Podcast appearances and mentions of Meg Foster

This week, Leo and Steven continue their struggle session over Rob Zombie's 31. They talk about heroes with integrity and villains who are cowards, living your best life as a contract killer, amazing performance by Richard Brake and Meg Foster, what it's like to work at the 31 office and what happens when you really, really, really want to like a movie... but it keeps shooting itself in the foot. Don't play a drinking game counting the amount of times we say "Rob Zombie", it will kill you. Watch the trailer here - 31 Like the show? Rate us on Apple or Spotify!Follow us on Instagram Follow us on TwitterCheck out our Halloween Episode with A Cut Above: Horror ReviewLike the Ads? Check out our friends at...Give Me Back My Action & Horror Movies100 HorrorsDark AdaptationHorror HouseA Cut Above: Horror ReviewGood Beer Bad Movie NightBucket of Chum PodcastDissect that FilmThe CinemigosNext Week Rob Zombie's 31 (Part 2) Hassle us via text during the show!

They Live (1988)Directed By: John CarpenterStarring: Roddy Piper, Keith David, Meg Foster, Con Stapleton from DeadwoodJohn Carpenter is known probably more for horror flicks like Halloween, The Thing, The Fog, the Escape series (New York, LA) - and we're not saying that this movie is unknown by any means, but it's super prescient today. We're continuing WrestlerMAYnia with the Rowdy Roddy Piper flick They Live. Needless to say our minds are still blown. IMDB has to say this about it: "They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it. They live." Is this a documentary?We Also Talked About:Dark Side of the Ring: The Original Superstar Billy Graham (DailyMotion)The New Kids (Amazon)North Shore (Amazon)Night of the Demons (2009) (Favesome)Equalizer 2000 (Plex)Sean's Review of "Equalizer 2000"Blacula (Pluto)Like what you hear here? We're on the youtubes now with our entire new back catalog and some upcoming exclusive content available at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://youtube.com/@deweypodmonster⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠(Some of the above links are affiliate links, if you purchase through these affiliate links we do get a small kickback, and it's the best way to support this show!).Rate and Review us on the podcast platform of your choice!As always, remember, you can always find the latest goings on at our website ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://Crap.Town⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or https://RockinTomatoes.comFollow us on Bluesky at https://bsky.app/profile/crap.town/ orhttps://bsky.app/profile/internalbleeding.crap.townCheck out our fellow podcast network members at https://⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Yourunpodcast.com⁠⁠⁠

Send us a textJoe and I chat about a John Carpenter Classic, They Live. What happens when a drifter discovers through a pair of sunglasses that we are we being influenced, controled, and even killed, mostly we're not alone. The only thing that can happen chew bubble gum or kick ass, and he's all out of bubblegumThey Live - 1988 -   7.2  IMDB RatingRoddy Piper, Keith David, Meg Foster, George Flower, Peter JasonDirector - John CarpenterBudget - 4 Million - Gross 13.5 MillionAvailable to watch Prime VideoOne Movie Guy's Opinion - Facebook Grouponemovieguysopinion@gmail.com

Send us a textThis week we talk about They Live from 1988! Our creator profile this week is Keith David!https://www.instagram.com/thebonsaimoviecrew/https://twitter.com/bonsai_crewhttps://www.tiktok.com/@thebonsaimoviecrewhttps://discord.gg/8jCPe8T2kT#moviereview #podcast #moviefan #filmpodcast #moviepodcast #film #nostalgia #classic #horror #theylive #cultclassic

Subscribe to our podcast!  On Today's episode of Indie Film Cafe Jonathan Moody, Paul Presenza, and special guest Leila Toba chat about the 1991 Don The Dragon Wilson, Chris Penn, and Meg Foster film FutureKick. It was so great to have Leila back.  Follow us on social media:  @indiefilmcafe  Websites: http://sickflickproductions.com  http://indiefilmcafe.reviews  http://indiefilmcafe.podbean.com http://patreon.com/indiefilmcafe 

Your Stupid Mind searches through the depths of Tubi to find a Roger Corman low budget direct to video dystopian cyborg film. It's 1991's Future Kick, starring Meg Foster, Chris Penn, and Don 'The Dragon' Wilson. It's the far-off future of 2025. Earth is ravaged by environmental disaster. Los Angeles is in ruins. Governments have collapsed and been replaced by mega-corporations. So absolutely nothing like our present. Howard (Jeff Pomerantz) is a rich guy who lives on the moon who creates interactive virtual reality stories. His wife Nancy (Foster) tries one out before his trip down to earth. During his earth trip, a woman reveals that New Body, one of those aforementioned mega-corporations, is murdering people and harvesting their organs. This is all done with the help of Hynes (Ed Lottimer), a psychotic killer with giant Vega-like blades on his hand. Hynes murders him, and Nancy must come down to earth to solve his murder. Meanwhile, Walker (Wilson) is a Cyberon, one of ten experimental cyborgs hunted down by earth's paramilitary police. He's the last of his kind, and makes his way turning in bounties and wearing cool sunglasses. Will Walker help Nancy solve her husband's murder? Did Corman reuse some old space battle footage? Will there be a completely embarrassing twist at the end? You'll have to listen to find out!

In which the Mister joins me in reviewing THEY LIVE (1988), from writer/director John Carpenter from the short story "Eight O'Clock in the Morning" by Ray Nelson.  After donning a pair of seemingly ordinary sunglasses, a homeless drifter named Nada (wrestling legend, Roddy Piper) finds his eyes literally opened to a reality that is far more twisted and terrifying than what They want you to believe.  Keith David stars as Frank and Meg Foster is Holly.  The film clocks in at 1 h and 34 m, is rated R and is available to buy/rent from Prime Video.  Please note there are SPOILERS in this review.#TheyLive  #RayNelson  #EightOClockInTheMorning  #JohnCarpenter  #RoddyPiper  #Nada  #KeithDavid  #Frank  #MegFoster  #Holly  #FridayFamilyFilmNight Opening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library  --- Support this podcast: https://podcasters.spotify.com/pod/show/jokagoge/support

L'eterna lotta tra He-Man ed i suoi amici, contro le forze del male guidate dal malvagio Skeletor, per il dominio del pianeta Eternia. Ma l'ultima battaglia forse verrà combattuta sul nostro pianeta... Tratto dalla serie animata di successo della Filmation, questa pellicola è ovviamente un vero e proprio, incrollabile guilty pleasure del sottoscritto. Dolph Lundgren nei panni dell'uomo più forte dell'universo è incredibilmente cringe, ma Frank Langella, sotto il trucco di Skeletor, fa sempre la sua porca figura! Azione anni 80, ambientazione anni 80, canzoni anni 80 e Courteney Cox giovanissima, per un giocattolone cinematografico dagli esiti disastrosi al botteghino. Ma come si può non amare i Masters? Ditemelo voi e non negate di amare alla follia questo film, se siete della mia generazione! PS: m quanto è sexy Chelsea Field, nel ruolo di Teela? E ci metto pure Meg Foster in quelli di Evil-Lyn.

Halloween Horrorthon II: Dead By Dawn comes to close with a wickedly witchy tale courtesy of Mr. Dragula himself, the one and only Rob Zombie. Join Rob's hot wife, the GEICO caveman, and Ken Goddamn Foree for this psychological and psychedelic horror flick. Meanwhile, David and Justus savagely critique morning radio shows and the Salem Witch Museum, respectively. It's almost Halloween kids…stay tuned to find out if this is the Greatest Movie Ever Made! The Lords of Salem (2012) is directed by Rob Zombie and stars Sheri Moon Zombie, Bruce Davison, Jeff David Phillips, Judy Geeson, and Meg Foster. Music: “Fractals” by Kyle Casey and White Bat Audio

Send us a textDo you remember Masters of the Universe? The 1987 He-Man movie that did not resemble the beloved cartoon of the 80s, at all! We remember some good casting decisions. Frank Langella as Skeletor is awesome. Meg Foster as Evil Lynn is awesome. Dolph Lungren as He-Man, a guy who could barely speak English, why the hell not? It also stars "Friends" star, Courtney Cox, that dick of a principal from "Back to the Future" and the kid that later gets a job being an Uber driver for the Star Trek Voyager crew. And this beloved cartoon and toy empire was put in the hands of a first-time director and production company known for B-Movies starring Charles Bronson, Chuck Norris, and Jean Claude Van Damn. Oh yeah, they also ruined "Superman" by producing "The Quest For Peace". So now we're not sure what to expect. But it should be fun either way.  Do You Remember Liking This Movie?

Ned Kelly is a murdering, bank-robbing, Australian folk hero. What is the true history of this mythic figure? And how did an outlaw - or bushranger - rise up to become a symbol for a new nation?Anthony Delaney and Maddy Pelling are joined by Meg Foster, an award winning historian of banditry and author of Boundary Crossers: the hidden history of Australia's other bushrangers.Edited and produced by Freddy Chick. Senior Producer is Charlotte Long.Enjoy unlimited access to award-winning original documentaries that are released weekly and AD-FREE podcasts. Sign here for up to 50% for 3 months using code AFTERDARKYou can take part in our listener survey here.After Dark: Myths, Misdeeds & the Paranormal is a History Hit podcast.

Encore! Encore! For the summer break, Sharon and Susan take you back to the 80s with reruns, and back to Season 1 with a very special encore presentation of Ep. 119. Meet the woman behind Mary Beth Lacey. Sharon and Susan are excited and honored to talk with Emmy and Tony Award winning actress and the star of Cagney & Lacey, Tyne Daly. In a career spanning eight decades, Tyne Daly has appeared on stage and screen in over 100 roles in everything from “The Mod Squad” and “Judging Amy” to co-starring with Clint Eastwood in the Dirty Harry film “The Enforcer”.She has received six Emmy awards – four of them for her outstanding portrayal of Mary Beth Lacey on “Cagney & Lacey.” In this intimate interview, Tyne Daly shares stories of her childhood, barely finishing high school, her early days acting in New York, her eventual move to Los Angeles with then-husband actor/director Georg Stanford Brown -- and a lifetime of acting, politics and poetry.THE CONVERSATIONHow Dustin Hoffman opened the door for “non-perfect” people on film and TV.Coming to California -- and being “done at 21”!How the internet is the death of conversation.The power of words. Doing her early pilots – and hoping they didn't go!“I Did My Cop” - How Dirty Harry almost kept Tyne from doing “Cagney & Lacey”How Tyne went to the mat for Meg Foster at the end of season one – and almost lost her job for it.What it was like to read with the (many) actresses auditioning to play the third Cagney – and how it felt to hear what the producers said about them when they left the room.Why Tyne hasn't re-watched the show – and doesn't want to.Tyne's idea for a new holiday: Interdependence Day – a day celebrating everything we have in common as a people.Tyne reads the poem “Life While You Wait” by Wisława SzymborskaHow after a lifetime of striving and struggling – as an actress and woman – Tyne sees that certain battles are never over…What's Tyne's one word to explain the 21st century? And what's yours?So join Susan, Sharon – and Tyne -- as they talk Bette Davis, Angela Lansbury, Jimmy Stewart, “Colleagues with penises” and “Lining up with the pigs”!AUDIOGRAPHYKeep up with Tyne Daly at Tynedalyonline.com Visit the Official Cagney & Lacey Facebook page.Tyne Daly's Official Facebook page.WHERE TO WATCHCagney & Lacey on Roku.The Bread Factory, Part 1 and Part 2 - Stream it for free using your library card or university log-in at Kanopy.comOn Apple TV.BOOKSRemembering Cagney & Lacey with Sharon Gless & Tyne Daly by Brian McFaddenPoems New and Collected by Wisława SzymborskaThe New Handbook for a Post Roe America by Robin MartyCONNECTVisit 80sTVLadies.com for transcripts.Sign up for the 80s TV Ladies mailing list.Support us and get ad-free episodes on PATREON.VOTEVOTE for us at the PodcastAwards.com Suppport Kamala Harris for President - KamalaHarris.comRegister or Check your Registration at Vote.orgIt's the 45th anniversary of President Carter's Crisis of Confidence speech. Get Susan's new play about it: Confidence (and the Speech) at Broadway Licensing.

John is back to discuss ‘Leviathan', the fun underwater monster movie that attempted to kick ‘The Abyss' in the ass the way Germany kicked the Berlin Wall to the ground! We drink whiskey and beer, except for Dave, who has covid. We catch up, gripe, and then talk about films of 1989 as part of our “Random Year Generator” series. Grab a beer and join us! 
Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 13:22 Gripes; 17:07 Films of 1989; 29:20 ‘Leviathan'; 59:36 What You Been Watching?; 01:13:32 Next Week's Episode Teaser Cast/Crew/Mentions: George P. Cosmatos, David Webb Peoples, Jeb Stuart, Peter Weller aka Robocop, Daniel Stern, Ernie Hudson, Richard Crenna, Amanda Pays, Michael Carmine, Hector Elizondo, Meg Foster, Lisa Eilbacher, Jerry Goldsmith, Alex Thompson. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 We've been watching The Bear, The Boys Season 4, Inside Out 2, The Criterion Channel, The Acolyte, Six Schizophrenic Brothers, I'll Be Gone In The Dark, The Program, A Quiet Place: Day One. Additional Tags: Michigan kicking GM's ass, Michael Moore, Syrian Aramaic, Matilda, The Sopranos, Star Wars, Acolyte, Uncle Buck, Godzilla Minus One, Auckland, New Zealand, Wilhelm Yell, Wilhelm Scream, Prince Charles, King Charles, John Wayne, Charleton Heston, Preparation H, Hemmoroids, Harr yDean Stanton, CVS, Duane Reade, Walgreens, Road Rash, The Lion King, Pivot, Ross, Friends, Couch, NASA, Killers of the Flower Moon, Leonardo DiCaprio, Robert DeNiro, Martin Scorcese, Lily Gladstone, Jesse Plemmons, David Ellison, David Zazlav, Al Jolson, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, The Crown: Season 6 part 2, Napoleon, Ferrari, Beer, Scotch, Travis Scott, U2, Apple, Apple Podcasts, 101 Dalmatians, The Parent Trap, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir. 

Perched on the hull of a wrecked Soviet freighter, a team of deep-sea miners led by head oceanographer Steven Beck comes face to face with a mutant creature that's the product of a failed genetic experiment. Starring Peter Weller, Richard Crenna, Amanda Pays, Daniel Stern, Ernie Hudson, Hector Elizondo, and Meg Foster. Ernie Hudson shall never die.

Let's Talk - MoviesEpisode 62: They Live (1988) - Just RewatchedJason Connell and Sal Rodriguez revisit the cult classic movie and talk about the iconic "Rowdy" Roddy Piper, the longest fight scene in movie history, and spotting aliens in real-life. Synopsis: They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it. They live.Director: John CarpenterWriter: John Carpenter (screenplay), Ray Nelson (short story)Cinematographer: Gary B. KibbeComposer: John Carpenter, Alan HowarthCast: Roddy Piper, Keith David, Meg Foster, George 'Buck' Flower, Peter JasonRecorded: 11-09-23Studio: Just Curious MediaListen:BuzzsproutApple PodcastsSpotifyGoogle PodcastsAmazon MusiciHeartRadioTuneInWatch:YouTubeSpotifyFollow:FacebookInstagramHost:Jason ConnellGuest:Sal Rodriguez#justcuriousmedia #letstalkmovies #mrjasonconnell #salvadorlosangeles #cinema #classicmovies #movies #moviereviews #film #filmreviews #studios #producers #directors #writers #actors #moviestars #boxoffice #theylive #johncarpenterSend us a Text Message.Support the Show.

After a group of hapless podcasters kidnap the ballerina daughter of a powerful underworld figure, they retreat to an isolated mansion, unaware that they're locked inside with no ability to record their ridiculous antics. On Episode 619 of Trick or Treat Radio we discuss Abigail, the latest film from the film collective known as Radio Silence! We also talk about horror marketing, a return to mean-spirited films, and more obscure 80s toys. So grab a bag of onions, draw a dick on someone's face, and strap on for the world's most dangerous podcast!Stuff we talk about: Horror marketing, video games, bobble heads, “dolls”, Severn, Poltergeist II, Terrifier 3, Art the Clown, 18” of terror, Fig Newton of your Imagination, Southbound, The Crawl, Mezco Toyz, Hatchet, Adam Green, Damien Leone, mean-spirited horror, a return to form for slashers, Fred The Elephant Boy, Stanley Kubrick, All Hallow's Eve, Feast, Greenlight Project, John Gulager, James Gunn, Slither, The Coffee Table, Late Night With the Devil, Boston Celtics, Michael TVShadow, Star Wars, The Acolyte, APA, Sonny Crocket, Zatoichi, Blind Fury, Rutger Hauer, Cannon Films, Meg Foster, Step by Step, Brandon Call, Sasha Mitchell, Randall “Tex” Cobb, Abigail, Radio Silence, Scream, Matt Bettinelli-Olpin, Tyler Gillett, Southbound, Universal Monsters, Kevin Durand, drawing dicks on faces, insert scene, Reservoir Dogs, The Mandalorian Effect, You're Next, Ti West, Willard, Lisa Frankenstein, Kathryn Newton, Melissa Barrera, The Apostle, Colossal, Dan Stevens, Linda Blair, The Exorcist, Alisha Weir, the overexposure of Giancarlo Esposito, Keyser Soze, Austin Powers, Danzig, Robert Rodriguez, Quentin Tarantino, flying venomous spiders, The Brood, Trim Season, R-Rated movies that had action figures, Tonka, Steel Monsters, Helldivers 2, Riders of Justice, Infested, Mad Max, the Fig Newton of your imagination, and who is Dracula Soze?Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the Show.

Drew and Travis make room for Daddy when they review Stepfather 2, the 1989 sequel starring Terry O'Quinn and Meg Foster! TIMESTAMPS 00:00:00 - Stepfather 2 00:41:20 - The Shelf 00:46:51 - Calls to Action 00:48:07 - Currently Consuming 01:00:15 - End SHOW LINKS Child's Play 2 The Stepfather Love Lies Bleeding Sasquatch Sunset

WrestleMAYnia continues with the 1988 John Carpenter classic "They Live."

“I was quite set on theater. I was going to go out to Los Angeles for one year -- and that was it. Then I was going to go back to New York and devote myself to the theater. It didn't work out that way.” -- Jan Eliasberg80s TV Ladies "Director Ladies" series continues as Susan and Sharon welcome legendary director Jan Eliasberg. Jan began her television director career in the 1980s with an episode of Cagney & Lacey -- and she went on to be the first female director ever on Miami Vice, Crime Story and 21 Jump Street. She has also directed episodes of Dirty Dancing, L.A. Law, Dawson's Creek, Party of Five, Sisters, Parenthood, Nashville, Supernatural, Bull and NCIS: Los Angeles. Jan recently published her first novel, Hannah's War.In this enlightening conversation, Jan discusses how the American Film Institute (AFI) and “The Original Six” opened up opportunities for her and other female directors; how to navigate directing a network television show for the first time -- and how courage, tenacity and little guile can make all the difference …THE CONVERSATIONHow do you get 10,000 hours of experience when directing requires so much time, money and people: Europe or Yale?What can Shakespeare and Ibsen teach you about directing TV? Everything…Frances McDormand, Angela Bassett, John Turturo, Tony Shalhoub and Courtney Vance -- how do you quickly figure out what different actors need to create great performances?What happens when you direct a play about South African apartheid in St. Louis in the early 1980s?On shadowing directors: “I'm already a director -- what am I doing watching these people? I mean, they're good, but I'm good, too. And that was the kind of confidence -- or maybe you could say arrogance, fearlessness - -that it takes to go into a field that is predominantly male and actually make a dent and get a job.”How a twisty game of cat-and-mouse with Barney Rosensweig led to Jan's first directing gig -- on Cagney & Lacey. (S5, EP13 -- “Act of Conscience”).Directing L.A. Law -- and David Kelly's very first script!How asking others for advice is a gift that goes both ways.Directing two classic, fan-favorite episodes of Miami Vice.Jan gets her first feature film in 1988: How I Got Into College -- but you won't believe what happened to her on Day Two of filming…Past Midnight -- working with the great Rutger Hauer and Natasha Richardson.Is the window for women directors opening or closing? Jan gives us her take.So, join Susan, Sharon -- and Jan -- as they talk Dennis Farina, Michael Moriarty, Rutger Hauer, Paul Giamatti, Daniel Craig, Meg Foster, Sela Ward, Swoosie Kurtz, Kirsten Dunst, George Clooney, Patricia Arquette, Stanley Tucci -- and creamsicles!AUDIOGRAPHYFind out more about Jan at JanEliasberg.com.Buy Jan's new novel Hannah's War at Bookshop.Read Michael Cieply's 1988 article on Jan and other fired women directors at LA Times.  80s TV LADIES NEWSCatch 90s TV Baby Serita Fontanesi's “Not Ugly” podcast at Apple.CONNECTRead transcripts and more at 80sTVLadies.com.Get ad-free episodes and exclusive videos on PATREON.Find more cool podcasts at our host sight, Weirding Way Media.

They Live is a 1988 American science fiction film written and directed by John Carpenter. Starring Roddy Piper, Keith David, and Meg Foster, the film follows an unnamed drifter who discovers, through special sunglasses, that the ruling class are aliens concealing their appearance and manipulating people to consume, breed, and conform to the status quo via subliminal messages in mass media.

Matt and Todd discuss the 1989 underwater sci-fi thriller that combines ALIEN & John Carpenter's The Thing with a splash of The Poseidon Adventure. Directed by George P Cosmatos. Starring Peter Weller, Amanda Pays, Richard Crenna, Ernie Hudson and the eyes of Meg Foster.

Has the plot of Kevin Smith's Masters of the Universe: Revolution Netflix series been leaked? And will it be as controversial with fans as Revelation was? ➡️ Tip Jar and Fan Support: http://ClownfishSupport.com ➡️ Official Merch Store: http://ShopClownfish.com ➡️ Official Website: http://ClownfishTV.com Additional Context: "Masters of the Universe: Revolution," the highly anticipated animated series from Kevin Smith, is set to premiere on Netflix on January 25, 2024. This series continues the saga of He-Man and Skeletor, featuring an epic showdown between technology and magic. The newly mechanized Skeletor, now powered by Motherboard, launches an attack on the heart of Eternia, while Prince Adam, also known as He-Man, faces a crucial decision: to rule as the King with the scepter or fight as the Champion with the sword. The series also introduces the return of Hordak, the ruthless leader of the Horde Empire, posing the greatest threat Eternia has ever seen. Amidst this turmoil, the new Sorceress Teela seeks the secret of Snake Magic in Darksmoke to rebuild a magic realm and assist He-Man in combating this formidable enemy. The show's voice cast includes Chris Wood as He-Man, Mark Hamill as Skeletor, Lena Headey as Evil-Lyn, Meg Foster, Keith David, and newcomers William Shatner and John De Lancie. The series is produced by Mattel Television Studios and Powerhouse Animation Studios, with executive producers Kevin Smith, Ted Biaselli, Rob David, Christopher Keenan, and Frederic Soulie. Regarding its potential controversy, "Masters of the Universe: Revolution" follows "Masters of the Universe: Revelation," which had mixed reactions from fans. Some praised its fresh take on the franchise, while others criticized it for deviating from the original series. It remains to be seen if "Revolution" will evoke a similar response, but it certainly sets the stage for an action-packed and dramatic continuation of the He-Man saga​​​​​​​​​​​​. About Us: Clownfish TV is an independent, opinionated news and commentary channel that covers Entertainment and Tech from a consumer's point of view. We talk about Gaming, Comics, Anime, TV, Movies, Animation and more. Hosted by Kneon and Geeky Sparkles. Disclaimer: This series is produced by Clownfish Studios and WebReef Media, and is part of ClownfishTV.com. Opinions expressed by our contributors do not necessarily reflect the views of our guests, affiliates, sponsors, or advertisers. ClownfishTV.com is an unofficial news source and has no connection to any company that we may cover. This channel and website and the content made available through this site are for educational, entertainment and informational purposes only. These so-called “fair uses” are permitted even if the use of the work would otherwise be infringing. #Netflix #MOTU #KevinSmith #News #Commentary #Reaction #Podcast #Comedy #Entertainment #Hollywood #PopCulture #Tech

This week, it's a Foster duet as we're joined by Dr. Meg Foster (no relation) to talk about Australia's legacy of bushrangers, and her recent book Boundary Crossers: The Hidden History of Australia's Other Bushrangers. If you don't know who the bushrangers were, don't worry, that's the first thing Meg explains. Our discussion focuses on Mary Ann Bugg, a mixed-race Worimi woman often left out or misrepresented in bushranger sagas. Learn more about Meg and her work at hist.cam.ac.uk/people/dr-meg-foster -- Buy Boundary Crossers from bookshop.org and support Vulgar History with this link: https://bookshop.org/a/1419/9781742237527 -- Listen to the Patreon bushrangers super spectacular featuring Allison Epstein, here: https://www.patreon.com/posts/so-these-guys-82314035-- Get 15% off all the gorgeous jewellery and accessories, including the Anne Boleyn gold vermeil pendant, at common.era.com/vulgar or go to commonera.com and use code VULGAR at checkout -- Get Vulgar History merch at vulgarhistory.com/store (best for US shipping) and vulgarhistory.redbubble.com (better for international shipping) -- Support Vulgar History on Patreon  -- Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. Use this link to shop there and support Vulgar History. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Momma don't like tattletales..." Celebrating the 35th Anniversary of John Carpenter's "They Live," the hosts discuss alternating views on whether this film deserves to hold the title of cult classic,  or is just plain overrated. 

We go full (Judd) nelson this episode covering RELENTLESS (1989)! We discuss the second of Bill Lustig's movies from 1989, (unfortunately) bring it back to BRINGING DOWN THE HOUSE, and how Meg Foster is too good for this film. Apologies for the dip in sound quality at some parts, this will be fixed in our next episode. :) Twitter: @⁠⁠⁠⁠⁠⁠⁠⁠AlmostMajor⁠⁠⁠⁠⁠⁠⁠⁠ Kevin: @⁠⁠⁠⁠⁠⁠⁠⁠kevbonesy on Twitter⁠⁠⁠⁠⁠⁠⁠⁠ / ⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠ Bryden: @⁠⁠⁠⁠⁠⁠⁠⁠BrydenDoyle on Twitter⁠⁠⁠⁠⁠⁠⁠⁠ + @⁠⁠⁠⁠⁠⁠⁠⁠JDoyle on Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠ Charlie: @⁠⁠⁠⁠⁠⁠⁠⁠ctnash91 on Twitter⁠⁠⁠⁠⁠⁠⁠⁠ / ⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠

It's time for our Halloween episode! Mike and Jesse discuss Richard Elfman's 1994 horror comedy Shrunken Heads! Starring Julius Harris and Meg Foster. Leave us a message at https://speakpipe.com/cdfpod Get your CDF Pod merch at https://cdfpodmerch.com Our theme music was composed by CollinDomo AKA Chunky Krill. Find more of his work at soundcloud.com/chunky-krill Facebook: facebook.com/cdfpod Instagram: instagram.com/cdfpod/

The Ringer's Bill Simmons, Chris Ryan, and Sean Fennessey obey, conform, and consume John Carpenter's 1988 science fiction action-horror film ‘They Live' starring Roddy Piper, Keith David, and Meg Foster.  Producer: Craig Horlbeck Learn more about your ad choices. Visit podcastchoices.com/adchoices

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----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 complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   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.

OBEY! MARRY AND REPRODUCE!! NO IMAGINATION! This week we review John Carpenter's 1988 film "They Live" Starring Rowdy Roddy Piper, Keith David, and Meg Foster. Put on your tin foil hat because the guys are getting weird with it. *** ⁠⁠⁠⁠⁠⁠Subscribe on Apple⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠Subscribe on Good Pods⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠Subscribe on Google Podcasts⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠Subscribe on Pandora⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠Find us on Amazon Music⁠⁠⁠⁠⁠⁠ Email us! ⁠⁠⁠⁠⁠⁠heydidyoueverseethatmovie@gmail.com⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠Find us on Facebook⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠Find us on Instagram⁠⁠⁠⁠⁠⁠ Dez wrote and performed our theme song!⁠⁠⁠⁠⁠⁠ Listen to more of his music here.⁠⁠⁠⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/heydidyoueverseethatmovie/support

Your disappearing, time slipping hosts immerse themselves in John Carpenter's THEY LIVE (1988) starring Roddy Piper (of World Wrestling Federation fame), David Keith and Meg Foster. “They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it. They live.” OBEY! LINKSUnsane Radio … Continue reading "Unsane Radio 0222 – They Leave"

Your disappearing, time slipping hosts immerse themselves in John Carpenter's THEY LIVE (1988) starring Roddy Piper (of World Wrestling Federation fame), David Keith and Meg Foster. “They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it. They live.” OBEY! LINKSUnsane Radio … Continue reading "Unsane Radio 0222 – They Leave"

All hail the Patron Saint of Not A Bomb - Dolph Lundgren! The most reviewed action star on the podcast!Welcome back to another exciting episode of Not A Bomb. This is the podcast where we go back and reexamine some of the biggest bombs in cinematic history and see if they deserve a second chance. On this week's episode, the guys are pleased to welcome back Zo from the Back Look Cinema Podcast to discuss 1987's superhero film - Masters of the Universe. Known as one of the films that bankrupted The Cannon Group, Masters of the Universe was meant to rejuvenate the franchise and increase toy sales. However, the poor critical reception and bad business decisions from Mattel did more damage than Skeletor riding on Panthor through Eternia. The film bombed and the kiddos stopped buying the action figures. Lots of great topics this episode including grown men collecting toys and the best Cannon films of the 80's. Also, why is Frank Langella in Masters of the Universe delivering a Shakespeare quality performance?Timestamps: Intro - (2:35), Box Office Results and Critical Response - (23:50), People Involved - (26:09), Production and Development - (38:25), Commerical Break - (61:06), Masters of the Universe Discussion - (63:38), Is it a Bomb? - (109:48), RoboReviewer1000 - (114:03), Listener Feedback - (118:19), and Outro - (129:10)Masters of the Universe is directed by Gary Goddard and stars Dolph Lundgren, Frank Langella, Courtney Cox, James Tolkan, Christina Pickles, Meg Foster, and Robert Duncan McNeill. Please check out the Back Look Cinema podcast and if you want to hear Troy discuss Jackie Chan with Zo, listen to the Rumble in the Bronx episode!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, Zo

Watch the Skies Month continues with our latest look at alien invasions - John Carpenter's They Live! Ben, Robbie, and Will wear sunglasses, run out of bubblegum, and have a six minute long fight scene while discussing the oft-parodied 1988 sci fi classic. Written and directed by John Carpenter and starring Roddy Piper, Keith David, and Meg Foster.

A dastardly bandit responsible for incredibly heinous crimes, or a runaway in search of his freedom? Meg Foster unravels the myth of “Black Douglas”, whose life of crime across 19th-century Australia made him a target of lynch mobs and the popular press. Speaking to Emily Briffett, she explains how Douglas was branded a shadowy bogeyman, and delves into his experiences as a hard-drinking prize-fighter and phrenologist. (Ad) Meg Foster is the author of Boundary Crossers: The hidden history of Australia's other bushrangers (NewSouth, 2022). Buy it now from Amazon: https://www.amazon.co.uk/Boundary-Crossers-history-Australias-bushrangers/dp/1742237525/?tag=bbchistory045-21&ascsubtag=historyextra-social-histboty Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on Myopia, Daniel Stern turns on the sexual harassment, we finally get to Leviathan, and wow, what a picture!  How will Leviathan hold up? Host: Nic Co-Host: Matthew Panel: Candace Directed by George P. Cosmatos Starring Peter Weller, Richard Crenna, Amanda Pays, Daniel Stern, Ernie Hudson, Michael Carmine, Lisa Eilbacher, Hector Elizondo, Meg Foster  

In this week's episode, we're headed back to the weird and wonderful world of Charles Band with the 1994 film "Shrunken Heads." Special topics for your consideration include: adult teens, a lesson in Haitian history, Meg Foster in the role of a lifetime, inappropriate jauntiness, nepotism babies, and condominiums, Charles Band is a nutbar and I love him (almost all the time). Here are some movies he's had his hands in: Episode 156- "Gingerdead Man," Episode 164- "Puppet Master," Episode 165- "Puppet Master 2," Episode 171- "Ghoulies," Episode 186- "Tourist Trap," Episode 199- "Terrorvision (the live show!)" and Episode 354- "Dolls," a movie I completely forgot existed until I started this write-up and now I am delighted all over again. The regular lineup of links! You can support us at patreon.com/werewolfambulance  hang out with some cool listeners at https://discord.gg/DutFjx3cBD  merch at www.teepublic.com/user/werewolfambulance on Reddit at r/werewolfambulance on Facebook at facebook.com/werewolfambulance on Twitter @werebulance on Instagram @werewolfambulance. werewolfambulance@gmail.com www.werewolfambulance.com   If you liked this, please leave us a review on Apple Podcasts or wherever you listen! It helps others find us and allows us to continue to grow. Intro song is by Alex Van Luvie Outro song is A. Wallis- "EMT" Seriously, we have the best listeners, hands down. 

"They control what you see. They decide what you hear. You think they're people just like you. You're wrong. Dead wrong." In this week's episode, we discuss the Sci-Fi action movie 'They Live' starring Roddy Piper, Keith David and Meg Foster. Written and directed by John Carpenter.They Live - IMDB: https://www.imdb.com/title/tt0096256/?ref_=nv_sr_srsg_1They Live - Rotten Tomatoes: https://www.rottentomatoes.com/m/they_liveThey Live - Alley Fight: https://www.youtube.com/watch?v=dN8Z7y_QcwEBest Fight Scenes in Movies: https://screenrant.com/best-movie-fight-scenes-hollywood-history/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.comTwitter: https://twitter.com/podcastAll80sFacebook: https://www.facebook.com/profile.php?id=100030791216864TikTok: https://www.tiktok.com/@all80smoviespodcast

Hello and welcome back to another episode of B Bin Horror! On this week's episode we talk about the 1988 SciFi/Horror film, They Live. They Live was written and directed by John Carpenter and stars Roddy Piper, Keith David and Meg Foster. On this week's episode we discuss the film and how it relates to Ronald Regan. Speaking of Ronald Regan, we also talk about Nancy Regan and her alleged "throat goat" status. Surprisingly, we do talk a lot about They Live and topics that relate to the movie. If you like what you hear, please follow us on Instagram and Facebook @bbinhorror. You can also send us emails at bbinhorror@gmail.com.

Co-hosts Movie Miss & Drive-in Dave discuss the "turkey" Masters of the Universe (1987). Starring Dolph Lundgren, Frank Langella, Meg Foster & Courteney Cox. *SPOILERS DUH* At the time of this episode release you can WATCH MASTERS OF THE UNIVERSE HERE: pay streaming on Amazon Prime & free on Tubi & Pluto tv. Be part of our fun bad movie conversations (We Want To Interact With You & Hear Your Thoughts!) by following both our facebook discussion group & our official page Let's Talk Turkeys, on Instagram at letstalkturkeys (all one word), email us directly at letstalkturkeys@yahoo.com, we're on Twitter @gobblepodcast & check us out on Wordpress at https://letstalkturkeys150469722.wordpress.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/lets-talk-turkeys/message Support this podcast: https://anchor.fm/lets-talk-turkeys/support

"The Accursed" Synopsis: Elly (Sarah Grey) is asked by a family friend (Mena Suvari) to spend a few days looking after an elderly woman (Meg Foster) living in a remote cabin. She readily agrees thinking a short trip to the woods will be a nice escape. The cabin turns out to be anything but relaxing as Elly begins hallucinating in ways that blur reality with her dreams. As the visions take over, Elly realizes that she was lured there by a demonic presence hiding inside of the woman just waiting to break free. Courtesy of Screen Media Films. Joe sits down with director Kevin Lewis and star Mena Suvari ('Alma') to chat about the film. Check out the trailer here and catch The Accursed in theaters or on demand now. JOIN THE REELCORD DISCORD FOR MOVIE BUFFS: https://discord.gg/FZdb2Q3S Be sure to subscribe and rate the pod! Hit the comments, but keep it classy! FOLLOW MATH TEACHER MOVIES: Instagram: @mathteachermovies TikTok: @mathteachermovies FOLLOW GUY AT THE MOVIES: Website: guyatthemovies.com Instagram: @guyatthemovies Twitter: @guyatthemovies1 TikTok: @guyatthemovies Facebook: fb.me/guyatthemovies1 CONTACT: guyatthemovies1@gmail.com SPONSOR: Musiclerk.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/guyatthemovies/message Support this podcast: https://anchor.fm/guyatthemovies/support

Schlocktober Sequel Month rolls on with a breakdown of a very weird sequel to a hit 80s horror film. Yes, that's right. Galen Howard returns and joins the guys in discussing Stepfather II: Make Room for Daddy. Brendan has a wild interpretation over a scene in which he believes moustache thievery has taken place and the guys also discuss the Chekhov clues that are never followed up on properly, therapists that are way too trusting of family annihilators, "Camptown Races" as a major plot point and much more. Check our social media on Sunday for the Sunday Screencrap and take a guess at our next movie! What We've Been Watching: Pearl "Star Trek: Lower Decks" Barbarian Questions? Comments? Suggestions? You can always shoot us an e-mail at wwttpodcast@gmail.com  Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/its.mariah.xo Montrose Monkington III: www.twitter.com/montrosethe3rd Stepfather II stars Terry O'Quinn, Meg Foster, Jonathan Brandis, Caroline Williams, Henry Brown and Mitchell Laurance; directed by Jeff Burr. Learn more about your ad choices. Visit megaphone.fm/adchoices

I had the pleasure of talking to Sarah Grey and Alexis Knapp about their new movie, The Accursed! We talked about all of the crazy fantastic scenes in the film, behind the scene secrets, and also got some excellent life tips. Alexis and I might even write a book together! Probably not, but we had a great conversation about it. Worth checking out!Elly (Sarah Grey) is asked by a family friend (Mena Suvari) to spend a few days looking after an older woman (Meg Foster) living in a remote cabin. She readily agrees, thinking a short trip to the woods will be a nice escape. Unfortunately, the cabin turns out to be anything but relaxing as Elly begins hallucinating in ways that blur reality with her dreams. As the visions take over, Elly realizes she was lured there by a demonic presence hiding inside a woman, just waiting to break free.The Accursed is out now! Make sure to check it out!————————————————————— Want to keep the horror chats alive? Want to join a super awesome community that truly loves the genre and Knight Light? Want to have access to exclusive content? Sounds like you should join our Discord! ————————————————————— Gain access to our after-show, MidKnight Hour, by signing up on our Patreon. Not enough? How about we throw in Knight Light in your podcast feeds before Friday? I knew you would come around!Want to be a part of the growth of Knight Light? Support us at these links! WEBSITE | PATREON | TWITTER | PRINCE | FREDDY | DAVID Hosted on Acast. See acast.com/privacy for more information.

He is a three time Champion!  Dan and Mike welcome Director Kevin Lewis (Willy's Wonderland) back to the Oh Brother podcast to promote his latest feature film The Accursed.  Kevin takes you behind the scenes of the film production and talks everything from set design, casting, and collaborating with what Dan and Mike are dubbing his recurring band of thieves (filmmaking partners) including Editor Ryan Liebert, Composer Émoi, and Cinematographer David Newbert.  Kevin also discusses upcoming projects including another horror feature Oak.  Visit Screen Media Films to find out how you can watch and own The Accursed.The Accursed, written by Rob Kennedy, stars Sarah Grey, Mena Suvari, Meg Foster, Alexis Knapp and Sarah Dumont.  The film follows Sarah Grey as Elly who is asked by a family friend (Mena Suvari) to look after an elderly woman (Meg Foster) living in a remote cabin for a few days. She agrees, but soon discovers there is a demon hiding in the woman just waiting to break free.  The Accursed mixes up the essential ingredients of the horror genre and pays homage to classic horror like Rosemary's Baby, The Omen, and The Changeling.   Oh Brother podcast.Follow Kevin Lewis on social media @kevinlewisofficial#podcast #ohbrother #horror #menasuvari #megfoster #movies #sarahgrey #alexisknapp #sarahdumont #horrormovies #horrorfan #scarymovie #thriller #kevinlewis Actress Karissa Lee StaplesOh Brother Podcast: Subscribe on YouTube Listen on all podcast platforms Follow us on Twitter & Instagram Leave a 5-star rating/review on Apple Podcasts...

Without Your Head Horror Video-Podcast interview with Kevin Lewis director of Nic Cage's "Willy's Wonderland" talking about his new film "The Accursed"! Hosted by "Nasty" Neal Director Kevin Lewis' follow up to Willy's Wonderland launched. The Accursed, starring Mena Suvari, Sarah Grey, and Meg Foster will be In-Theatres and On-Demand starting October 14 Description: Elly (Sarah Grey) is asked by a family friend (Mena Suvari) to spend a few days looking after an elderly woman (Meg Foster) living in a remote cabin. She readily agrees thinking a short trip to the woods will be a nice escape. The cabin turns out to be anything but relaxing as Elly begins hallucinating in ways that blur reality with her dreams. As the visions take over, Elly realizes that she was lured there by a demonic presence hiding inside of the woman just waiting to break free. Directed by Kevin Lewis Starring Mena Suvari (American Beauty), Sarah Grey (Power Rangers), Meg Foster (They Live), and Alexis Knapp (Pitch Perfect) Opening theme by "The Tomb of Nick Cage" https://thetombofnickcage.com/ "Into The Night" closing track by music of the month Sam Haynes! https://samhaynes1.bandcamp.com --- Send in a voice message: https://anchor.fm/withoutyourhead/message Support this podcast: https://anchor.fm/withoutyourhead/support

Are you ready to gaze into hell?  Dan and Mike welcome Director Kevin Lewis (Willy's Wonderland) and the stars of the horror film The Accursed to the podcast.  From writer Rob Kennedy, The Accursed stars Sarah Grey, Mena Suvari, Meg Foster, Alexis Knapp and Sarah Dumont.  The film follows Sarah Grey as Elly who is asked by a family friend (Mena Suvari) to look after an elderly woman (Meg Foster) living in a remote cabin for a few days. She agrees, but soon discovers there is a demon hiding in the woman just waiting to break free.  The Accursed mixes up the essential ingredients of the horror genre and pays homage to classic horror like Rosemary's Baby, The Omen, and The Changeling.  Kevin and cast talk everything from filming in Savannah, the method of Meg Foster, and favorite horror films.  All on another episode of the Oh Brother podcast.Follow Kevin Lewis and cast on social media:@kevinlewisofficial@menasuvari@thesarahgrey@alexisknapp@iamsarahdumont#podcast #ohbrother #horror #menasuvari #megfoster #movies #sarahgrey #alexisknapp #sarahdumont #horrormovies #horrorfan #scarymovie #thriller #kevinlewis Actress Karissa Lee StaplesOh Brother Podcast: Subscribe on YouTube Listen on all podcast platforms Follow us on Twitter & Instagram Leave a 5-star rating/review on Apple Podcasts...

This week we have the power! We watched The Masters of the Universe, The universe is power - pure, unstoppable power! And I am that force, I am that power! KNEEL BEFORE YOUR MASTER! Will Masters of the Universe hold up? Host: Nic Co-host: Daniel  Guests: Candace and Charlie  Directed by Gary Goddard Actors: Dolph Lundgren, Frank Langella, Meg Foster, Billy Barty, Courteney Cox, Robert Duncan McNeill, Jon Cypher, James Tolkan

Continuing our journey through the Canon Group's movies, we take a look at 1987's Masters of the Universe starring Dolph Lundgren, Frank Langella, Courteney Cox, James Tolkan, and Meg Foster. This film was Dolph's first time as leading (He-)Man, and despite his best efforts, it's a wild failure on nearly all levels. Plus, we determine which movies we watch next and it looks like we're staying in the 80s.  If you like what you hear, be sure to subscribe. Enjoy!

Welcome back to your favorite film podcast where we reexamine some of the most notorious movie bombs of all time. Oh boy, do we have a doozy for you this week…I promise, you won't SEE this one coming. On this week's show, we welcome Josh from The VHS Files podcast to discuss 1989/1990's action, comedy - Blind Fury. Loosely based on the 17th film from a classic Japanese franchise, Blind Fury stars the legendary Rutger Hauer as a blind, sword-wielding veteran helping a young boy reunite with his father. Oh yeah…..freaking Sho Kosugi shows up to deliver some flippy Ninja action at the end. Luckily, Rutger can't see what he's up against (ok, last bad pun…promise).Timestamps:Intro - (0:35)Remakes of Japanese Samurai and Ronin films - (05:39)Box Office and Critical Response - (13:25)Behind of the Camera - (17:20)In Front of the Camera - (25:03)Production and Development - (34:56)Discussion of Blind Fury - (37:08)Is it a bomb? - (86:23)Discussion of Zatoichi Challenged - (88:20)Listener Feedback - (107:15)Outro - (134:50) Blind Fury is directed by Phillip Noyce and stars Rutger Hauer, Terrance (Terry) O'Quinn, Lisa Blount, Randall “Tex” Cobb, Noble Willingham, Brandon Call, Meg Foster, and Nick Cassavetes.Please sure to check out The VHS Files wherever you get you podcasts and subscribe to their YouTube channel - The VHS Files YouTube.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. We want to hear from you for our 100th episode, be sure to reach out and let us know some of your favorite moments from the first 100 episodes. Cast: Brad, Troy, Josh