso's Twitter ► http://twitter.com/wikipediabrown Merch ► https://www.teepublic.com/stores/mr-s... Amazon Affiliate Link ► https://amzn.to/2nc12P4 Hosted on Acast. See acast.com/privacy for more information.
A Cuban refugee arrives penniless in Miami during the Mariel boatlift and rises to power as a homicidal drug lord. Directed by Brian De Palma. Screenplay by Oliver Stone. Loosely based on the 1932 novel of the same name by Armitage Trail. Starring Al Pacino, Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio and Robert Loggia. FOLLOW US ON LETTERBOXD - Zach1983 & MattCrosby Thank you so much for listening! Please follow the show on Twitter: @GreatestPod Subscribe on Apple Podcasts / Podbean This week's recommendations: Stars at Noon (Hulu) Also, the upcoming Peacock series Crystal Lake is discussed, as is Zach's VHS copy of the 1987 film, Lady Beware.
Somehow, a crime thriller starring Willem Dafoe, Mary Elizabeth Mastrantonio and Mickey Rourke set in the New Mexico desert isn't especially good. Still, the 1992 film “White Sands” gave Jamelle and John a little bit to discuss for this week's episode of Unclear and Present Danger.Connor Lynch produced this episode. Artwork by Rachel Eck.Contact us!Follow us on Twitter!John GanzJamelle BouieLinks from the episode!New York Times front-page for April 24, 1992
Follow us on Patreon at patreon.com/andalmoststarring For our final episode of Dog Days month, we welcome friend of the show Evan Maltby (Pokémon, Yu-Gi-Oh! Sevens) to break down who almost starred in the bloated Robin Hood: Prince of Thieves! Which future Robin Hood turned down a role in the film? Which sci-fi legend turned down the Sheriff of Nottingham? And how random was Friar Tuck breaking the fourth wall? Also – we try to make sense of the wildly inconsistent accents, point out what appears to be a talking goose, and celebrate Alan Rickman's bananas performance, including his incredible Baftas speech! Robin Hood: Prince of Thieves stars Kevin Costner, Morgan Freeman, Mary Elizabeth Mastrantonio, Christian Slater, Geraldine McEwan, Michael McShane, Michael Wincott, Sean Connery, Brian Blessed, Nick Brimble, Soo Drouet, and Alan Rickman; directed by Kevin Reynolds On Instagram: @andalmoststarring Have a film you'd love for us to cover? E-mail us at andalmoststarring@gmail.com www.andalmoststarring.com
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