Podcasts about Menahem Golan

WOWOWOWIIIIIEEEE. This pick from Cody was a bit of a curveball! We begin our next topic of “I FEEL PRETTY” where Cody picked a film from 1980 about the 1990's. A rock Opera and glamorous take on the future…this film almost left us with nothing to talk about. From director Menahem Golan comes, “The Apple.” Can I talk about the plot in this synopsis? No. Truly I don't know what to say other than this is a film about two folk signers who are tempted by fame and the evils there within. If you wanna listen to us flounder around and talk about nonsense, ENJOY!Film Discussed: The Apple (1980)Letterboxd: Eric Peterson:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letterboxd.com/EricLPeterson/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jared Klopfenstein:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letterboxd.com/kidchimp/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Ethan Jasso:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letterboxd.com/e_unit7/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Caleb Zehr:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letterboxd.com/cjzehr/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Ricky Wickham:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letterboxd.com/octopuswizard/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Cody Martin: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letterboxd.com/codytmartin/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Here is a COMPLETE LIST of every film that we have done an episode for. Enjoy!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://letterboxd.com/ericlpeterson/list/a-complete-list-of-every-the-film-snobs-episode/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Five star reviews left on the pod get read out loud!

The Sensitive Boys™ are back to discuss Menahem Golan's attempt at Cannon Films 2.0! It's sleazy, brainless, and probably funded by the Russian mob—a pants-falling-down, mid-slam-dunk spectacle starring Billy Drago, Joe Lara, and Richard Lynch: DEATH GAME! Synopsis: A young man is a growing basketball star in his school. The Mob decides to initiate him and manage him. He likes the presents, money and girls, but his coach does not. When things go too far, only his coach can do what must be done. Join our Patreon if you can! Hey, why not call us on our hotline? (724) 246-4669!

In dieser Folge (101) spricht Mareike mit Christian Becker, Produzent, HFF-Alumnus (Abt. V, Kurs 1994) und u.a. Gründer der n RAT PACK Filmproduktion. Becker hat das deutsche Unterhaltungskino der letzten 20 Jahre maßgeblich mitgeprägt.In dieser Episode sprechen wir über :Erster Einschnitt: Videotheken: Filmen nach Firmen die Idee Kinobesitzer zu werden Durch Losverfahren zum ersten Studium in Siegen Amerikanische Produktion in Berlin und Produzenten, die Eltern überzeugen Vom VHS-Rekorder und dem Fernseharchiv Siegens zur Produzentenlegende: Wie Christian Becker nach dem BWL-Studium zur HFF kam – und warum Menahem Golan und Yoram Globus ausschlaggebend waren, obwohl niemand an der HFF sie kannteZusammenarbeit mit vielen ehemaligen Kommiliton*innenLanges Durchhalten für Jim KnopfKino Liebe : Bud Spencer und (oder?) DisneyfilmeDVD-Regale und Heimkino .Eine Folge über Genre-Liebe, kreative Freundschaften und das unbedingte Ja zum Filmemachen!Viel Vergnügen beim Hören! Hosted on Acast. See acast.com/privacy for more information.

Hey! Hey! Hey! BIM's on the way! This week Bryan and Dave take a good long look at the abyss and the abyss stares back when they watch the movie that launched The Cannon Group into the American imagination, a movie musical so poorly received that it nearly drove its director to leap from his hotel balcony at the premier. The Apple is what happens when a producer knows that he wants to make a big musical that's sure to capture some of the excitement that Grease generated but without really knowing what makes a musical work. It's a movie so profoundly bad, with bad acting, bad characters, and the worst thing a musical can have: bad music. Nothing about this baffling movie works and it is plainly obvious for anyone to see. It's simply amazing that the director, Menahem Golan was so caught off guard by its failure. Some movies are so bad that they end entire careers. This one almost ended Golan's life. Support Bring Me The Axe on Patreon! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/c/bringmetheaxepod⁠⁠⁠⁠⁠⁠⁠⁠ Buy Bring Me The Axe merch here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.bonfire.com/store/bring-me-the-axe-podcast/⁠

¡Bienvenidos a un nuevo episodio de El Calabozo del Reverendo Wilson! Retorno al formato originario de este humilde rincón virtual para rescatar, en compañía de Xavi Sánchez Pons (Marea Nocturna, Estamos Vivas), uno de los remakes más injustamente olvidados de la historia del cine de terror. Contando con el beneplácito del propio George A. Romero, el maestro de los efectos especiales de maquillaje Tom Savini dirige en 1990 una nueva versión de una de esas películas que cambiaron el devenir del cine: La noche de los muertos vivientes. Presenta una serie de cambios y evoluciones aportados por Romero desde el guion y Savini desde la dirección, esta película estrenaba la década de los 90 con Menahem Golan en la producción y con un especial cuidado en su maravilloso reparto, en el que destacan una heroica Patricia Tallman y un Tony Todd que pocos años antes del estreno de Candyman, ofrecía aquí una interpretación colosal. Enjoy! Si te ha gustado el programa, recuerda que tienes la posibilidad de ayudar a El Calabozo del Reverendo Wilson dándole a "Me gusta". ¡Gracias y feed the cvlt!

Au sommaire de cette spéciale productions US indépendantes : Hommage à deux producteurs mythiques du Bis US, à savoir Roger Corman et Menahem Golan via, entre autres, un retour sur trois sorties ESC édition : « Joe » c'est aussi l'Amérique de John G. Alvidsen, Barfly de Barbet Schroeder & Le Ninja blanc de Sam Firstenberg, ainsi que sur deux parutions BQHL : L'épée du vaillant de Stephen Weeks & Le Fantôme de l'opéra de Dwight Little. Bonne écoute à toutes et tous !

Enter... if you dare. It's squealing martial arts and ninja death mayhem as Ali joins us to discuss Enter the Dragon (1973), directed by Robert Clouse and Enter the Ninja (1981), directed by Menahem Golan. Each of these films were seminal in their own way, the first as a tragically premature end-point for Bruce Lee's career, and the second as a statement of intent for the then-new Cannon Films Group. But we also address such existential questions as: IS "wait... what?" the new buzz-phrase of the decade? IS there any greater joy than watching a very small man beat up a very tall man? And of course, the age old conundrum: NINJA or NO NINJA? We will be announcing a Spoiler Territory section for both films, so if you haven't seen them before you listen, you can nevertheless avoid spoilers for Enter the Dragon by skipping ahead to the 1:01:41 mark, and for Enter the Ninja by skipping ahead to 1:45:14. Want to get in touch? You can reach us on caliber9fromouterspace@gmail.com Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

Tonight, we drink about OVER THE TOP (1987) w/ Heady Topper by The Alchemist! "Over the Top is a 1987 American sports drama film starring Sylvester Stallone. It was produced and directed by Menahem Golan, and its screenplay was written by Stirling Silliphant and Stallone. The original music score was composed by Giorgio Moroder. The main character, Lincoln Hawk, played by Stallone, is a long-haul truck driver who tries to win back his estranged son, Michael, while becoming a champion arm wrestler." Subscribe & Follow Us For More! Instagram - https://www.instagram.com/beardsandbrewscast/ Threads - https://www.threads.net/@beardsandbrewscast Facebook - https://www.facebook.com/BeardsAndBrewsCast/ All Audio Outlets - https://podcasters.spotify.com/pod/show/beardsandbrews Music provided by FREESOUND MUSIC by Giorgio Di Campo. 1 Hour Bossa Nova Mix - https://youtu.be/BdGqWPkBehg

On this episode, you'll learn what happened to Menahem Golan after the end of Cannon Films as he took over 21st Century Film Corporation. There's an overview of their films, as well as a longer discussion about three of the four Poe movies that they released: Edgar Allan Poe's The House of Usher, Edgar Allan Poe's Masque of the Red Death and Edgar Allan Poe's Buried Alive. Important links: Buy House of Usher from Vinegar Syndrome Watch Masque of the Red Death on YouTube Buy Buried Alive from Diabolik DVD Theme song: Strip Search by Neal Gardner. Visit B&S About Movies and email me at bandsaboutmovies@gmail.com. Donate to our ko-fi page

O Fronteiras no Tempo: Giro Histórico em seu 24º traz o segundo episódio do quadro criado e apresentado pelo Estagiário Rodolfo, no qual ele analisa um filme a partir do olhar do historiador. Este quadro foi um pedido das nossas madrinhas e padrinhos realizado em nosso grupo do WhatsApp! O filme da vez é “Falcão: o campeão dos campeões” (Over The Top), dirigido por Menahem Golan e estrelado por Sylvester Stallone em 1984. Entre na boleia, vire seu boné para trás e se prepare para uma queda de braço com uma sociedade que que passava por transformação profundas culturais, econômicas e do mundo do trabalho durante o governo de Ronald Reagan. Nova campanha de financiamento coletivo: https://apoia.se/fronteirasnotempo   Arte do Episódio: Beatriz Molina   Financiamento Coletivo   Existem duas formas de nos apoiar Pix recorrente – chave: fronteirasnotempo@gmail.com Apoia-se – https://apoia.se/fronteirasnotempo INSCREVA-SE PARA PARTICIPAR DO HISTORICIDADE   O Historicidade é o programa de entrevistas do Fronteiras no Tempo: um podcast de história. O objetivo principal é realizar divulgação científica na área de ciências humanas, sociais e de estudos interdisciplinares com qualidade. Será um prazer poder compartilhar o seu trabalho com nosso público. Preencha o formulário se tem interesse em participar. Link para inscrição: https://forms.gle/4KMQXTmVLFiTp4iC8 Selo saberes históricos Agora o Fronteiras no Tempo tem o selo saberes históricos. O que é este selo? “O Selo Saberes Históricos é um sinal de reconhecimento atribuído a:● Práticas de divulgação de saberes ou produções de conteúdo histórico ou historiográfico● Realizadas em redes sociais ou mídias digitais, voltadas para públicos mais amplos e diversificados● Comprometidas com valores científicos e éticos.”Saiba mais: https://www.forumsabereshistoricos.com/ Redes Sociais Twitter, Facebook, Youtube, Instagram Contato fronteirasnotempo@gmail.com Como citar esse episódio Fronteiras no Tempo: Giro Histórico #24 Falcão: o campeão dos campeões. Locução Cesar Agenor Fernandes  da Silva e Rodolfo Grande Neto. [S.l.] Portal Deviante, 23/07/2024. Podcast. Disponível em: https://www.deviante.com.br/?p=63000&preview=true Expediente Produção Geral e Host: C. A. Arte do Episódio: Beatriz Molina. Edição: C. A. Trilha sonora utilizada Birds – Corbyn Kites Wolf Moon – Unicorn Heads Dance, Don't Delay de Twin Musicom é licenciada de acordo com a licença Atribuição 4.0 da Creative Commons. https://creativecommons.org/licenses/by/4.0/ Fonte: http://www.twinmusicom.org/song/303/dance-dont-delay Artista: http://www.twinmusicom.org Madrinhas e Padrinhos Apoios a partir de 12 de junho de 2024  Alexsandro de Souza Junior, Aline Silva Lima, André Santos, André Trapani, Andréa Gomes da Silva, Andressa Marcelino Cardoso, Augusto Carvalho, Carolina Pereira Lyon, Charles Calisto Souza, Elisnei Menezes de Oliveira, Erick Marlon Fernandes da Silva, Flávio Henrique Dias Saldanha,  Gislaine Colman, Iara Grisi, João Ariedi, João Luiz Farah Rayol Fontoura, Klaus Henrique de Oliveira, Manuel Macias, Marlon Fernandes da Silva, Rafael Henrique Silva, Raul Sousa Silva Junior, Renata de Souza Silva, Ricardo Orosco, Rubens Lima e Willian SpenglerSee omnystudio.com/listener for privacy information.

O Fronteiras no Tempo: Giro Histórico em seu 24º traz o segundo episódio do quadro criado e apresentado pelo Estagiário Rodolfo, no qual ele analisa um filme a partir do olhar do historiador. Este quadro foi um pedido das nossas madrinhas e padrinhos realizado em nosso grupo do WhatsApp! O filme da vez é “Falcão: o campeão dos campeões” (Over The Top), dirigido por Menahem Golan e estrelado por Sylvester Stallone em 1984. Entre na boleia, vire seu boné para trás e se prepare para uma queda de braço com uma sociedade que que passava por transformação profundas culturais, econômicas e do mundo do trabalho durante o governo de Ronald Reagan. Nova campanha de financiamento coletivo: https://apoia.se/fronteirasnotempo   Arte do Episódio: Beatriz Molina   Financiamento Coletivo   Existem duas formas de nos apoiar Pix recorrente – chave: fronteirasnotempo@gmail.com Apoia-se – https://apoia.se/fronteirasnotempo INSCREVA-SE PARA PARTICIPAR DO HISTORICIDADE   O Historicidade é o programa de entrevistas do Fronteiras no Tempo: um podcast de história. O objetivo principal é realizar divulgação científica na área de ciências humanas, sociais e de estudos interdisciplinares com qualidade. Será um prazer poder compartilhar o seu trabalho com nosso público. Preencha o formulário se tem interesse em participar. Link para inscrição: https://forms.gle/4KMQXTmVLFiTp4iC8 Selo saberes históricos Agora o Fronteiras no Tempo tem o selo saberes históricos. O que é este selo? “O Selo Saberes Históricos é um sinal de reconhecimento atribuído a:● Práticas de divulgação de saberes ou produções de conteúdo histórico ou historiográfico● Realizadas em redes sociais ou mídias digitais, voltadas para públicos mais amplos e diversificados● Comprometidas com valores científicos e éticos.”Saiba mais: https://www.forumsabereshistoricos.com/ Redes Sociais Twitter, Facebook, Youtube, Instagram Contato fronteirasnotempo@gmail.com Como citar esse episódio Fronteiras no Tempo: Giro Histórico #24 Falcão: o campeão dos campeões. Locução Cesar Agenor Fernandes  da Silva e Rodolfo Grande Neto. [S.l.] Portal Deviante, 23/07/2024. Podcast. Disponível em: https://www.deviante.com.br/?p=63000&preview=true Expediente Produção Geral e Host: C. A. Arte do Episódio: Beatriz Molina. Edição: C. A. Trilha sonora utilizada Birds – Corbyn Kites Wolf Moon – Unicorn Heads Dance, Don't Delay de Twin Musicom é licenciada de acordo com a licença Atribuição 4.0 da Creative Commons. https://creativecommons.org/licenses/by/4.0/ Fonte: http://www.twinmusicom.org/song/303/dance-dont-delay Artista: http://www.twinmusicom.org Madrinhas e Padrinhos Apoios a partir de 12 de junho de 2024  Alexsandro de Souza Junior, Aline Silva Lima, André Santos, André Trapani, Andréa Gomes da Silva, Andressa Marcelino Cardoso, Augusto Carvalho, Carolina Pereira Lyon, Charles Calisto Souza, Elisnei Menezes de Oliveira, Erick Marlon Fernandes da Silva, Flávio Henrique Dias Saldanha,  Gislaine Colman, Iara Grisi, João Ariedi, João Luiz Farah Rayol Fontoura, Klaus Henrique de Oliveira, Manuel Macias, Marlon Fernandes da Silva, Rafael Henrique Silva, Raul Sousa Silva Junior, Renata de Souza Silva, Ricardo Orosco, Rubens Lima e Willian SpenglerSee omnystudio.com/listener for privacy information.

Trunk to Cairo (1966) AIP Production #6620/6664 Jeff and Cheryl practice their German accents during the long submarine ride from Egypt to Rome in Trunk to Cairo. Directed by Menahem GolanWritten by Marc Behm, Alexander Ramati and Artur BraunerProduced by Menahem Golan and Michael J. Kagan Starring:Audie Murphy as Mike MerrickGeorge Sanders as Professor SchliebenMarianne Koch as Helga SchliebenHans von Borsody as Hans KluggJoseph Yadin as Captain GabarGila Almagor as YasminEytan Priver as JamilBomba Zur as AliZeev Berlinsky as BenzShlomo Vishinsky as JacobTikva Mor as ChristinaElana Eden as HadassaMona Silberstein as HostessYoel Noyman as Egyptian ColonelAnna Schell as Belly DancerSuzanna Ratoni as Fräulein Brucknerand  Menashe Glazier as Mahmud A Central Cinema Company Film/Noah Films Production distributed by American International Pictures You can find Trunk to Cairo somewhere on the internet, probably. Visit our website - https://aippod.com/ and follow the American International Podcast on Letterboxd, Instagram and Threads @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast. View the Trunk to Cairo trailer here. Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955)

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Amor paternofiliar y competiciones de pulsos en esta película de Stallone con mucho de lo mejor y no poco de lo peor de las películas de Canon. Abraham, Ángel, Manuel y Miguel hablan de ella. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Welcome back to another exciting episode of Not A Bomb Podcast. This is the podcast where we re-examine some of the biggest bombs in cinematic history. Oh man, do we have a treat for you! This week's show is all about Cannon films, and you can't talk about Cannon without Austin Trunick. Austin is the author of two excellent retrospective books - The Cannon Film Guide: Vol 1 and 2. If you have ever wanted to know something about Cannon Films, Austin is the guy to talk to. While Cannon created a ton of cult favorites, they also dipped their toes into some prestige storytelling. We decided to go a bit more “highbrow” with this week's choice and are discussing 1985's Runaway Train. This Academy Award nominated film started as a screenplay by legendary filmmaker Akira Kurosawa and was passed around by several Hollywood executives. The story of two escaped convicts who become stuck on a…you guessed it…runaway train finally found a home with Menahem Golan and Yoram Globus. Austin brings so much insight to this film and we are super excited he joined us for this week's conversation. So, sit back, relax, and learn all about one of the best stories to come out of The Cannon Group, Runaway Train. Runway Train is directed by Andrei Konchalovsky and stars John Voight, Eric Roberts, Rebecca De Mornay, Kyle T. Heffner, John P. Ryan, T.K. Carter, and Kenneth McMillian.Be sure to check out The Cannon Film Guide: Vol 1 and Vol 2, or please support your local bookstore and ask them to order it for you. 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. For invite to the Not A Bomb Discord, hit us up here. Cast: Brad, Troy, Austin Trunick

Time for a powerful reunion with Menahem Golan and Yoram Globus, the masters of Cannon Group Films, a madhouse full of ninjas and buff dudes. Only this time they've got a buff gal and the ghost of a ninja. Will it be more entertaining than a movie with a troll and Courtney Cox? Tune in. Find out. Live free.  Featuring: A lot of anti-police sentiment, the lingering frustration of internet issues and possible misogynist Sho Kosugi (allegedly).  More Pauls!  https://facebook.com/ogtpod https://twitter.com/ogtpod We have a Patreon! https://www.patreon.com/ogtpod – sign up for exclusive content for as little as $1 a month. Listen to Salt's show Jen and the Film Critic with OGT guest and deep friend Jen Blundell here! Like d&d? Want more Pauls? Into nerd shit AND jokes about bums? Why not check out our d&d actual play podcast, Quest Fantastic?  https://shows.acast.com/quest-fantastic link.chtbl.com/questfantastic RSS: https://feeds.acast.com/public/shows/61d8e6b335501c0012b6c367 Goodman's EP 'Future Music' is out now! Find out where you can stream and purchase here: Future Music by Run//Phase (songwhip.com)

For our first episode of Praising Kane (the world's finest Carol Kane-related podcast) of 2024 we're DOUBLING UP, first with an episode of Shelley Duvall's Faerie Tale Theatre from 1984 adapting SLEEPING BEAUTY with an all-star cast including Christopher Reeve, Beverly D'Angelo, Bernadette Peters and - of course - Carol Kane! We then get into our feature OVER THE BROOKLYN BRIDGE, an early film from Cannon Films directed by Menahem Golan and starring Elliott Gould and Margaux Hemingway. Carol Kane plays a demure Jewish teacher with a WILD SIDE. We also chat about the recent Sundance premiere of Kane's new film BETWEEN THE TEMPLES. HOORAY!  The post Episode 206 – Praising Kane – Over The Brooklyn Bridge (1984) first appeared on Cinema Smorgasbord.

The gang tackles the bizarro adolescent spin on the "Outlaw Couple" trope with Menahem Golan's Teenage Bonnie and Klepto Clyde from 1993! Join our Patreon if you can! Hey, why not call us on our hotline? (724) 246-4669!

In this episode of Drive-In Double Feature Podcast, hosts Nathan and Ryan embark on a delightful journey through the streets of Brooklyn with "Over the Brooklyn Bridge" (1984). Directed by Menahem Golan, this heartwarming comedy stars Elliott Gould as a lovable schlemiel navigating the complexities of family, love, and New York City. Join us as we explore the film's endearing characters, humor, and the unique charm that comes with a tale set against the iconic backdrop of Brooklyn. Discover how "Over the Brooklyn Bridge" captures the spirit of the city and weaves a narrative filled with laughter, love, and the pursuit of dreams. Get ready for a joyous discussion as we traverse the cinematic landscape "Over the Brooklyn Bridge."

In a special bonus episode of NostalgiaCast '90s Palooza, returning guest Jason of @BingeMovies takes us on a guided tour of the many films that inspired and were inspired by the most unsung of movie directors, the late, great(?) Albert Pyun! We talk about his Menahem Golan-produced 1990 masterwork(?) CAPTAIN AMERICA, and its legacy that lives on in the X-MENs, WINTER SOLDIERs, and NAKED GUNs of today. Enter the Pyun-iverse with us now!

Menahem Golan's rock opera with a hint of sci-fi was his attempt to break Hollywood by putting together a musical allegory of the Biblical birth of humankind. What we got instead was a movie widely regarded as one of the worst ever made. Clearly, we were meant to investigate! (Warning: includes explicit language right at the beginning) The Apple This episode presented by: J.R. Southall With: Jon Arnold Dylan Rees

Kevin is joined by Oscar and Emmy Nominated Director and Producer, Evgeny Afineevsky.Evgeny Afineevsky, Oscar-Nominated Documentary FilmmakerKevin Goetz is joined by acclaimed documentary filmmaker Evgeny Afineevsky. The pair discuss Afineevsky's unlikely journey from childhood in the Soviet Union and Israel to becoming an Oscar-nominated director. Afineevsky shares behind-the-scenes stories about making powerful documentaries like Cries from Syria, Winter on Fire, which turned the world's attention to the rising conflict in Ukraine, and Francesco, which offered him rare access to Pope Francis. He also provides insight into his filmmaking philosophy and drive to create documentaries that educate, inspire action, and work as tools for positive change in the world.From the former Soviet Union to Israel and an early mentor in Menahem Golan (01:41)Starting from his childhood fascination with filmmaking in the Soviet Union, Evgeny describes seeing rare foreign movies in Russia during the 1980s, like Gone with the Wind, that offered a glimpse outside the USSR. After moving to Israel, Afineevsky recounts meeting Menahem Golan and coming to Hollywood in the 1990s.Oscar nomination for Winter on Fire and meeting Volodymyr Zelenskyy (15:35)The pair discuss Evgeny's transition to highly impactful documentaries like the Oscar-nominated Winter on Fire and how Afineevsky first met Volodymyr Zelenskyy in 2016, years before he became the president of Ukraine.Documentaries and PTSD (23:02)Afineevsky describes the risks he took to make his documentaries, and how the effects of making these films in war zones caused him to develop PTSD.A close relationship with Pope Francis (23:41)Afineevsky shares how he developed a close bond with Pope Francis and how he gained unprecedented access to him for the documentary Francesco. Afineevsky describes Francis becoming godfather to his son and their personal friendship.Making movies that matter (34:58)The pair discuss parenthood and how having a child motivated Afineevsky to make movies that can change the world.Upcoming projects (40:52)Afineevsky talks about his most recent documentary about Ukraine's fight for freedom, Freedom on Fire. He also mentions potential upcoming projects, including one about Ukrainian children abducted by Russia.Tune in to hear this compelling interview with acclaimed documentary director Evgeny Afineevsky, which provides an intimate glimpse into his inspiring life journey, from gaining unprecedented access to Pope Francis for Francesco to making Oscar-nominated films like Winter on Fire. Afineevsky offers wisdom on documentary filmmaking and shares his vision for how movies can raise awareness of global issues to drive positive change in the world.Host: Kevin GoetzGuest: Evgeny AfineevskyProducer:  Kari CampanoWriters:  Kevin Goetz, Darlene Hayman and Kari CampanoFor more information about Evgeny Afineevsky:Wikipedia: https://en.wikipedia.org/wiki/Evgeny_AfineevskyIMDB: https://www.imdb.com/name/nm1017958/Twitter: https://twitter.com/evgeny_directorFor more information about Kevin Goetz:Website: www.KevinGoetz360.comAudienceology Book: : https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678Facebook, Twitter, Instagram: @KevinGoetz360Linked In @Kevin GoetzScreen Engine/ASI Website: www.ScreenEng

The Go-Go Boys: The Inside Story of Cannon Films (2014) synopsis: “A documentary about two Israeli-born cousins, Menahem Golan and Yoram Globus, who in pursuit of the American Dream turned the Hollywood power structure upside down, producing over 300 films and becoming the most powerful independent film company in the world.”Starring: Menahem Golan and Yoram GlobusDirector: Hilla MedaliaThis week on Podcasting After Dark, Zak and Corey review the 2014 documentary, The Go-Go Boys: The Inside Story of Cannon Films! Zak thought this would be the perfect addition to our annual docu-series, especially since the boys have already covered quiet a few movies produced by the infamous duo. As a fun little bonus, Zak and Corey also list their top five Cannon Films at the end of the episode!Leave a comment on our Patreon page or social media and let the boys know what your top five Cannon Films are!— SUPPORT PODCASTING AFTER DARK —PATREON - Two extra shows a month including Wrap-Up After Dark and The Carpenter Factor, plus other exclusive content!MERCH STORE - We have a fully dedicated merch store at TeePublic with multiple designs and products!INSTAGRAM / FACEBOOK - Follow us on social media for updates and announcements!This podcast is part of the BFOP Network

Gala and Expert du Jour Marc Heuck discuss Menahem Golan's sci-fi musical opus The Apple! They learn about Marc's unique history with the film, share their favorite songs from the disco soundtrack, and even discover Franklin Brauner was involved in the production. Plus: Quentin shares a story from The Apple's infamous premiere. Learn more about this week's films, get Video Archives merch and more at videoarchivespodcast.com. Follow us on Twitter @videoarchives, and on Instagram @videoarchivespod. You can also write us a question by sending a letter to The Video Archives Podcast, c/o Earwolf Media, PO Box 66, 5551 Hollywood Blvd, Los Angeles, CA, 90028.

Welcome back to another edition of the Cannon Cruisers! This week, JD and Randy delve into the serious realm of film with a review of the little-known WW2 biopic "Hanna's War" from 1988. Directed by Menahem Golan, the movie features a star-studded cast including Maruschka Detmers, Ellen Burstyn, Anthony Andrews, and Donald Pleasence. Golan also co-wrote the screenplay with Stanley Mann. Buckle in and enjoy the ride!

"A comedy that spans 1 mile, 2 romances, 3 careers, 4 days, 5 relatives, and $379,000" JD and Randy take a trip back to 1984 to New York City with little seen Cannon film, "Over The Brooklyn Bridge." Starring Elliot Gould, Margaux Hemingway, and Sid Caesar in a Menahem Golan film with a screenplay by Arnold Somkin. Uncle Benjamin: "Right or wrong, I'm right!"

Drew and Travis take a bite of The Apple, the 1980 Cannon Films rock musical from director Menahem Golan! TIMESTAMPS 00:00:00 - The Apple 00:50:50 - The Shelf 00:56:10 - Calls to Action 00:58:51 - Currently Consuming 01:09:55 - End SHOW LINKS Phantom of the Paradise Astro's Playroom

Welcome back to Not A Bomb Presents: Breaking Brad! Troy, Sammy from the GGTMC, and Jose from the Watch/Skip+ pick some of the worst films imaginable to see if they can break Brad. On this episode, the gang tackles what is considered to be the worst musical of all time, The Apple (1980). Written and directed by Menahem Golan, The Apple is a biblical, Orwellian, futuristic anti-corporation musical where the evil music label, Boogalow International Music (BIM), tries to sign Adam and Eve….wait sorry…Alphie and Bibi to their record label. What follows is some of the worst music ever created. Oh yeah, and there are hippies for no reason. Don't worry! Catherin Mary Stewart is still amazing and this film can't diminish her awesomeness (yeah, Troy took over writing this post). Does The Apple have what it takes to Break Brad? Listen and find out!Be sure to subscribe to the Gentlemen's Guide to Midnite Cinema to hear more of Sammy. Also, check out Jose's podcast - Watch/Skip+ • A podcast on Anchor. Both are highly recommended.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, Jose, Sammy

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

In this episode of Media Monsters, Nick sits down with filmmaker John Paul Jones to discuss The Apple. A 1980 musical from Menahem Golan that is proudly one of the worst movies ever made and one of the most fun to watch. Nick and JP discuss not only the film but their short film remake entitled Bibi, currently in production. We cover all of the movie's insanity from the costumes and props to the set design and song. Nick also mistakenly combines Breakin' 2: Electric Boogaloo and Jumpin' Jack Flash. Intro and Outro The Apple Written by George Clinton Performed by Chris Lyric and John Paul Jones

You are in for a treat today. We have legendary 80's action director Sam Firstenberg.At a young age Sam began to "create" movies to entertain his friends. Horrifying his mother, he would cut up books, stringing together the pictures and rolling them up. He would then put the roll into a box with a cut out window, shine a flashlight from behind, and manually pull the roll, revealing the pictures through the window in sequence.Sometimes he would plan a special show in which his sister narrated the "film" based on a script Sam would concoct, and his father would accompany on the violin. As he grew up he found a hobby in photography and by high school had turned his bedroom into a darkroom where he would earn pocket money by developing pictures for his friends.After serving three years in the Israeli army, Sam came to the US in 1971, began to study and work in films, and culminated his studies with “One More Chance," the graduate film thesis which turned into a feature-length film."After Golan bailed us out, our film premiered at the Cannes Film Festival in 1981, then went on to become the official US entry at the prestigious Locarno Film Festival in Switzerland, and won a Silver Plaque at the 17th Annual Chicago Film Festival. This film became my calling card, and launched my career." recalls Sam.By then Menahem Golan and Yoram Globus had acquired Cannon Films. They hired Sam to direct “Revenge of the Ninja." Sam knew nothing about martial arts, but learned quickly and the film, which starred Sho Kosugi, was shot in Salt Lake City, Utah. Distributed by MGM to a great box-office bonanza, it set the stage for Sam's next directing assignment, “Ninja III - The Domination," also starring Kosugi. The film was shot in Phoenix, Arizona and was also tremendously successful.Both Ninja films directed by Sam were sequels to the highly successful “Enter the Ninja” directed by Golan. "Then came a pleasant opportunity," Sam smiles."Golan wanted me to direct ' Breakin 2 - Electric Boogaloo," another sequel, which then made me the king of sequels, but also gave me a break from directing Ninja action films."In fact, each of the sequels directed by Firstenberg resulted in better reviews and box office draws than the originals. “Breakin 2 - Electric Boogaloo " was a musical that featured major dance production numbers, filmed in Los Angeles. Distributed by TRI-STAR it was critically acclaimed; and a box office success, one of the reviews hailed it as"The most exuberant musical of the decade."Soon after the release of " Breakin 2 - Electric Boogaloo " Sam was on his way to the Philippines to direct "American Ninja" a major action picture starring Michael Dudikoff and Steve James, who would team up with Sam for two additional motion pictures, "Avenging Force," shot in New Orleans and the swamps of Louisiana, and "American Ninja II"'Avenging Force' was one of the most physically grueling productions I ever worked on,"comments Sam."We spent days and nights in water, mud up to our waists, with snakes crawling between our legs."The film opened to rave reviews. The LA Times called Firstenberg"... a rockin' young action director who's pulled off a series of rave up pictures for Cannon including ' American Ninja ' and ' Electric Boogaloo,' and now in ' Avenging Force ' shows off his savvy style, which combines a keen sense of pacing with brawny punch...it marks the emergence of a truly gifted movie talent."The next picture for Sam was “Riverbend”, a controversial drama with Steve James and Margaret Avery from "The Color Purple." The picture explored race relations in 1966 Georgia, and was an opportunity for Firstenberg to work with strong dramatic material. In sharp contrast, Sam's next picture was an all-out comedy, “The Day We Met,” which proved to him that his directorial talents were easily extended."Delta Force III” came next, a military action picture with Nick Cassavettes, Eric Douglas, Mike Norris, and Matthew Penn, and was followed with a breakthrough approach to martial arts in “American Samurai” introducing hot young martial artists David Bradley and Marc Dacascos. Firstenberg then got his first taste of TV work with a nighttime crime show for CBS, directing six episodes of “Sweating Bullets"With the creation of Nu Image, principles Avi Lerner and Danny Dimbort recruited Firstenberg to direct their first production, "Cyborg Cop," and then the sequel, "Cyborg Soldier," both sci-fi action flicks with David Bradley. In addition, Firstenberg completed with Bradley and Frank Zagarino the action picture "Blood Warrior." Next came “Operation Delta Force” a military style action / adventure with Ernie Hudson, Jeff Fahey, Joe Lara, Frank Zagarino, and Hall Halbrok.1997 brought Firstenberg to explore new directorial areas; “McCinsey's Island” is a comedy for children, a treasure hunt movie with Hulk Hogan, Robert Vaughn, and Grace Jones, and “Motel Blue” with Sean Young, Soleil Moon Frye, and Seymour Cassel, is a psychological thriller with two women in the lead.Sam and I had an amazing conversation about all things Cannon Films, Ninjas, Break Dancing, and 80's action films. Enjoy!

If you're a fan of eighties action movies, you should know The Cannon Group. Run by Israeli cousins Menahem Golan and Yoram Globus, in the eighties they cranked out a slew of low-budget action movies, most of which were hated by critics. Yet, every once in awhile they made a legitimately great movie that would even make the critics sit up and take notice. One such as this 80's flick directed by Andrei Konchalovsky (who later made "Tango & Cash") and based on a script by Akira Kurosawa who was a legendary filmmaker in his own right. So get yourself all greased up, jump onboard and then hold on tight as Tim Williams and guest co-host JB Huffman from "Manly Movies" Podcast discuss “Runaway Train” from 1985 on this episode of the 80's Flick Flashback Podcast! Here are some additional behind the scenes trivia we were unable to cover in this episode: The film is dedicated to the memory of Richard Holley. Helicopter pilot Rick Holley was killed in a helicopter crash during filming. According to the Alaska Rails website, "his helicopter hit a power line in the canyon north of Tunnel Section". This occurred on March 9, 1985 and was listed as "helicopter accident en route to Alaska filming location”. Sources: Wikipedia, IMDB, Rotten Tomatoes, https://www.joblo.com/runaway-train-1985-revisited-action-movie-review/ Send us an email or reach out to us on social media to let us know what you liked, what you loved, what we may have missed, or what 80's movie we should discuss next! You can also support the podcast by becoming a subsrciption member through "Buy Me A Coffee". Click on the following linktree link for more details and other great extensions of the podcast. https://linktr.ee/80sFlickFlashback --- Send in a voice message: https://anchor.fm/moviviews80sff/message

Sometimes the title of a movie tells you everything you need to know about it, but the biggest problem with Sylvester Stallone's arm-wrestling opus isn't that it's Over The Top. Sly underplays, if anything. He's not even as bad as you might expect, nor is David Mendenhall truly deserving of the Razzie he won for playing the estranged "I love you, now I hate you" son. The editing, the direction by Menahem Golan and the screenplay (co-written by Sly) are all atrocious though. Yeah, this is just about the most laughably illogical film we've ever covered. They can't even keep Stallone's character's name straight! At least the picture is entertaining, especially when you get to rag on it with your podcast partner sitting beside you.    So the holidays are just about here and you're probably going to have to meet your family halfway, but don't drive a transport truck through anyone's house, even if it's to get your son back. Just bet on yourself to defy insurmountable odds as you listen to us verbally annihilate Over The Top.   Go ahead and follow us on Twitter (@moviefiend51 and @scoringatmovies) and maybe email us too (scoringatthemovies@gmail.com).

VANISHING POINT #18 - Viva Las Vegas (Les ailes de l'enfer, Over the Top, Casino) Dix-huitième épisode de Vanishing Point, le podcast itinérant qui vous invite à voyager sur les routes imaginaires du Cinéma, sans gps ni direction assistée, avec comme seule boussole : notre passion, nos échanges et nos envies. Piloté par Mad, Ben et Franck. Les films abordés dans cet épisode : 00:01:24 : Skip générique (on juge pas promis) 00:02:49 : Con Air, Simon West (1997) 01:08:50 : Over the Top, Menahem Golan (1987) 02:21:22 : BLINDTEST - Suspicious minds, Elvis Presley 02:29:41 : Casino, Martin Scorsese (1995) Les réponses au blindtest précédent (Épisode 17 First Contact) : The Thing, Under the skin, Mars Attacks, Signs, Cloverfield, District 9 et Alien 3 Rejoignez-nous sur les réseaux sociaux : TWITTER : https://twitter.com/vpoint_podcast FACEBOOK : https://www.facebook.com/podcast.vanishingpoint PODCASTICS : https://www.podcastics.com/podcast/vanishing-point/ Et sur votre plateforme de podcasts préférée ! Abonnez-vous

Amis de la Cannon, bonjour ! Vous ne le savez peut-être pas, mais la firme de Menahem Golan et Yoram Globus n'ont pas produit que des films de Jean-Luc Godard et John Cassavetes. Ils ont également fait des tonnes de bis du cinéma d'action, et popularisé à eux seuls la figure du Ninja au cinéma. Immédiatement popularisé, immédiatement ringardisé, il faut bien le dire ! Pour parler de l'un des fleurons de la de la Cannon, à savoir AMERICAN WARRIOR (mais aussi connu sous le titre AMERICAN NINJA) de Sam Firstenberg avec Michael Dudikoff et Steve James, Stéphane Moïssakis a invité le spécialiste es-Ninja de Toulouse, à savoir Yannick Dahan !Pour précommander notre mook CAPTURE MAG 2012 - 2022 : NOTRE DÉCENNIE DE CINÉMA, rendez-vous sur Kiss Kiss Bank Bank : https://www.kisskissbankbank.com/fr/projects/capture-mag-2012-2022Pour nous soutenir, il y a deux adresses.KISS KISS BANK BANK : https://bit.ly/3Svo6kXTIPEEE : https://www.tipeee.com/capture-mag#livre #cinema #crowdfunding Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Tune in as Chris talks the end of Cannon, the dissolution of the Go-Go Boys, & their place in cinematic history as the LSCE closes out the Summer of Cannon. Join Us! Works Cited: Bing, Jonathan. Spidey suitors evaded snare of rights snafu (A Tangled Web). Variety. May 20, 2002. Article Link. Accessed 4/27/22. Brennan, Judy. “Film: Three top MGM/Pathe Officers Out.” Variety. June 24, 1991. Article Link. Accessed 5/2/22 “Cannon in Healing State, Film Boss Golan Maintains.” Variety. Nov 23, 1988. Article Link. Accessed 4/27/22. “Cashing in on the Lambada Craze.” Telegram & Gazette. Mar 16, 1990. Article Link. Accessed 5/2/22. Cieply, Michael. “Documentary Explores B-Film Kingdom of Golan and Globus.” The New York Times. Sept. 7, 2014. Article Link. Accessed 4/25/2022. Daniels, Bill. “Golan, Parretti Break Ties Binding 21st Century Film to Pathe.” Variety. April 19, 1989. Article Link. 4/27/22. Du Bain, Rae. “Golan Caught in Trapp Flap.” Variety. April 22, 1996. 1, 107. Article Link. Accessed 4/27/22. Ebert, Roger. “Reviews: Mack the Knife.” Chicago Sun Times. Feb 2, 1990. Article Link. Accessed 9/23/22. Gates, Anita. “Menahem Golan, Passionate Auteur of the B-Movie, Is Dead at 85.” The New York Times. Aug 10, 2014. Article Link. Accessed 4/25/2022. “Globus on Lawyers, Bankers & Friends. Variety. 10/05/1988. Article Link. Accessed 5/2/22. “Golan, Globus Partners Again.” The Jerusalem Post. 8/27/1993. Article Link. Accessed 4/26/22. Groves, Don. “Film: After Split from Parretti, Golan Sez He's Reborn.” Variety. April 26, 1989. Article Link. Accessed 4/27/22. Hartley, Mark. Electric Boogaloo: The Wild, Untold Story of Cannon Films! 2014. Warner Bros. Pictures, 2014. 106 Mins. Maslin, Janet. “Review/Film: Tawdriness is Emphasized in ‘Mack the Knife.'” The New York Times. Feb 2, 1990. Article Link. Accessed 9/23/22. Medalia, Hilla. The Go-Go Boys: The Inside Story of Cannon Films. 2014. MVD Visual, 2021. Blu Ray. “MGM-Pathe is Sued by its Ex-President.” The Wall Street Journal. Sept 4, 1991. Article Link. Accessed 5/2/22. “More Pensive, Less Intensive, Cannon Packs 13 Pics to AFM.” Variety. Feb 2, 1988. Article Link. Accessed 5/2/22. Segers, F. Film: Cannes Festival News – Golan On Globus: It's Like Divorce; Cousins Speaking only Through Lawyers: Pair Disputes Projects. Variety. May 24, 1989. Article Link. Accessed 4/27/22. Trunick, Austin. Cannon Film Guide Volume 1: 1980-1984. Orlando, FL: Bear Manor Media, 2020. Trunick, Austin. Cannon Film Guide Volume 2: 1985-1987. Orlando, FL: Bear Manor Media, 2022. Tugend, Tom. “Menahem Golan Just Keeps on Going.” The Jerusalem Post. April 2, 1992. Article Link. Accessed 4/27/22 --- Send in a voice message: https://anchor.fm/lsce/message

Steve & Izzy continue Sexy Singing September, a celebration of 80s musicals, as they are joined by Brendan of the What Were They Thinking Podcast to discuss 1980's "The Apple" starring friend of the podcast Catherine Mary Stewart, Joss Acklund & from director / movie icon Menahem Golan!!! Was carbonated milk a thing? Is this movie gender fluid? What are the origins of Harley Quinn? Is BIM actually Cannon Films?!? Let's find out!!! So kick back, grab a few brews, sing about coming, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices

We're talking Cannon Films on this episode of the Fan2Fan Podcast! Bernie and Pete are joined by Austin Trunick, author of The Cannon Film Guide series. We discuss Austin's passion for Cannon, the 80s video store explosion, and how Cannon Films evolved from the determination and hustle of Menahem Golan and Yoram Globus. We also talk about some of our favorite Cannon Films including the Chuck Norris movies (Missing in Action, Delta Force, Invasion USA), the ninja movies (Revenge of the Ninja, Enter the Ninja, the American Ninja series), Last American Virgin, Avenging Force, the Deathwish series, and more. For more info about the Fan2Fan Podcast, visit: https://linktr.ee/fan2fan

Lincoln Hawk will fight for his son the only way he knows how, and we'll talk about OVER THE TOP the only way we know how! 80srevisited@gmail.com to talk with us, and leave a review for us! Thank you for listening 80s Revisited, hosted by Trey Harris. Produced by Jesse Seidule.

We are back and launching the Summer of Cannon- a whole season of some classic B-movie offerings from the little studio that could Tune in as Chris chats about post war Palestine, Golan & Globus, & the history of the studio itself as the LSCE invites you to come along and “Meet the Boys.” Join us! Check us out at www.LSCEP.com Works Cited: Ansen, David, Peter McAlevey, and Ed Behr. Hollywood's New Go-Go Boys. Newsweek. Aug 11, 1986. Article Link. Accessed 4/27/22. Auerbach, Alexander. “Cannon Mounts Major Schedule.” Boxoffice. Oct 1, 1980. Article Link. Accessed 4/28/22. “Cannes Film Festival: If you Lie on the Beach…” Broadcast. Jun 6, 1983. 14. Article Link . Accessed 4/27/22. Gates, Anita. “Menahem Golan, Passionate Auteur of the B-Movie, Is Dead at 85.” The New York Times. Aug 10, 2014. Article Link. Accessed 4/25/2022. Hartley, Mark. Electric Boogaloo: The Wild, Untold Story of Cannon Films!. 2014. Burbank, CA: Warner Home Video, 2014. Blu Ray. “International: Golan & Globus Chronology.” Variety. Feb 2, 1984. Article Link. Accessed 4/28/22. Medalia, Hilla. The Go-Go Boys: The Inside Story of Cannon Films. 2014. MVD Visual, 2021. Blu Ray. Trunick, Austin. Cannon Film Guide Volume 1: 1980-1984. Silverman Marich, Marie. “Cannon's Founders Recall Time When Everything Was Possible.” Variety. New York, Oct. 5, 1988. 70. Article Link. Accessed 4/25/22. --- Send in a voice message: https://anchor.fm/lsce/message

We're back in the weird 80's genre with 1987's Over The Top, directed by Menahem Golan and starring Sylvester Stallone and Robert Loggia. We both thought this was a movie about arm wrestling, but it's actually more like two separate movies, one about arm wrestling and one about an awkward father-son road trip. Also, the son's name is Mike Hawk, and if you think we couldn't possibly overdo a joke about that, you are very wrong. Float along with us as we tackle the serious questions like: Why was this movie made? Is this a different singer than the last one? How come this movie was made? Is Lincoln a serial killer? For what reason was this movie made? How many photos is too many photos? To what end was this movie made? And so on! (We actually kind of loved this one.) --- Support this podcast: https://anchor.fm/matinee-manatees/support

Michaela sheds common decency and takes a bite of The Apple (1980), a sci-fi disco glam rock musical directed by maverick Cannon Films co-founder Menahem Golan. In the future, a satanic music producer rules the world and attempts to lure and corrupt a young singing duo into his decadent world of sin. Listen as we dip ourselves in glitter, rigorously observe BiM hour, and meet the spectral Cadillac-driving God on this week's exciting episode! See acast.com/privacy for privacy and opt-out information.

Extra! Extra! Read All about it! Superman destroys Nukes, dates multiple women at once and fights the new fangled calculator. Read about it in the evening edition of the Daily Planet! The guys (Ben, Bracken, Brant, Nate and producer, Danny) continue the season of the sequel with this 3rd Superhero sequel to the seminal Superman movie. Is this film Exceptionally Bad or just Bad? This movie stars Christopher Reeve, Gene Hackman, Jackie Cooper, Mar McClure, Jon Cryer, Sam Wanamaker, Mark Pillow, Mariel Hemingway, Margot Kidder, and Jim Broadbent. Follow us on Instagram @ExceptionallyBad and Twitter @XceptionallyBad or email us at theguys@exceptionallybad.com or check out our website at exceptionallybad.com Superman IV: The Quest for Peace (1987) was Directed by Sidney J. Furie, Produced by Graham Easton, Yoram Globus, Menahem Golan, and Michael J. Kagan, and Written by Christopher Reeve (story by), Lawrence Konner (story and screenplay by) and Mark Rosenthal (story and screenplay by). --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

It's back up the history hole once more with Menahem Golan's The Barbarians (1987) – but don't fear those pecs. These are a couple of hunky bros looking for fun and non-upsetting fun only. And the film ain't bad either, ho HO! Kill me.  Featuring: the Reek of podcasts, microphone hat, PMDBDC & 'orse stunts.  https://facebook.com/ogtpod https://twitter.com/ogtpod We have a Patreon! https://www.patreon.com/ogtpod – sign up for exclusive content for as little as $1 a month. Our Fiasco one-shot is being edited and will hit your faces soon, and welcome to Bec Watson as our newest patron! Listen to Salt's show Jen and the Film Critic with OGT guest and deep friend Jen Blundell here! Like d&d? Want more Pauls? Into nerd shit AND jokes about bums? Why not check out our brand-new d&d actual play podcast, Quest Fantastic?  https://shows.acast.com/quest-fantastic link.chtbl.com/questfantastic RSS: https://feeds.acast.com/public/shows/61d8e6b335501c0012b6c367

Welcome back to another episode of the GGtMC!!! This week we welcome the guys from the not A Bomb podcast (notabombpodcast.com) to discuss Enter the Ninja (1981) directed by Menahem Golan!!! We get juicy with all the Ninja-talk and we hope you enjoy the show!!! Emails to midnitecinema@gmail.com Adios!!! --- Send in a voice message: https://anchor.fm/ggtmc/message

Crecimos con ellos y aprendimos a amarlos... y a aborrecerlos. La historia de los primos israelíes Menahem Golan y Yoram Globus es todo un símbolo del exceso cinematográfico y vital de los años 80, aparte de una oportunidad para repasar sus títulos más tronados y sus no pocos aciertos, reivindicados por dos documentales, "Electric Boogaloo" y The Go-Go Boys". Únete a nosotros en Telegram: t.me/marcianosenuntren Con Jose Ceballos, Jose Contreras y Edu Senx Edición: Jose Ceballos Temas de Alan Silvestri, Forever Sunset, Marc Torch, One Two Feet, The Basic Game, August Bust, Daniel Gunnarsson, Jeed Keep, Arlo Young, Falcon Dives, Frank Zappa, Jerry Goldsmith y Henry Mancini Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

In the late 1970s two Israeli immigrants with movie making dreams would set their sights on the land of glitz and glamour known as Hollywood. By the early 1980s they had carved out a cinematic niche' that 40 years later has get to be filled. Tonight we salute the American Dream and the duo who chose to chase it at all cost- Menahem Golan, Yoram Globus and the insane films they produced- Tonight we Crown a champion, tonight we decide which film wins THE CANNON CUP.

Original Airdate 3/4/14Pat Mullin joins Mark Radulich to throw roundhouse kicks and talk a #ChuckNorris classic trilogy, #MissinginAction! It is the first of a series of Rambo: First Blood Part II-inspired POW rescue fantasies themed around the #VietnamWar POW/MIA issue that were produced by Menahem Golan and Yoram Globus and released under their Cannon Films banner.

A heartwarming story about a deadbeat dad who abandoned his child and maybe sold drugs, and how he comes back into his son's life to encourage toxic behavior and violence and also disrespect towards his grandfather who just wants the best for him.  There's also lots of arm wrestling and Kenny Loggins, but not at the same time.