Podcast appearances and mentions of Michael J Pollard

Siskoid Cinema presents... No Escape from Kurt Russell, the show that explores the filmography of one of American cinema's best leading men and tries to get a handle on his mystique. Why is it we'll watch anything so long as Kurt Russell's name is attached to the project? On this episode, Siskoid and The Fantastic Pour's Brett Young discuss 1989's Tango & Cash. A Sylvester Stallone vehicle, Siskoid? Yeah, but Kurt Russell is in it! Listen to the episode below, or subscribe to Siskoid Cinema on Apple or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK! Visit our WEBSITE: https://fireandwaterpodcast.com/ Like our FACEBOOK page: https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Support us on Patreon: https://www.patreon.com/fwpodcasts Subscribe via Apple Podcasts as part of the FIRE AND WATER PODCAST NETWORK. Credits: Bonus clips: "Tango & Cash" by Andrei Konchalovsky, starring Kurt Russell, Sylvester Stallone and Michael J. Pollard; and "Don't Go" by Yazoo. Thanks for leaving a comment!

This week, like the sand-people of Arrakis and Beetlejuice audiences before us, we're afraid of worms (worms!) as guest Rachel Hadaway (of Rachel's Chart Chat on The People Are The Enemy) goes for a steeply inclined stroll with us to breathe the mountain air in beautiful Nelson, Washington as circle back to the coziness of the Steve Martin rom-com. It's 1987's Roxanne, directed by Fred Schepisi, written by Steve Martin, and starring Martin opposite Daryl Hannah, Shelley Duvall, Rick Rossovich, John Kapelos, Fred Willard, Michael J. Pollard, Damon Wayans and of course Nelson, British Columbia, which almost played itself! A landmark 80s film for Canadians seeing their country onscreen, north of the border it seems more beloved for its locations than its clever reworking of Cyrano de Bergerac for a modern context. But this is a funny movie with a romance that works, brought to us from the dusty DVR box of a long-time booster of our show who we were happy to finally bring on! Plus: As we put Halloween season behind us, Justin goes deep on the truly terrible Blade: Trinity. If you'd like to watch the movie before listening along, Roxanne is not currently available to stream in Canada, but can be found on Amazon Prime in America at the time of publication. Other works referenced on this episode include Saturday Night, Challengers, Wicked, Blade, Blade II, Hellboy II: The Golden Army, The Witches of Eastwick, Practical Magic, V/H/S/94, So I Married An Axe Murderer, A Serious Man, The Creature From The Black Lagoon, The Reality Show Show, 8 Mile, The Lonely Guy, Review, Police Academy, The Muppet Babies, Set It Up, and Looney Tunes among others. We'll be back next week as No-Theme-ber continues... with what? We don't actually know yet. So keep it locked here to find out. Until then, we'll see you at the movies!!  

“When we put out our coffee table book of Disgusting Shit Boys, he's the cover…” - Steve on “The Kid” On this week's episode, the Summer Blockbuster Extravaganza continues with a hilarious convo all about one of the more ambitious comic adaptations of all time, Dick Tracy! Should Beatty really have starred as the titular Dick while also directing this thing? How incredible are all the matte paintings, Sondheim songs, and loud-AF costumes? Is there something in the drinking water in this town or what, what is with all the freaks? And how much chili does Tracy consume in this movie? PLUS: One of the worst things to ever exist, Tracy Zooms In, is discussed at length.  Dick Tracy stars Warren Beatty, Al Pacino, Glenn Headley, Charlie Korsmo, James Keane, Seymour Cassel, Michael J. Pollard, Charles Durning, Dick Van Dyke, Kathy Bates, Dustin Hoffman, William Forsythe, Ed O'Ross, James Tolkan, Mandy Patinkin, R.G. Armstrong, Henry Silva, Paul Sorvino, James Caan, Catherine O'Hara, Estelle Parsons, and Madonna as Breathless Mahoney; directed by Warren Beatty. This episode is brought to you in part by Rocket Money! Stop wasting money on things you don't use. Cancel your unwanted subscriptions by going to RocketMoney dot com slash WHM. That's RocketMoney dot com slash WHM. RocketMoney dot com slash WHM. Be sure to pick up your tickets for our summer time WORLD WIDE DIGITAL EVENT where we'll be talking all about the action classic SPEED! Early bird tickets are still available for the next couple days, so head over to Moment dot co slash We Hate Movies and get your tickets now— and don't forget to bundle in your ticket for the Q&A After Party that's going down right after the show that night! Can't make it to the live show? No problem! The show will be available for replay for a full TWO WEEKS after air. So you've got 14 days to check out the show after it happens! Make the WHM Merch Store your one-stop shop for all your We Hate Movies merch-related needs! Including new SHEENPRIL, Night Vision & Too Old For This Shit designs!   Original cover art by Felipe Sobreiro.

Hooray for Captain Spaulding! And some Fireflies. Writer and early-00s horror authority Ariel Powers-Schaub joins us to vivisect Rob Zombie's 2003 roadside attraction of sin and debauchery, House of 1000 Corpses, starring Sid Haig, Karen Black, Rainn Wilson, Bill Moseley, Sheri Moon Zombie, and a young, nubile, young Walton Goggins as "Deputy Steve Naish." So strap in, (fish)boys and girls. It's gonna be a bumpy night. Intro, Debate Society, To Sir With Love (spoiler-free): 00:00-28:27Honor Roll and Detention (spoiler-heavy): 28:28-54:47Superlatives (spoiler-heavier): 54:48-1:14:46 Director Rob ZombieScreenplay Rob ZombieFeaturing Karen Black, Erin Daniels, Dennis Fimple, Walton Goggins, Sid Haig, Chris Hardwick, Jennifer Jostyn, Matthew McGrory, Bill Moseley, Michael J. Pollard, Rainn Wilson, Sheri Moon Zombie Ariel Powers-Schaub is a horror film critic and analyst from the midwestern United States. She is a writer and a podcaster who champions 2000s horror. She served as a senior contributor to and Administrative Assistant for Ghouls Magazine for two years, and is a regular contributor to The Pod and the Pendulum. Ariel's first book, Millennial Nasties, will be released on September 17th from Encyclopocalypse Publications. Pre-order the book here. Our theme music is by Sir Cubworth, with embellishments by Edward Elgar.  Music from House of 1000 Corpses by Rob Zombie and Scott Humphrey. Thanks to Liz DeGregorio and Jerry Sampson for introducing us to Ariel. For more information on this film, writing by your hosts (on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠our blog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), and other assorted bric-a-brac, visit our website, ⁠⁠scareupod.com⁠⁠. Please subscribe to this podcast via Apple Podcasts, Spotify, or wherever you get yours. If you like what you hear, please leave us a 5-star rating. Join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook group⁠⁠⁠. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

A groundbreaking film which ushered in a new era of anti-hero filmmaking that would become prevalent in the 1970s. Starring Warren Beatty and Faye Dunaway as the infamous crime couple.  Co-starring Gene Hackman, Estelle Parsons, Michael J. Pollard and Gene Wilder.

We're celebrating one full year of being unlikely partners on the podcast beat by finally getting around to what we've been told is one of the all-time great buddy cop movies. Yes it's 1989's Tango & Cash, directed by a three-headed monster of directors on a deeply troubled production but overseen in post-production by Demolition Man editor Stuart Baird, and starring Sylvester Stallone, Kurt Russell, Jack Palance, Teri Hatcher, Brion James, James Hong, Michael J. Pollard, Robert Z'Dar, Lewis Arquette, Eddie Bunker and Clint Howard. No sense sugar-coating it, she doesn't want it to be a secret: Hayley hated this movie. But J Mo still makes the case for its not-so-guilty pleasures, and we reflect on a full year of doing the show. Of course, with the Oscars on Sunday we also take a quick minute to make our picks in the major categories, leading Justin to discover that while he's now seen 100 films from 2023, he's somehow missed almost all the Oscar movies. Embarrassing. We're going heavy on Oppenheimer. Big surprise.  Other works discussed in this episode include Dune: Part Two, Robin Hood: Men In Tights,  Spaceballs, The Princess Bride, The Emperor's New Groove, Beauty and the Beast,  Aladdin, The Lion King, The Voyeurs, Deep Water, Nocturne, The Perfection, Tenet, The Fast Franchise, First Blood, Rocky, Thief, The Rocketeer, Dick Tracy, Cobra, and Under Siege 2: Dark Territory. We'll be back next week to kick off a new campaign as we're joined by Briarpatch publisher and all-around good dude John Cameron to discuss the 1972 Robert Redford political satire The Candidate, which is currently available to watch in its entirety for free on YouTube. Until then, we'll see you at the movies!!

“Scrooged is a 1988 American Christmas fantasy comedy film directed by Richard Donner and written by Mitch Glazer and Michael O'Donoghue. Based on the 1843 novella A Christmas Carol by Charles Dickens, Scrooged is a modern retelling that follows Bill Murray as Frank Cross, a cynical and selfish television executive who is visited by a succession of ghosts on Christmas Eve intent on helping him regain his Christmas spirit. The film also stars Karen Allen, John Forsythe, John Glover, Bobcat Goldthwait, Carol Kane, Robert Mitchum, Michael J. Pollard, and Alfre Woodard.” - Factually Exclaims wikipedia.org “Typically Bill Murray! Lol. Seen it a few times. It's not bad... Hardly the funniest, but it works”  - Types - rottentomatoes.com "A BAD MOMS CHRISTMAS is filled with funny, crowd-pleasing comical vignettes. Some of them are relatively clean and fun, but many of them contain at least some, and often plenty of, lewd, outrageous content. For example, there are two very suggestive dance scenes featuring a professional male dancer. Also, despite some surprisingly heartfelt moments revolving around the joys of family Christmas gatherings, the movie's obscene, crude language and lewd situations overwhelm its good intentions and positive Christmas elements. So, MOVIEGUIDE® deems A BAD MOMS CHRISTMAS unacceptable for media-wise moviegoers and their families."  - Proselytizes movieguide.org “Frank hallucinates that a waiter catches on fire from a baked alaska.”  - Warns Roflpuff098 - doesthedogdie.com Get inspired by our  Top Ten time travel movie lists Check out @time_pop_pod on Instagram, Twitter, & TikTok Please Like, Subscribe, and tell a friend about Time Pop. Send questions and comments and movie recommendations to timepoppod@gmail.com Find more great podcasts at What Sounds Awesome from We Mixed It  Comedy Spirituality - All the Answers Fitness Nutrition    -   Truth Not Trends The Wheel of Time  - Thank the Light Awesome Women  -   Be Brave Fitness Nutrition    -    That Fitness Couple

RMR 0242: Special Guest, Mark from the Mastering McConaughey Podcast, joins your hosts Dustin Melbardis and Russell Guest for the Retro Movie Roundtable as they revisit Scrooged (1988) [PG-13] Genre: Comedy, Drama, Romance, Holiday Starring:  Bill Murray, Karen Allen, John Forsythe, John Glover, Bobcat Goldthwait, David Johansen, Carol Kane, Robert Mitchum, Nicholas Phillips, Michael J. Pollard, Alfre Woodard, Mabel King, John Murray, Jamie Farr, Robert Goulet, Buddy Hackett, John Houseman, Lee Majors, Pat McCormick, Brian Doyle-Murray, Mary Lou Retton   Director: Richard Donner Recorded on 2023-11-16

We're joined again by our music sponsor DASEIN aka Brandon Say to head back to film school in a discussion of the great Bonnie and Clyde (1967) after a spoiler-free mini review of The Equalizer 3 (2023). This drinking podcast was recorded as the second episode of a back-to-back, so we were feeling loose and having some fun! While much has been written about Bonnie and Clyde, the direction, the writing, the incredible performances, and so much more, we talked about what it felt like seeing this iconic movie for the 20th time or the 1st time.   Find all of our Socials at: https://linktr.ee/theloveofcinema.  
Our phone number is 646-484-9298, it accepts texts or voice messages.  0:00 Intro/The Equalizer 3 mini review; 13:30 1967 in film + Bonnie and Clyde Movie Discussion; 1:15:03 What You Been Watching? Additional Cast/Crew: Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman, Estelle Parsons, Gene Wilder, Arthur Penn, Charles Strouse, Robert Towne, Robert Benton, David Newman, Warner Bros Pictures, Burnett Guffey, Dede Allen, . Additional Tags: Kennedy, Grassy Knoll, The Depression, Netflix, Amazon Prime, Spotify, Better Help, Apple+, Apple TV, Netflix, Amazon Prime, TikTok, Twitch.

Director:  Arthur Penn Producer:  Warren Beatty Screenplay:  David Newman, Robert Benton, Robert Towne Photography:  Burnett Guffey Music:  Charles Strouse Cast:  Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman, Estelle Parsons Rotten Tomatoes:  Critics: 90%/Audience: 88%

Troy kicks off his unhappy Rogerless month on a happy note by being joined by fellow filmmaker and podcaster Chris Moore, who graciously step into co-hosting duties.  The two hop in a garbage truck and trek to the teenage wasteland known as Camp New Horizons to discuss Angela Baker's murderous shenanigans in the whacky third franchise entry Sleepaway Camp 3: Teenage Wasteland.  Join the guys as they ponder the apparent sex appeal of one Michael J. Pollard and chat characters steeped in stereotypes, a noticeable less energetic and engaging Angela, and a potentially epic showdown that goes kaput.  So fry up some freshly caught fish (steak if you're allergic, blare your boombox and gather ‘round the campfire.  And if you enjoy the episode remember….sharing is caring! Find out more at http://www.darknightofthepodcast.com

This week's episode takes a look back at the career of trailblazing independent filmmaker Robert Downey, father of Robert Downey, Jr., and his single foray into the world of Hollywood filmmaking, Mad Magazine Presents Up the Academy. ----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 follow up on a movie based on a series of articles from a humor magazine that was trying to build their brand name by slapping their name on movies with a movie that was sponsored by a humor magazine trying to build their brand name by slapping their name on movies not unlike the other humor magazine had been doing but ended up removing their name from the movie, and boy is brain already fried and we're not even a minute into the episode.   We're talking about Robert Downey's 1980 comedy Up the Academy.   But, as always, before we get to Up the Academy, let's hit the backstory.   If you know the name Robert Downey, it's likely because you know his son. Robert Downey, Jr. You know, Iron Man. Yes, Robert Downey, Jr. is a repo baby. Maybe you've seen the documentary he made about his dad, Sr., that was released by Netflix last year. But it's more than likely you've never heard of Robert Downey, Sr., who, ironically, was a junior himself like his son.   Robert Downey was born Robert John Elias, Jr. in New York City in 1936, the son of a model and a manager of hotels and restaurants. His parents would divorce when he was young, and his mom would remarry while Robert was still in school.   Robert Elias, Jr. would take the last name of his stepfather when he enlisted in the Army, in part because was wanted to get away from home but he was technically too young to actually join the Army. He would invent a whole new persona for himself, and he would, by his own estimate, spend the vast majority of his military career in the stockade, where he wrote his first novel, which still has never been published.   After leaving the Army, Downey would spend some time playing semi-pro baseball, not quite good enough to go pro, spending his time away from the game writing plays he hoped to take, if not to Broadway, at least off-Broadway. But he would not make his mark in the arts until 1961, when Downey started to write and direct low-budget counterculture short films, starting with Ball's Bluff, about a Civil War soldier who wakes up in New York City's Central Park a century later.   In 1969, he would write and direct a satirical film about the only black executive at a Madison Avenue advertising firm who is, through a strange circumstance, becomes the head of the firm when its chairman unexpectedly passes away. Featuring a cameo by Mel Brooks Putney Swope was the perfect anti-establishment film for the end of that decade, and the $120k film would gross more than $2.75m during its successful year and a half run in theatres.   1970's Pound, based on one of Downey's early plays, would be his first movie to be distributed by a major distributor, although it was independently produced outside the Hollywood system. Several dogs, played by humans, are at a pound, waiting to be euthanized. Oh, did I forget to mention it was a comedy? The film would be somewhat of a success at the time, but today, it's best known as being the acting debut of the director's five year old son, Robert Downey, Jr., although the young boy would be credited as Bob Downey.   1972's Greaser Palace was part of an early 1970s trend of trippy “acid Westerns,” like Alejandro Jodorowsky's El Topo and Dennis Hopper's The Last Movie. Character actor Allan Arbus plays Jesse, a man with amnesia who heals the sick, resurrects the dead and tap dances on water on the American frontier. It would be the first movie Downey would make with a million dollar budget. The critical consensus of the film at the time was not positive, although Jay Cocks, a critic for Time Magazine who would go on to be a regular screenwriter for Martin Scorsese in the 1980s, would proclaim the film to be “the most adventurous movie of the year.” The film was not a hit, and it would be decades before it would be discovered and appreciated by the next generation of cineastes.   After another disappointing film, 1975's Moment to Moment, which would later be retitled Two Tons of Turquoise to Taos Tonight in order to not be confused with the 1978 movie of the same name starring John Travolta and Lily Tomlin that really, truly stunk, Downey would take some time off from filmmaking to deal with his divorce from his first wife and to spend more time with his son Robert and daughter Allyson.   By 1978, Robert Downey was ready to get back to work. He would get a job quickly helping Chuck Barris write a movie version of Barris' cult television show, The Gong Show, but that wasn't going to pay the bills with two teenagers at home. What would, though, is the one thing he hadn't done yet in movies…   Direct a Hollywood film.   Enter Mad Magazine.   In 1978, Mad Magazine was one of the biggest humor magazines in America. I had personally discovered Mad in late 1977, when my dad, stepmom and I were on a cross country trip, staying with friends outside Detroit, the day before my tenth birthday, when I saw an issue of Mad at a local grocery store, with something Star Wars-y on its cover. I begged my dad to give me the sixty cents to buy it, and I don't think I missed another issue for the next decade.   Mad's biggest competition in the humor magazine game was National Lampoon, which appealed to a more adult funny bone than Mad. In 1978, National Lampoon saw a huge boost in sales when the John Landis-directed comedy Animal House, which had the name of the magazine in the title, became an unexpected smash hit at the box office. Warner Brothers, the media conglomerate who happened to own Mad Magazine, was eager to do something similar, and worked with Mad's publisher, Bill Gaines, to find the right script that could be molded into a Mad Magazine movie, even if, like Animal House, it wouldn't have any real connection to the magazine itself.   They would find that script in The Brave Young Men of Weinberg, a comedy script by Tom Patchett and Jay Tarses, a pair of television comedy writers on shows like The Carol Burnett Show, The Sandy Duncan Show, The Bob Newhart Show and The Tony Randall Show, who had never sold a movie script before. The story would follow the misadventures of four teenage boys who, for different reasons, depend on each other for their very survival when they end up at the same military academy.   Now, of all the research I've done for this episode, the one very important aspect of the production I was never able to find out was exactly how Robert Downey became involved in the film. Again, he had never made a Hollywood movie before. He had only made one movie with a budget of a million dollars. His movies were satirical and critical of society in general. This was not a match made in heaven. But somehow, someone at Warner Brothers thought he'd be the right director for the film, and somehow, Downey didn't disagree.   Unlike Animal House, Downey and Warners didn't try to land a known commodity like John Belushi to play one of the four leads. In fact, all four of the leads, Wendell Brown, Tommy Citera, Joseph Hutchinson, and Ralph Macchio, would all be making their feature debuts.    But there would be some familiar faces in the film.   Ron Liebman, who was a familiar face from such films has Slaughterhouse-Five, Won Ton Ton: The Dog Who Saved Hollywood and Norma Rae, would play the head of the Academy. Tom Poston, who played Mindy's downstairs neighbor on Mork and Mindy, plays what would now be considered to be a rather offensive gay caricature as the guy who handles the uniforms of the cadets, Antonio Fargas, best known as Huggy Bear on Starsky and Hutch but who had previously worked with Downey on Putney Swope and Pound, as the Coach, and Barbara Bach, who had starred as Anya Amasova in the 1977 Bond film The Spy Who Loved Me.   The $5m film would begin production in Salina, Kansas, on September 17th, 1979, still using the title The Brave Young Men of Weinberg. The primary shooting location would be the St. John's Military School, which was still functioning while the film was in production, and would use most of the 144 students as extras during the shoot. The film would shoot for nine weeks without much incident, and the cast and crew would be home in time to enjoy Thanksgiving with their friends and family.   Unlike Animal House, the makers of The Brave Young Men of Weinberg did attempt to tie the movie into the magazine that would be presenting the film. At the very end of the movie, the magazine's mascot, Alfred E. Neuman, shows up on the side of the road, to wave goodbye to people and deliver his signature line, “What, Me Worry?” in a thought bubble that leads into the end credits. The person wearing the not quite realistic looking Neuman head gear, fourteen year old Scott Shapiro, was the son of the executive vice president of worldwide production at Warner Brothers.   After the first of the year, as Downey worked on his edit of the film, the studio decided to change the title from The Brave Young Men of Weinberg to Mad Magazine Presents Up the Academy. Bill Gaines, the publisher of Mad Magazine, suggested a slightly different title, Mad Magazine Completely Disassociates Itself from Up the Academy, but the studio decided that was too long for theater marquees. But we'll come back to that in a moment.   Warner Brothers set a June 6, 1980 release for the film, and Downey would finish his cut of the film by the end of March. A screening on the Warners lot in early April did not go well. Ron Liebman hated the film so much, he demanded that Warners completely remove his name from everything associated with the film. His name would not appear on the poster, the newspaper ads, the television commercials, the lobby cards, the press kit, or even in the movie itself. Bill Gaines would hate it to, such much in fact that he really did try to disassociate the magazine from the film. In a 1983 interview with The Comics Journal, Gaines would explain without much detail that there were a number of things he had objected to in the script that he was told would not be shot and not end up in the final film that were shot and did end up in the final film. But he wouldn't be able to get the magazine's name off the movie before it opened in theatres.   Now, one of the problems with trying to research how well films did in 1980 is that you really have only two sources for grosses, Variety and The Hollywood Reporter, and they didn't always report national grosses every week, depending on outside factors. It just hadn't the national sport it's been since, say, 1983.   So when Up the Academy opened in theatres on June 6th, we don't have a full idea of how many theatres it played in nationwide, or how much it grossed. The closest thing we do have for this Variety's listing of the top movies of the week based on a limited selection of showcase theatres in the top 20 markets. So we know that the film played at 7 showcase screens in New York City that weekend, grossing $175k, and in Los Angeles on 15 showcase screens, grossing $149k. But we also know, thanks to newspaper ads in the New York Times and the Los Angeles Times that the film was playing in 11 theatres in the New York Metro area, and in 30 theatres in the Los Angeles Metro area, so those listed grosses are merely a snapshot and not the whole picture.   According to Variety's limited tracking of major market showcase theatres for the week, Up the Academy was the second highest grossing film of the week, bringing in $729k from 82 theatres. And according to their chart's side notes, this usually accounts for about 25% of a movie's national gross, if a film is playing in wide release around the entire country.   In its second week, Up the Academy would place ninth on that showcase theatre listing, with $377k from 87 theatres.    But by the time Variety did bring back proper national grosses in the film's third week of release, there would be no mention of Up the Academy in those listings, as Warners by this time had bigger fish to handle, namely Stanley Kubrick's adaptation of the Stephen King novel The Shining, and Bronco Billy, their Clint Eastwood movie for the year. In that showcase theatre listing, though, Up the Academy had fallen to 16th place, with $103k from 34 theatres.   In fact, there is no publicly available record of how many theatres Up the Academy played in during its theatrical run, and it wouldn't be until the 1981 Warner Brothers 10-K annual filing with the Securities and Exchange Commission that Up the Academy had earned $10m from American movie theatres. If studios get about 55% of the box office grosses in rental fees, that would put the $5m film in a very good position to be profitable, depending on how much was spent on P&A, prints and advertising. The film wasn't an Animal House-level hit, but it wasn't exactly the bomb many have painted it to be.    After Up the Academy, two of the actors, Wendell Brown and Joseph Hutchinson, would never act in another movie, although, billed as Hutch Parker, the latter would produce six X-Men related movies between 2013 and 2019, including Logan. Tommy Citera would make two more movies until he left acting in 1988. And Ralph Macchio would, of course, go on to play Daniel LaRusso, the Karate Kid, in a career-defining role that he's still playing nearly forty years later.   Robert Downey would make another wacky comedy, called Moonbeam, in 1982. Co-written with Richard Belzer, Moonbeam would feature a fairly interesting cast including Zack Norman, Tammy Grimes, Michael J. Pollard, Liz Torres and Mr. Belzer, and tells the story of a New York cable television station that becomes world famous when they accidentally bounce their signal off the moon. But the film would not get released until October 1986, in one theatre in New York City for one week. It couldn't even benefit from being able to promote Robert Downey, Jr., who in the ensuing years had started to build an acting career by being featured in John Sayles' Baby It's You, Fritz Kiersch's Tuff Turf, John Hughes' Weird Science, and the Rodney Dangerfield movie Back to School, as well as being a member of the cast of Saturday Night Live for a year.   There's be sporadic work in television, working on shows like Matlock and The Twilight Zone, but what few movies he could get made would be pale shadows of her earlier, edgier work. Even with his son regularly taking supporting roles in his dad's movies to help the old man out, movies like Rented Lips and Too Much Sun would be critically panned and ignored by audiences. His final movie as a writer and director, Hugo Pool, would gross just $13k when it was released in December 1997, despite having a cast that included Patrick Dempsey, Richard Lewis, Malcolm McDowell, Alyssa Milano, Cathy Moriarty and Sean Penn, along with Junior.   Downey would also continue to act in other director's movies, including two written and directed by one of his biggest fans, Paul Thomas Anderson. Downey would play Burt, the studio manager, in Boogie Nights, and the WDKK Show director in Magnolia. Anderson adored Downey so much, the Oscar-nominated filmmaker would sit down with Downey for a four-part conversation filmed for the Criterion Company in 2013.   Robert Downey would pass away in July 2021, a curious footnote in the history of cinema, mostly because of the superstar he sired. Most of his movies are hard to find on video, and nearly impossible to find on streaming services, outside of a wonderful two disc DVD set issued by Criterion's Eclipse specialty label and several titles streaming on The Criterion Channel. Outside of Up the Academy, which is available to rent or purchase from Amazon, Apple TV and several other streaming services, you can find Putney Swope, Greaser's Palace and Too Much Sun on several of the more popular streaming services, but the majority of them are completely missing in action. You can also learn more about Robert Downey in Sr., a documentary streaming on Netflix produced by Robert Downey, Jr. where the son recounts the life and career of his recently passed father, alongside Paul Thomas Anderson, Alan Arkin, and mega-producer Norman Lear.   Thank you for joining us. We'll talk again soon, when Episode 107, on John Landis's underrated 1985 comedy Into the Night, 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.

This week's episode takes a look back at the career of trailblazing independent filmmaker Robert Downey, father of Robert Downey, Jr., and his single foray into the world of Hollywood filmmaking, Mad Magazine Presents Up the Academy. ----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 follow up on a movie based on a series of articles from a humor magazine that was trying to build their brand name by slapping their name on movies with a movie that was sponsored by a humor magazine trying to build their brand name by slapping their name on movies not unlike the other humor magazine had been doing but ended up removing their name from the movie, and boy is brain already fried and we're not even a minute into the episode.   We're talking about Robert Downey's 1980 comedy Up the Academy.   But, as always, before we get to Up the Academy, let's hit the backstory.   If you know the name Robert Downey, it's likely because you know his son. Robert Downey, Jr. You know, Iron Man. Yes, Robert Downey, Jr. is a repo baby. Maybe you've seen the documentary he made about his dad, Sr., that was released by Netflix last year. But it's more than likely you've never heard of Robert Downey, Sr., who, ironically, was a junior himself like his son.   Robert Downey was born Robert John Elias, Jr. in New York City in 1936, the son of a model and a manager of hotels and restaurants. His parents would divorce when he was young, and his mom would remarry while Robert was still in school.   Robert Elias, Jr. would take the last name of his stepfather when he enlisted in the Army, in part because was wanted to get away from home but he was technically too young to actually join the Army. He would invent a whole new persona for himself, and he would, by his own estimate, spend the vast majority of his military career in the stockade, where he wrote his first novel, which still has never been published.   After leaving the Army, Downey would spend some time playing semi-pro baseball, not quite good enough to go pro, spending his time away from the game writing plays he hoped to take, if not to Broadway, at least off-Broadway. But he would not make his mark in the arts until 1961, when Downey started to write and direct low-budget counterculture short films, starting with Ball's Bluff, about a Civil War soldier who wakes up in New York City's Central Park a century later.   In 1969, he would write and direct a satirical film about the only black executive at a Madison Avenue advertising firm who is, through a strange circumstance, becomes the head of the firm when its chairman unexpectedly passes away. Featuring a cameo by Mel Brooks Putney Swope was the perfect anti-establishment film for the end of that decade, and the $120k film would gross more than $2.75m during its successful year and a half run in theatres.   1970's Pound, based on one of Downey's early plays, would be his first movie to be distributed by a major distributor, although it was independently produced outside the Hollywood system. Several dogs, played by humans, are at a pound, waiting to be euthanized. Oh, did I forget to mention it was a comedy? The film would be somewhat of a success at the time, but today, it's best known as being the acting debut of the director's five year old son, Robert Downey, Jr., although the young boy would be credited as Bob Downey.   1972's Greaser Palace was part of an early 1970s trend of trippy “acid Westerns,” like Alejandro Jodorowsky's El Topo and Dennis Hopper's The Last Movie. Character actor Allan Arbus plays Jesse, a man with amnesia who heals the sick, resurrects the dead and tap dances on water on the American frontier. It would be the first movie Downey would make with a million dollar budget. The critical consensus of the film at the time was not positive, although Jay Cocks, a critic for Time Magazine who would go on to be a regular screenwriter for Martin Scorsese in the 1980s, would proclaim the film to be “the most adventurous movie of the year.” The film was not a hit, and it would be decades before it would be discovered and appreciated by the next generation of cineastes.   After another disappointing film, 1975's Moment to Moment, which would later be retitled Two Tons of Turquoise to Taos Tonight in order to not be confused with the 1978 movie of the same name starring John Travolta and Lily Tomlin that really, truly stunk, Downey would take some time off from filmmaking to deal with his divorce from his first wife and to spend more time with his son Robert and daughter Allyson.   By 1978, Robert Downey was ready to get back to work. He would get a job quickly helping Chuck Barris write a movie version of Barris' cult television show, The Gong Show, but that wasn't going to pay the bills with two teenagers at home. What would, though, is the one thing he hadn't done yet in movies…   Direct a Hollywood film.   Enter Mad Magazine.   In 1978, Mad Magazine was one of the biggest humor magazines in America. I had personally discovered Mad in late 1977, when my dad, stepmom and I were on a cross country trip, staying with friends outside Detroit, the day before my tenth birthday, when I saw an issue of Mad at a local grocery store, with something Star Wars-y on its cover. I begged my dad to give me the sixty cents to buy it, and I don't think I missed another issue for the next decade.   Mad's biggest competition in the humor magazine game was National Lampoon, which appealed to a more adult funny bone than Mad. In 1978, National Lampoon saw a huge boost in sales when the John Landis-directed comedy Animal House, which had the name of the magazine in the title, became an unexpected smash hit at the box office. Warner Brothers, the media conglomerate who happened to own Mad Magazine, was eager to do something similar, and worked with Mad's publisher, Bill Gaines, to find the right script that could be molded into a Mad Magazine movie, even if, like Animal House, it wouldn't have any real connection to the magazine itself.   They would find that script in The Brave Young Men of Weinberg, a comedy script by Tom Patchett and Jay Tarses, a pair of television comedy writers on shows like The Carol Burnett Show, The Sandy Duncan Show, The Bob Newhart Show and The Tony Randall Show, who had never sold a movie script before. The story would follow the misadventures of four teenage boys who, for different reasons, depend on each other for their very survival when they end up at the same military academy.   Now, of all the research I've done for this episode, the one very important aspect of the production I was never able to find out was exactly how Robert Downey became involved in the film. Again, he had never made a Hollywood movie before. He had only made one movie with a budget of a million dollars. His movies were satirical and critical of society in general. This was not a match made in heaven. But somehow, someone at Warner Brothers thought he'd be the right director for the film, and somehow, Downey didn't disagree.   Unlike Animal House, Downey and Warners didn't try to land a known commodity like John Belushi to play one of the four leads. In fact, all four of the leads, Wendell Brown, Tommy Citera, Joseph Hutchinson, and Ralph Macchio, would all be making their feature debuts.    But there would be some familiar faces in the film.   Ron Liebman, who was a familiar face from such films has Slaughterhouse-Five, Won Ton Ton: The Dog Who Saved Hollywood and Norma Rae, would play the head of the Academy. Tom Poston, who played Mindy's downstairs neighbor on Mork and Mindy, plays what would now be considered to be a rather offensive gay caricature as the guy who handles the uniforms of the cadets, Antonio Fargas, best known as Huggy Bear on Starsky and Hutch but who had previously worked with Downey on Putney Swope and Pound, as the Coach, and Barbara Bach, who had starred as Anya Amasova in the 1977 Bond film The Spy Who Loved Me.   The $5m film would begin production in Salina, Kansas, on September 17th, 1979, still using the title The Brave Young Men of Weinberg. The primary shooting location would be the St. John's Military School, which was still functioning while the film was in production, and would use most of the 144 students as extras during the shoot. The film would shoot for nine weeks without much incident, and the cast and crew would be home in time to enjoy Thanksgiving with their friends and family.   Unlike Animal House, the makers of The Brave Young Men of Weinberg did attempt to tie the movie into the magazine that would be presenting the film. At the very end of the movie, the magazine's mascot, Alfred E. Neuman, shows up on the side of the road, to wave goodbye to people and deliver his signature line, “What, Me Worry?” in a thought bubble that leads into the end credits. The person wearing the not quite realistic looking Neuman head gear, fourteen year old Scott Shapiro, was the son of the executive vice president of worldwide production at Warner Brothers.   After the first of the year, as Downey worked on his edit of the film, the studio decided to change the title from The Brave Young Men of Weinberg to Mad Magazine Presents Up the Academy. Bill Gaines, the publisher of Mad Magazine, suggested a slightly different title, Mad Magazine Completely Disassociates Itself from Up the Academy, but the studio decided that was too long for theater marquees. But we'll come back to that in a moment.   Warner Brothers set a June 6, 1980 release for the film, and Downey would finish his cut of the film by the end of March. A screening on the Warners lot in early April did not go well. Ron Liebman hated the film so much, he demanded that Warners completely remove his name from everything associated with the film. His name would not appear on the poster, the newspaper ads, the television commercials, the lobby cards, the press kit, or even in the movie itself. Bill Gaines would hate it to, such much in fact that he really did try to disassociate the magazine from the film. In a 1983 interview with The Comics Journal, Gaines would explain without much detail that there were a number of things he had objected to in the script that he was told would not be shot and not end up in the final film that were shot and did end up in the final film. But he wouldn't be able to get the magazine's name off the movie before it opened in theatres.   Now, one of the problems with trying to research how well films did in 1980 is that you really have only two sources for grosses, Variety and The Hollywood Reporter, and they didn't always report national grosses every week, depending on outside factors. It just hadn't the national sport it's been since, say, 1983.   So when Up the Academy opened in theatres on June 6th, we don't have a full idea of how many theatres it played in nationwide, or how much it grossed. The closest thing we do have for this Variety's listing of the top movies of the week based on a limited selection of showcase theatres in the top 20 markets. So we know that the film played at 7 showcase screens in New York City that weekend, grossing $175k, and in Los Angeles on 15 showcase screens, grossing $149k. But we also know, thanks to newspaper ads in the New York Times and the Los Angeles Times that the film was playing in 11 theatres in the New York Metro area, and in 30 theatres in the Los Angeles Metro area, so those listed grosses are merely a snapshot and not the whole picture.   According to Variety's limited tracking of major market showcase theatres for the week, Up the Academy was the second highest grossing film of the week, bringing in $729k from 82 theatres. And according to their chart's side notes, this usually accounts for about 25% of a movie's national gross, if a film is playing in wide release around the entire country.   In its second week, Up the Academy would place ninth on that showcase theatre listing, with $377k from 87 theatres.    But by the time Variety did bring back proper national grosses in the film's third week of release, there would be no mention of Up the Academy in those listings, as Warners by this time had bigger fish to handle, namely Stanley Kubrick's adaptation of the Stephen King novel The Shining, and Bronco Billy, their Clint Eastwood movie for the year. In that showcase theatre listing, though, Up the Academy had fallen to 16th place, with $103k from 34 theatres.   In fact, there is no publicly available record of how many theatres Up the Academy played in during its theatrical run, and it wouldn't be until the 1981 Warner Brothers 10-K annual filing with the Securities and Exchange Commission that Up the Academy had earned $10m from American movie theatres. If studios get about 55% of the box office grosses in rental fees, that would put the $5m film in a very good position to be profitable, depending on how much was spent on P&A, prints and advertising. The film wasn't an Animal House-level hit, but it wasn't exactly the bomb many have painted it to be.    After Up the Academy, two of the actors, Wendell Brown and Joseph Hutchinson, would never act in another movie, although, billed as Hutch Parker, the latter would produce six X-Men related movies between 2013 and 2019, including Logan. Tommy Citera would make two more movies until he left acting in 1988. And Ralph Macchio would, of course, go on to play Daniel LaRusso, the Karate Kid, in a career-defining role that he's still playing nearly forty years later.   Robert Downey would make another wacky comedy, called Moonbeam, in 1982. Co-written with Richard Belzer, Moonbeam would feature a fairly interesting cast including Zack Norman, Tammy Grimes, Michael J. Pollard, Liz Torres and Mr. Belzer, and tells the story of a New York cable television station that becomes world famous when they accidentally bounce their signal off the moon. But the film would not get released until October 1986, in one theatre in New York City for one week. It couldn't even benefit from being able to promote Robert Downey, Jr., who in the ensuing years had started to build an acting career by being featured in John Sayles' Baby It's You, Fritz Kiersch's Tuff Turf, John Hughes' Weird Science, and the Rodney Dangerfield movie Back to School, as well as being a member of the cast of Saturday Night Live for a year.   There's be sporadic work in television, working on shows like Matlock and The Twilight Zone, but what few movies he could get made would be pale shadows of her earlier, edgier work. Even with his son regularly taking supporting roles in his dad's movies to help the old man out, movies like Rented Lips and Too Much Sun would be critically panned and ignored by audiences. His final movie as a writer and director, Hugo Pool, would gross just $13k when it was released in December 1997, despite having a cast that included Patrick Dempsey, Richard Lewis, Malcolm McDowell, Alyssa Milano, Cathy Moriarty and Sean Penn, along with Junior.   Downey would also continue to act in other director's movies, including two written and directed by one of his biggest fans, Paul Thomas Anderson. Downey would play Burt, the studio manager, in Boogie Nights, and the WDKK Show director in Magnolia. Anderson adored Downey so much, the Oscar-nominated filmmaker would sit down with Downey for a four-part conversation filmed for the Criterion Company in 2013.   Robert Downey would pass away in July 2021, a curious footnote in the history of cinema, mostly because of the superstar he sired. Most of his movies are hard to find on video, and nearly impossible to find on streaming services, outside of a wonderful two disc DVD set issued by Criterion's Eclipse specialty label and several titles streaming on The Criterion Channel. Outside of Up the Academy, which is available to rent or purchase from Amazon, Apple TV and several other streaming services, you can find Putney Swope, Greaser's Palace and Too Much Sun on several of the more popular streaming services, but the majority of them are completely missing in action. You can also learn more about Robert Downey in Sr., a documentary streaming on Netflix produced by Robert Downey, Jr. where the son recounts the life and career of his recently passed father, alongside Paul Thomas Anderson, Alan Arkin, and mega-producer Norman Lear.   Thank you for joining us. We'll talk again soon, when Episode 107, on John Landis's underrated 1985 comedy Into the Night, 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.

Looks like Michael J. Pollard has captured the Titans! Wait, I think that's supposed to be Jericho. We read New Titans #78. Topics include: looking on the bright side, the occasionally fine line between retconning and gaslighting, and the pervasive dampness of the 90's. Enjoy Enjoy!If you enjoy the show and would like access to bonus materials, please consider donating at patreon.com/ttwasteland You can get into touch with us at ttwasteland@gmail.com or Titan Up the Defense PO Box 20311 Portland, OR 97294

Lee Russell is back on the beef to bring you our long awaited and half-assed attempt to follow-up our tribute to fine character actor Michael J. Pollard. ★ Support this podcast on Patreon ★

Lee Russell is back on the beef to bring you our long awaited and half-assed attempt to follow-up our tribute to fine character actor Michael J. Pollard. The post Cinema Beef Podcast : Dirty Mikey and the Girls (The Legend Of Frenchie King/Dirty Little Billy) first appeared on Legion.

After riding the high of Stone Cold (Episode #135), the gang at Not A Bomb is returning to Braxleyland to discuss one of the greatest sci-fi action films of all time - I Come in Peace. What if you threw Predator, Terminator, Phantasm, and Lethal Weapon into a blender? You would get an I Come in Peace smoothie, and it would be your favorite smoothie of all time! Returning to the podcast is Mike Mort, director of Chuck Steele: Night of the Trampires (one of our favorite movie discoveries of 2022). Mike shares his love of the 80's action genre and all of the intimate similarities between Chuck Steele and international superstar Dolph Lundgren.Timestamps: Intro -(1:12), 5 Burning Questions for Mike Mort - (5:09), Box Office Results, Critical Response, and Movie Guide - (17:00), Behind the Camera - (22:54), In Front of the Camera - (32:34), Production and Development - (46:10), Commercial Break - (53:11), I Come in Peace Discussion - (54:40), Is it a Bomb? - (96:42), Mike Mort Information - (97:51), Next Week's film - (101:33), Outro - (108:02)I Come in Peace is directed by Craig R. Baxley and stars Dolph Lundgren, Brian Benben, Betsy Brantley, Matthias Hues, Jay Bilas, Michael J. Pollard, and David Ackroyd.Head on over to Chucksteelthemovie.co.uk and watch one of the best stop-motion animated films of all time. Can't get enough of Chuck Steel? Go to animortalstudio.com for some amazing Chuck Steel parody posters and artwork!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, Mike Mort

Bill Murray is back among the ghosts. Only this time, it's three against one. In this podcast we review the holiday classic Scrooged starring Bill Murray, Karen Allen, John Forsythe, Bobcat Goldthwait, Carol Kane, Robert Mitchum, Michael J. Pollard, Alfre Woodard and directed by Richard Donner. WARNING: There will be SPOILERS!

We talk about the possible thematic reasons of why Miri would be set in a parallel Earth circa 1960s, considering it plays almost no role in the episode. Aspen talks about how Jord looks like Dan Aykroyd. Kenny talks about the wonders of Michael J. Pollard.And we both talk about the GENERATIONAL TRAUMA that runs in both Miri and Escape Into Terror. ————Support us on Patreon at https://www.patreon.com/trekwarspod Social Media:https://www.twitter.com/trekwarspodhttps://www.instagram.com/trekwarspodWant to ask us questions? Email us at trekwarspod@gmail.com .And leave us a review! https://bit.ly/leave-a-review-trek-wars—————Watch:Miri | Star Trek: The Original Series on Paramount+https://bit.ly/tw-miriEscape Into Teror | Droids on Disney+https://bit.ly/tw-droids-escape-into-terror

The Crypt Dads are joined by director/actor/writer Ed Bowser & actress/writer/producer Olivia Taylor Dudley to review Season 5 Episode 10 of Tales from the Crypt: Came The Dawn! Starring Brooke Shields, Perry King, Michael J. Pollard, Valerie Wildman Directed by Uli Edel Twitter: @cryptdads Instagram: @dadsfromthecrypt Patreon: https://www.patreon.com/DadsFromTheCrypt Our theme was created by @HY-FY

Motel Hell (1980)   An American comedy horror film directed by Kevin Connor[2] and starring Rory Calhoun, Nancy Parsons, and Nina Axelrod. The plot follows farmer, butcher, motel manager, and meat entrepreneur Vincent Smith, who traps travellers and harvests them for his human sausages. Because of its low budget, the original intent was to make a serious horror film, with moments of disturbing wit and irony. It is often seen as a satire of modern horror films such as Psycho and The Texas Chain Saw Massacre. ​ American Gothic (1988)   This American slasher film is directed by John Hough and starring Rod Steiger, Yvonne DeCarlo and Michael J Pollard.  You either love this or you hate it.  Critics were mixed with one critic stating…. the film "comes through with an impressive array of truly sicko surprises...  Rod Steiger and Yvonne DeCarlo are consistently entertaining in what may be the most humiliating roles of their already checkered careers.   Opening Credits/Introduction (1.51); Oh My GOD!!! (48.51); Motel Hell Trailer (49.50); That Is Like So Tubular (52.33); It Is Totally Rad (1:34.28);  American Gothic Trailer (1:35.33); Bodacious Talk (1:38.05); Reflecting on the 80's (2:24.14); End Credits (2:36.54); Closing Theme (2:38.54)   Opening Credits– Planet Synth by Dan Hughes   Closing Credits – Thank God I'm A Country Boy by John Denver.  Taken from the album Back Home Again.  Copyright 1974 RCA Victor   Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All songs rights reserved.  All Songs used by Kind Permission.   All songs available through Amazon.

We here at Cinema Degeneration have declared May 2022 "Rutger Hauer Appreciation Month!" Twice a week we'll be releasing a show diving into a different film from Mr. Hauer's catalog of 175 film and television roles all throughout the month of May. The late Rutger Hauer, who unfortunately passed away in 2019, was a consummate professional thespian, writer, director, and devoted environmentalist, amongst many many other things. He graced the silver screen in many amazing shockers and brilliant films, normally playing heavies and villains and was known for his intense yet subtle performances. His amazing talent truly knew no bounds. For our 5th episode we bring you a review and deep dive discussion on the absolute bonkers insane science fiction/horror/buddy cop flick extravaganza with the 1992 "SPLIT SECOND" which also stars Kim Cattrall, Neil Duncan and Michael J. Pollard.  This film is set in the flooded city of London in a futuristic and dystopian future of 2008, where our anti-hero and cop Harley Stone (Hauer) chases what could be an inhuman serial killer across the city. Join our hosts Cameron Scott (Cinema Degeneration CEO) and two very familiar co-hosts no stranger to Cinema Degeneration including Eric Phillips and Korey Dawson as the three of them talk about one of their favorite Rutger Hauer films.   "Are you telling me there's something running around loose in the city, ripping out people's hearts and eating them so he can take their souls back to hell?"

On this episode of Tales from the podcast my buddy Martel joins me as we discuss the episode came the dawn starring Brooke Shields, Michael J. Pollard and Perry King!Check out House of Mysterious Secrets @ HouseofMysteriousSecrets.com and use our discount code 4130 to save 10% on some awesome horror merch now!!!https://instagram.com/tales_from_the_podcasthttps://twitter.com/TalesFromThePodhttps://facebook.com/groups/talesftalesfromthepodcast.comromthepodcastAnd can contact me through my and email us here at talesfromthepodcast13@gmail.com

A Phoenician cemetery in Spain has us talking about, well, the Phoenicians. Who were they, where did they come from, and why do we even call them Phoenicians in the first place? Isn't that sort of ‘othering'? And where does famed character actor Michael J. Pollard fit in?

Rutger Hauer is a cop. Rutger Hauer's partner was killed. Rutger Hauer is upset. He's burnt out, and he can't let it go. And it won't stop raining. And people are getting their hearts ripped out of their chests. By something with very big teeth. Also starring Pete Postlethwaite, Kim Cattrall, Alun Armstrong, and Michael J. Pollard.

For the sixth episode of our special retrospective season, we're looking back to our season on the awesome movie year of 1967 to feature another of Jason's personal picks, Arthur Penn's Bonnie and Clyde. Directed by Arthur Penn from a screenplay by David Newman and Robert Benton and starring Warren Beatty, Faye Dunaway, Gene Hackman, Michael J. Pollard and Estelle Parsons, Bonnie and Clyde was nominated for 10 Oscars and won two. The post Bonnie and Clyde (Bonus 1967 Jason's Pick) appeared first on Awesome Movie Year.

Stick 'em up! Because this episode covers 1976's "Bonnie & Clyde." Susan has Greg watch director William Penn's take on the story of Bonnie and Clyde and the Barrow Gang. The film stars Faye Dunaway and Warren Beatty in the titular roles and features stellar performances from Gene Hackman, Estelle Parsons, Michael J. Pollard, Denver Pyle, and Gene Wilder. Your hosts discuss why Bonnie and Clyde was such a groundbreaking and influential film, explore the differences between the story of Beatty and Dunaway's characters versus the real-life criminal couple (SPOILERS ABOUND) and talk about how this film almost didn't get made. Greg and Susan always talk about Bonnie & Clyde's reception, awards, box office, and more.

Tom and Jenny discuss the divisive 80s Christmas film, a darkly comedic, loose adaptation of the Charles Dickens classic, A Christmas Carol. It was directed by Richard Donner and stars Bill Murray, Karen Allen, John Forsythe, Bobcat Goldthwait, Carol Kane, Robert Mitchum, Michael J. Pollard, and Alfre Woodard. Find this movie and more at the … Continue reading Movie Retrospective: Scrooged (1988)

This week we are getting festive with the spooks and talking Scrooged. Learn with us alternate casting, How Much Charles Dickens would be worth in 2021 money and what happened to Tab Clear! --- Scrooged is a 1988 American Christmas fantasy comedy directed by Richard Donner and written by Mitch Glazer and Michael O'Donoghue. Based on the 1843 novella A Christmas Carol by Charles Dickens, Scrooged is a modern retelling that follows Bill Murray as Frank Cross, a cynical and selfish television executive, who is visited by a succession of ghosts on Christmas Eve intent on helping him regain his Christmas spirit. The film also stars Karen Allen, John Forsythe, Bobcat Goldthwait, Carol Kane, Robert Mitchum, Michael J. Pollard, and Alfre Woodard. Scrooged was filmed on a $32 million budget over three months in New York City and Hollywood. Murray returned to acting for the film after taking a four-year hiatus following the success of Ghostbusters, which he found overwhelming. Murray worked with Glazer and O'Donoghue on reworking the script before agreeing to join the project. The production was tumultuous, as Murray and Donner had different visions for the film. Murray described his time on the film as "misery", while Donner called Murray "superbly creative but occasionally difficult". Along with Murray's three brothers, Brian, John, and Joel, Scrooged features numerous celebrity cameos. The film's marketing capitalized on Murray's Ghostbusters role, referencing his encounters with ghosts in both films. Scrooged was released on November 23, 1988, and grossed over $100 million worldwide. The film received a positive response from test audiences, but was met with a mixed response upon its release from critics who found the film too mean spirited or too sentimental. It was nominated for an Academy Award for Best Makeup, but lost to the fantasy-comedy film Beetlejuice. In the years since its release, Scrooged has become a regular television Christmastime feature, with some critics calling it an alternative to traditional Christmas films, and others arguing that Scrooged was ahead of its time, making it relevant in the modern day. It has appeared on various lists of the best Christmas films.

Chris Pick! Joey CJ and G money talk.. Scrooged  a 1988 American Christmas fantasy comedy directed by Richard Donner and written by Mitch Glazer and Michael O'Donoghue. Based on the 1843 novella A Christmas Carol by Charles Dickens, Scrooged is a modern retelling that follows Bill Murray as Frank Cross, a cynical and selfish television executive, who is visited by a succession of ghosts on Christmas Eve intent on helping him regain his Christmas spirit. The film also stars Karen Allen, John Forsythe, Bobcat Goldthwait, Carol Kane, Robert Mitchum, Michael J. Pollard, and Alfre Woodard. Scrooged was filmed on a $32 million budget over three months in New York City and Hollywood. Murray returned to acting for the film after taking a four-year hiatus following the success of Ghostbusters, which he found overwhelming. Murray worked with Glazer and O'Donoghue on reworking the script before agreeing to join the project. The production was tumultuous, as Murray and Donner had different visions for the film. Murray described his time on the film as "misery", while Donner called Murray "superbly creative but occasionally difficult". Along with Murray's three brothers, Brian, John, and Joel, Scrooged features numerous celebrity cameos. The film's marketing capitalized on Murray's Ghostbusters role, referencing his encounters with ghosts in both films. Scrooged was released on November 23, 1988, and grossed over $100 million worldwide. The film received a positive response from test audiences, but was met with a mixed response upon its release from critics who found the film too mean spirited or too sentimental. It was nominated for an Academy Award for Best Makeup, but lost to the fantasy-comedy film Beetlejuice. In the years since its release, Scrooged has become a regular television Christmastime feature, with some critics calling it an alternative to traditional Christmas films, and others arguing that Scrooged was ahead of its time, making it relevant in the modern day. It has appeared on various lists of the best Christmas films.

It's Christmas in December - and what better way to celebrate than by dissecting Scrooged, one of the most biting takes ever on the Dickens classic A Christmas Carol. Full of stunning visual effects and strong performance from Bill Murray, Scrooged updates this story of a self-centered miser for the age of mass media.Scrooged is a 1988 American Christmas fantasy comedy directed by Richard Donner and written by Mitch Glazer and Michael O'Donoghue. The film follows Bill Murray as Frank Cross, a cynical and selfish television executive, who is visited by a succession of ghosts on Christmas Eve intent on helping him regain his Christmas spirit. The film also stars Karen Allen, John Forsythe, Bobcat Goldthwait, Carol Kane, Robert Mitchum, Michael J. Pollard, and Alfre Woodard. (via Wikipedia.)***If you can, please support the show on Patreon! (https://www.patreon.com/join/progressivepop)You can find a list of books that informed this show at(https://bookshop.org/shop/progressivepopepop)

Rebecca's latest album, Give Up Your Ghosts, is available on her website, and on all major listening platforms. Her new video series, featuring singer-songwriters talking about what it's like to be working musicians, is available on her YouTube channel. You can join "Team Loebe" on Patreon for as little as $1/month.Here's a link to the official Troubadours on Trek Spotify Playlist, where you can hear all the featured songs from every episode in one playlist (songs will be added as episodes air on Patreon):-Rebecca's song pairing for this episode: “Girl You'll Be a Woman Soon,” by Urge Overkill.-Grace's song pairings for this episode: “Changes” by David Bowie-Rebecca's featured song is "Growing Up," from her new album, Give Up Your Ghosts.Corrections:Yes, Star Trek IV (the one with the whales) is “The Voyage Home.”Many accept "Plato's Stepchildren" (TOS 03:10) as the "first interracial kiss on television" (there's debate on this point but it was certainly the first televised kiss between dark skinned and light skinned actors on American television). But that's only if we're talking about American television. Great Britain was ahead of the United States in this department by almost a decade. Rebecca asks when the "first consensualinterracial kiss" (kiss between dark skinned and light skinned actors) aired on American TV, since the Uhura/Kirk kiss was technically coerced by way of alien mind control in this particular episode. That's a harder question to answer. With these qualifiers, I couldn't find documentation of the "second interracial kiss" or the "first consensual interracial kiss." (If anyone out there has more on this, I'd be very interested to know the answer). Wikipedia has a fascinating entry on televised interracial kisses, documenting earlier examples (than the Uhura/Kirk kiss) of kisses between Asian and white actors and Hispanic and white actors (all light skinned actors) and examples on British television of kisses between actors with dark and light skin: https://en.wikipedia.org/wiki/First_interracial_kiss_on_televisionTribe of Creepy Children: It's interesting to note that the actor who plays Jahn, Michael J. Pollard, was 27 at the time. He was pretty short, so he was able to play a teenager throughout his 20s. He played a lot of memorable side characters, including CW Moss in Bonnie and Clyde (which came out in 1967). He was in lots of other movies and shows, like Dick Tracey and Scrooged and Roxanne, the Steve Martin movie. You can google him.  The other kids are mainly the children of actors in Star Trek: William Shatner's daughters Lisabeth and Melanie, Grace Lee Whitney's son Scott, Vincent McEveety's son Steven, and Gene Roddenberry's daughters, Darleen and Dawn. Two other children, Phil and Iona Morris, were the children of Mission Impossible actor Greg Morris, and they later appeared in other Star Trek shows. Phil Morris was in Star Trek III: The Search for Spock in a bit part and then was a guest star on Babylon 5, Star Trek: Deep Space Nine, and Star Trek: Voyager. Iona Morris was in a 2 part episode of Voyager but is mainly known as a voice actor. She was the voice for Storm in the animated X-Men series and in Spider Man: the Animated Series. 

“Men: they're always cheating on you, or cheating on someone else and using you to do it!” Brooke Shields and Perry King star in this week's TV episode of The Blind Rage Podcast. Pretty sure “Came the Dawn” is the only installment of TALES FROM THE CRYPT that both begins and ends with a brutal axe murder. If that doesn't reel you in, we also have a cameo from Michael J. Pollard, “Herman” of SLEEPAWAY CAMP III fame! --- Send in a voice message: https://anchor.fm/blindragepod/message

On this week’s episode, we’re breaking down the casting of the 60s crime classic Bonnie and Clyde! Which Oscar-winning singer/songwriter did Warren Beatty want to play Clyde? Which former co-star of Beatty turned down Bonnie as she found working with him too difficult? And which French director was originally supposed to helm the film but insisted on shooting in – of all places – New Jersey in winter? Also – Bonnie, Clyde, and their hobbit getaway driver go on a crime spree across Middle Earth!   Bonnie and Clyde stars Warren Beatty, Faye Dunaway, Gene Hackman, Michael J. Pollard, Estelle Parsons, Denver Pyle, Evans Evans, and Gene Wilder; directed by Arthur Penn   Follow the Podcast: On Instagram: @andalmoststarring  On Facebook: @andalmoststarring Have a film you’d love for us to cover? E-mail us at andalmoststarring@gmail.com   www.andalmoststarring.com

Directed by: Warren Beatty Starring: Warren Beatty, Al Pacino, Madonna, Gleanne Headly, Charlie Korsmo, James Keane, Seymour Cassel, Michael J. Pollard, Charles Durning, Dick Van Dyke, Frank Campanella, Kathy Bates, William Forsythe, Ed O'Ross, James Tolkan, Mandy Patinkin, R.G. Armstrong, Henry Silva, Paul Sorvino, Chuck Hicks, Neil Summers, Sitg Eldred, Lawrence Steven Meyers, James Caan, Catherine O'Hara, and Dustin Hoffman Genre: Action/Crime

Tango & Cash (1989) Directed by: Andrei Konchalovsky Starring: Sylvester Stallone, Kurt Russell, Teri Hatcher, Jack Palance, Brion James, Geoffrey Lewis, Eddie Bunker, James Hong, Michael J. Pollard, Michael Jeter, and Robert Z'Dar Genre: Buddy Cop/Action/Comedy

In this Episode: Our Heroes go south of the Mason-Dixon with none other than Sir Patrick Swayze. It's Next of Kin this week and it's quite a weird throwback to a forgotten time... Come for the fistfights and stay for the Hillbilly Whisperer. Tune in... Follow Us: Our Website Twitter Instagram Facebook Items discussed (links to more info): Note - if the below links don’t work in your podcast player please visit the show page at: ebd.fm/episodes/81 Dana Carvey Turtle Kermie as Liam Neesen Bill Paxton Buffalo Bill Raw Deal Migration to Chicago Qui Gon Jinn hair TLC Crazy Sexy Cool Tall Poppy Syndrome Big muscles, hard muscles Ben Stiller Michael J. Pollard Andreas Katsulas Negans people whistle (Walking Dead) Camaro IROC C The brother song (Swayze) The brother song (Greg Allman) Cobra Peanuts scene Papa Johns Penultimate Michael McDonald Non Zero Sum

The Cinemondo Grups beam down to an exact duplicate of planet earth and confront the last remaining citizens… a gang of unruly kids. Miri is a classic Trek episode with the usual high standards of production, writing and casting and in this one we’re treated to the quirky stylings of the great Kim Darby and Michael J. Pollard who create struggles for the crew of the Enterprise as they try to find a cure for a deadly disease and a stressful countdown situation that forces McCoy and Spock to work nice together to save what’s left of this Earth 2… Will they find a cure in time? Do our heroes succeed or fail? Is this really the last episode of Star Trek?! No spoilers, but FYI, this is not the last episode of Star Trek. Join Kathy, Mark and Burk for a discussion of this fun and somewhat strange episode of Classic Trek!Written by Adrian Spies and directed by Vincent McEveety.Be sure to check out our other podcasts on your favorite streaming platform:Cinemondo PodcastWTF: What's That FilmCinemondoPodcast.comSPOILER WARNING: This episode contains MAJOR SPOILERS which means important story details will be revealed. We always advise listeners to: Watch First Listen Later.Cinemondo Podcast music composed and performed by Burk Sauls.Join Cinemondo and over a hundred thousand podcasters already using Buzzsprout to get their message out to the world. Sign up here to get your podcast started!We're also on Patreon! Help support the show and get some cool swag.Become a Patron on PatreonCinemondo Explores Star Trek is a weekly show that's released every Wednesday. If you’d like to support our show, please subscribe to our podcast free in iTunes, and leave us a review! We want to hear from you so write in with more recommendations and comments. Email us: CinemondoPodcast@gmail.com Connect with us: CinemondoPodcast.com twitter.com/CinemondoPod facebook.com/CinemondoPodcast instagram.com/CinemondoPodcastBuzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show (https://www.patreon.com/CinemondoPodcast)

Fred e Alexandre recebem o músico Willian de Andrade para conversar sobre uma dos filmes mais importantes do cinema americano, marco inicial para o período que ficou identificado como a “Nova Hollywood”. Dirigido por Arthur Penn, “Bonnie e Clyde: Uma Rajada de Balas” (Bonnie and Clyde, 1967) foi produzido e estrelado por Warren Beatty tendo como ponto de partida um roteiro escrito pelos então jornalistas David Newman e Robert Benton, profissionais que depois se tornariam nomes importantes no cinema americano. O filme também serviu de plataforma para a carreira de outros atores, como Faye Dunnaway, Gene Hackman, Michael J. Pollard, Estelle Parsons e até Gene Wilder. ---------------------- Acesse nosso site: http://www.filmesclassicos.com.br Acesse nosso grupo: https://www.facebook.com/groups/1475312462775785/ Nos procure no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.

This week on the Video Junkyard Podcast, Erik, Ryan, and Joe check out the 1992 film "Split Second", directed by Tony Maylam and staring Rutger Hauer, Kim Cattrall, Alastair Duncan, and Michael J. Pollard. Split Second takes us to a flooded future London where unhinged Detective Harley Stone (Hauer) hunts a serial killer who murdered his partner, and has haunted him ever since. He soon discovers what he is hunting might not be human... Its dark, it's damp, its an odd mashup of a buddy cop science fiction horror film. But does it actually work?! Check out the film on tubitv.com then tune in for the discussion on the Video Junkyard Podcast.

Mad Dog Time aka Trigger Happy is the ultimate The World Is Wrong film and if all we ever did was produce this episode our service to cinema would be commendable. This is the most underrated, star-studded Jewish gangster film directed in the style of Dean Martin ever produced and this episode features an interview with the writer/director himself, LARRY BISHOP!!! TO VIEW THE FILM: https://vimeo.com/448814171 Link to the episode on our website: https://www.theworldiswrongpodcast.com/episodes-of-the-world-is-wrong-movie-podcast/episode-01-maddogtimeakatriggerhappy Directed by Larry Bishop. Starring Jeff Golblum, Richard Dreyfuss, Ellen Barkin, Gabriel Byrne, Gregory Hines, Kyle MacLachlan, Diane Lane, Henry Silva, Michael J. Pollard, Angie Everhart, Burt Reynolds, Paul Anka, Billy Idol, Rob Reiner, Richard Pryor, Christopher Jones and Larry Bishop. From Andras: This is the film that inspired me to want to do a podcast like this. I discovered it on a VHS tape (under the title "Trigger Happy") in the late 90’s and, since then I have been more than mildly obsessed with it. Bryan is the only other person I’ve met (so far) who shares this obsession with me and we’re hoping we can inspire you to join us in our love for this film and the transcendent performances that populate it. For this episode I had the great honor of interviewing the film’s writer/director Larry Bishop. It goes long. Two and a half hours but, boy, is it worth it. In the course of sharing his insights into the writing, casting and production of the film, Bishop shares stories about Dean Martin, Kierkegaard, Marlon Brando, Albert Brooks, Timothy Carey, Mickey Rourke, Sean Penn, Schoepnehauer, Natalie Wood, Quentin Tarantino and his high school pal Richard Dreyfuss. Radio8Ball with Andras Jones:http://www.radio8ball.com/ The Director's Wall with Bryan Connolly & AJ Gonzalez:https://directorswall.com/ See omnystudio.com/listener for privacy information.

  Book Vs Movie Cyrano de Bergerac/”Roxanne” The 19th Century Play by Edmond Rostand Vs the Steve Martin Movie   The Margos are feeling poetic in this play vs movie combo that is a tale of love, bravery, and wit. The original play of Cyrano de Bergerac was written by Edmond Rostand in 1897 and has been adapted several times over the last 120 years. Mel Ferrer was the most famous/acclaimed Cyrano in the 1950s but Steve Martin’s C.D. Bales gives his own take on one of the oddest romantic leads we have covered.  In the original play, (based on a real-life person) was written in verse and tells the story about de Bergerac who was a cadet in the French Army. He is a smart and gifted warrior but has an extremely large nose which makes him feel insecure. It takes place in 1640s Paris and the object of de Bergerac’s affection is his cousin Roxanne who is known for her beauty and intelligence. He thinks he has no chance for love from an ugly woman much less a beauty like Roxanne.  Christian de Neuvillette, a young, handsome new cadet also has his eye on Roxanne. She wants to date him but he is insecure about his lack of brains. De Bergerac agrees to write the love letters on behalf of Christian to Roxanne while he is sent away to war.  There is also a Count de Guiche who wants Roxanne to marry the Viscount Valvert. It’s all sorts of complicated but Roxanne tries to save Christian and de Begerac’s lives but having them not fight on the front lines against Spain.    De Bergerac tries to get Christian to speak to Roxanne the words he writes for him but he refuses and instead speaks off the top of his head. Bad idea. De Bergerac tries to help by speaking in the safety of night to her. Roxanne swoons and she and Christian are secretly married. A jealous de Guiche sends both de Bergerac and Christian to war where they are starving until Roxanne uses her feminine wiles to the front lives and provide them food & drink.  De Bergerac almost tells Roxanne that he was writing the letters all of this time until Christian unexpectedly dies. He keeps that secret and 15 years later he meets up with Roxanne who is staying at a convent. Someone drops a log on his head and he heads towards Roxanne he reads one of “Cristian’s” last letters to her. She realizes it was him all of this time. Rozanne tells him she loves him and he does with “panache.”  Steve Martin took this material and wrote the screenplay for Roxanne in 1987. Set in Northern Washington. C.D. Bales (Martin) heads up the local fire department and is loved by most people of the town. Sometimes he runs into men who are bullies but he can usually outwit and beat them. He has a crew of firefighters who are misfits and provide many laughs in the film. Our Roxanne here is played by Daryl Hannah and she is an astronomist who is spending the summer looking for a comet. C.D. falls in love at first sight but she has a thing for the newbie in town Chris (played by 80s stalwart Rick Rossovich.) Hilarity ensures and if you are not even slightly charmed by this film--you have no soul! Between the play and film--which did the Margos like better?  In this ep the Margos discuss: The life of Edmond Rostand The major plot points most adaptations contain The cast including Steve Martin (C.D.,) Roxanne (Daryl Hannah,) Chris (Rick Rossovitch,) Shelley Duvall (Trixie,) Fred Willard (Mayor Deebs,) Michael J. Pollard (Andy,) and Damon Wayans (Jerry.)  Clips Featured: Roxanne trailer Epic joke scene C.D. meets Roxanne “Hunting for words” Music: “Roxanne Theme” Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie  Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/ Twitter @bookversusmovie www.bookversusmovie.com Email us at bookversusmoviepodcast@gmail.com Brought to you by Audible.com You can sign up for a FREE 30-day trial here http://www.audible.com/?source_code=PDTGBPD060314004R Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.com Margo P. @ShesNachoMama https://coloniabook.weebly.com/ 

BackTrekking returns again to look back at the real-world inspirations of classic Trek episodes!OK, now that the actual Holocaust is out of the way, we can try something much more idyllic but still a little bit sinister. In the early days of TV, before we had these "500 channels" with nothing on them (which seems like a bad business model), programs were much different than they were today. Times were simpler, characters were whiter, and everything wrapped up pretty neatly in 30 or 60 minutes (plus commercial breaks). There were daring private eyes, brilliant lawyers and cops, and cowboys cowboys cowboys, and all were morally impeachable. Sure, they'd make mistakes, they'd be tempted by evil, but they would always win out in the end because that's what TV was for: presenting morally enriching tales that featured just a hint of violence and sex. Drain all vice completely out of '60s TV and you get The Andy Griffith Show, an anodyne picture of rural America in the 20th century that's more fictional than the Federation of the 24th. Andy Taylor is the sheriff of Mayberry, North Carolina, a town where the deputy only has one bullet, all problems can be solved by home-cookin', and black people simply do not exist.Fast-forward 300 years to a distant alien planet that is eerily similar to 20th century Earth (is that Floyd's barbershop?) where a deadly plague has wiped out everyone over the age of 18, leaving the children to frolic in the ruins. But these are no ordinary children; they, too, are the victims of the age-prolonging experiments that initially caused the plague, each of them growing slowly, inexorably toward puberty where they too will join the mountain of corpses that fills the old fishin' hole. Star Trek wasn't the first or arguably best show to employ genre thrills in the service of didactic storytelling (see "Twilight Zone, The") but it made a meal out of taking the TV conventions of the decades prior and putting an alien face on them, posing questions about social issues that were rarely as black-and-white as some of those alien faces. It wasn't by any means a blameless show, but it presented a world that was more diverse, more frightening, and more real than any of Aunt Bee's pickle-induced nightmares, and in doing so, blazed a trail for socially-conscious storytelling that would lead into the 21st century and beyond.On this episode, we discuss the rigid but airy structure of The Andy Griffith Show, the darker implications of Mayberry's sterile world and its effect on the '60s audience, immature depictions of neuroatypical characters, the complaints Star Trek received over the "gross" Miri, letting details slide so you can sell your audience on a big ask, the complicated gender politics of the episode, and the singularly unique Michael J. Pollard. We also discuss the original Blue Collar Comedy, naming your show after its star, how Hallmark movies are the fuel-air bombs of the culture war, keeping your kid out of showbiz, taking the "sub" out of "subtext", the positive version of Harrison Ford, masculine wiles, "Take a seat, Neelix," NARCANing Otis, quarantine snacks, Gooey Is all-in on "The 'Rents", and Kal attacks the Myth of the Sexy Kirk!This is what it's all about, boys!Get the complete Andy Griffith series on DVD!https://amzn.to/2xeYSTiJoin us in the Just Enough Trope Discord!https://discord.gg/EAx5VGXTweet at the show or your hosts with your suggestions for future episodes!http://www.twitter.com/backtrekkinghttp://www.twitter.com/ka1ibanhttp://www.twitter.com/gooeyfameCheck out the other shows on the Just Enough Trope network!http://www.justenoughtrope.comTheme: Disco Medusae Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/

We discuss the spoiled by history movie and Polina's pick Bonnie and Clyde (1967). Her repeated viewings served as markers in her life. This was Diana's first viewing and was not prepared for the amount of violence. New promo code alert! Use “HAPPILY1” to save 20% at Frankie & Myrrh! Treat yourself to our sponsor's selection of aroma therapy products and at the same time support our show! Bored waitress Bonnie Parker falls in love with an ex-con named Clyde Barrow and together they start a violent crime spree through the country, stealing cars and robbing banks. Stars Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman, Estelle Parsons, Denver Pyle, Dub Taylor, Evans Evans, and Gene Wilder. (from IMDb.com) Find other amazing podcasts by searching #ladypodsquad on Twitter, Facebook, and all the social media platforms. Follow us on Twitter and Instagram @HEAMCast, like us on Facebook @HappilyEverAftermath, and e-mail us at contact@heamcast.com.

On today's episode, we conclude Donner Party Christmas with a movie we've brought up on multiple occasions over the last few years. Happy Holidays from all of us at Cinema Cult headquarters! • Scrooged (1988) Directed by Richard Donner [Party Christmas] Starring: Bill Murray, Karen Allen, John Glover, Bobcat Goldthwait, David Johansen, Carol Kane, Robert Michum, Michael J. Pollard, Alfre Woodward, Tony Steedman, Buddy Hacket, Anne Ramsey, and Mary Ellen Trainor. • Keep sending us your movie suggestions via email (CinemaCultPodcast@gmail.com) or DM us via Facebook and/or Instagram... and by all means, please let us know WHY you want us to cover that movie! • Be sure to hit that Subscribe button wherever you listen to the show, be sure to rate and review the show, and most importantly... spread the word. All three of these things really helps push the show out to new people! • Episode is available via iTunes (apple.co/2ISpyMC), Google Play Music (goo.gl/DYbfUx), or direct download via Soundcloud.

Join Gary and special guest Lee Russell of They Must Be Destroyed On Sight Podcast as they talk about some recent watches and the career of beloved character actor Michael J. Pollard. We also talk about two films that feature him including the PCP infused murder mystery Jigsaw from 1968 and the motor-cycle and women infused Little Fauss and Big Halsey from 1970. Music Credits : Off He Goes performed by Pearl Jam

Join Gary and special guest Lee Russell of They Must Be Destroyed On Sight Podcast as they talk about some recent watches and the career of beloved character actor Michael J. Pollard. We also talk about two films that feature him including the PCP infused murder mystery Jigsaw from 1968 and the motor-cycle and women infused Little Fauss and Big Halsey from 1970. Music Credits : Off He Goes performed by Pearl Jam The post Cinema Beef Podcast #152 : There Are No Small Character Actors : A Tribute To Michael J. Pollard appeared first on Legion.

Remembering Michael J. Pollard, Fred Cox, Gahan Wilson, Jake Burton CarpenterMichael J. Pollard was the pie-faced actor best known for his Academy Award nominated role as C.W. Moss, the fictional member of the Bonnie and Clyde gang in the classic 1967 film Bonnie and Clyde. Fred Cox was the longtime placekicker for the Minnesota Vikings, and he also invented the NERF football, one of America’s favorite toys. Gahan Wilson was a cartoonist for a number of publications including Playboy and The New Yorker. His cartoons are known for their morbid subjects and macabre drawings. Jake Burton Carpenter was the inventor of the snowboard and was responsible in the main for snowboarding becoming an Olympic sport.

Also... We discuss the 3rd episode of 'The Mandalorian', and we pay our respects to the great Michael J. Pollard.

This week we are joined by Something Something Duncan as he reports about his trip to Ponyville Cidercon 2019. We also talk about our worst disappointments, Star Trek returns, Mandalorian breaks records, Craig leaves Bond, Michael J. Pollard, Gahan Wilson, the lament of Kahlan, Force Collector author accidently writes Star Wars episode IX, Lego Masters, The Maxx, Dampyr, and we play Red Light/Green Light with Final Fantasy, The Bunker, Sleeping Beauties, and Behind The Attractions. So fill up that jar, it's time for a Geek Shock!

Polina counters Diana's Steve Martin movie from last episode with her pick Roxanne (1987). By the end, you will thoroughly know how she feels about Daryl Hannah's curly hair. Diana sings The Police within the first minute of the show. In this modern take on Edmond Rostand's classic play "Cyrano de Bergerac," C. D. Bales (Steve Martin) is the witty, intelligent and brave fire chief of a small Pacific Northwest town who, due to the size of his enormous nose, declines to pursue the girl of his dreams, lovely Roxanne Kowalski (Daryl Hannah). Instead, when his shy underling Chris McConnell (Rick Rossovich) becomes smitten with Roxanne, Bales feeds the handsome young man the words of love to win her heart. Also stars Shelley Duvall, John Kapelos, Fred Willard, Max Alexander, Michael J. Pollard, Steve Mittleman, Damon Wayans, Matt Lattanzi, Shandra Beri, Jean Sincere, Thom Curley, Ritch Shydner, and Kevin Nealon. (from Fandango.com and Wikipedia.org) The "alien abduction" scene that tickled Polina: https://youtu.be/pw5Y_7wtJmk One Person's Trash is Our Treasure's episode about Cyrano de Bergerac and Roxanne can be found at: https://bit.ly/2BRDyTK Find other amazing podcasts by searching #ladypodsquad on Twitter, Facebook, and all the social media platforms. Tweet us @HEAMCast, like us on Facebook @HappilyEverAftermath, and e-mail us at contact@heamcast.com.

  Part of an ongoing series – the Needless Things Irregulars gather in the Phantom Zone to provide their own unique commentary on classic genre films!   Patrick Swayze. Bill Paxton. Adam Baldwin. Helen Hunt. Ben Stiller. Ted Levine. Michael J. Pollard. Liam Neeson.   LOOK AT THAT CAST.   Gather your whole family together and witness Appalachian justice take on the mob with the Needless Things Irregulars!   Be sure to join the Needless Things Podcast Facebook Group and get in on the conversation for this week’s episode! Let us know what you think!   “Procrastibate” by LeSexoflex.com    “Brothers” by Patrick Swayze & Larry Gatlin   Interstitial music provided by The Mystery Men?    You can follow Dave as Phantom Troublemaker on Facebook, Twitter, and Instagram for all the latest on pop culture!

March 7-13, 1998 Today Ken welcomes comedian Mark Gallagher to the show. Ken and Mark discuss Ken's collections, the thrill of obtaining things, TV on DVD, depression based purchases, horror video games, Custard's Last Stand, dirty Atari, St. Patrick's Horror, Haverhill, being Burn Notice babysat, John Malkovich, Dawson's Creek, Flash Dad, Michael J. Pollard, Superman, The Funspot, Hercules, Bloopers, Aaron Spelling, Cop Rock, SNICK, lack of bedtime, The Real World Boston, Batman cartoons, Freakazoid, South Park, movie tie-in songs, being raised by Stolen Cable, Sega games, anad Swamp Thing.

November 10-16, 1984 This week Ken welcomes actor, comedian, and friend Nate Johnson to the show. Ken and Nate discuss the relative insanity of Ken's home, being a network guy, Joan Collins, Dynasty, drunken eye doctors, Diff'rent Strokes, who the Gooch is, Danny Cooksey, TJ Hooker, Puttin' On the Hits, Nell Carter's sass, hating Joey Lawrence, blackface, Love Boat, getting a jewel thief to retire, Mike Hammer, Lifestyles of the Rich and Famous, Morgan Fairchild, Nautilus, Silver Spoons, Erin Grey, The Bermuda Triangle, Knight Rider, Vegas, "I Married a Centerfold", Star 80, Kate Jackson, Charlie's Angels, White Slavery, Scarecrow and Mrs King, Remington Steele, TV's Bloopers and Practical Jokes, "Assaulted Nutz", Kate & Allie,  Newhart, The A-Team, Vehicles for breasts, Riptide, Paper Dolls, John Waite, The Fall Guy, Michael J. Pollard, Angels, Charles in Charge, pre-teen girls' obsession with horses, Ha! + The Comedy Channel= Comedy Central, Rich Hall, Facts of Life, "Nightmares", The Bishop of Battle, horror anthology series, Ellis Island Mini-Series, It's Your Move, C. Thomas Howell, the Hitcher, the cinematic career of Eric Red, The Cosby Show, Lisa Bonet's role in Angel Heart, The Bradbury Building, Jim J. Bullock, the horror of sexual assault on Too Close for Comfort, people who can't use Q-Tips right, Cheers, Shelly Long crushes, Night Court, John Larroquette, Benson, V: The Series, The infamous Hulk Out List, paper mache driven programming choices, Webster's Thanksgiving, Ben Vereen, Dallas, the hateful violence of Fred Dyer's Hunter, Tracey Walter, and Jeering Gimme a Break for being too timid to embrace breakdancing. 

On this week's episode, the gang heads to Chicago by way of Kentucky to roughhouse with Patrick Swayze and Liam Neeson in the action packed family drama, Next of Kin! How many ponytails does Swayze have going at once here? Why cast Liam Neeson as a man born and bred in the rich hills of Kentucky coal country? And why is the Chicago mafia specializing in cigarette dispensers and pinball machines? PLUS: Is that noted comedian Ben Stiller playing a Sicilian gangster? Next of Kin stars the legendary Patrick Swayze, Liam Neeson, Bill Paxton, Ben Stiller, Helen Hunt, Michael J. Pollard and Internet madman, Adam Baldwin; directed by John Irvin.

Título original Bonnie & Clyde (Bonnie and Clyde) Año: 1967 Duración 111 min. País Estados Unidos Estados Unidos Director Arthur Penn Guión Robert Benton, David Newman Música Charles Strouse Fotografía Burnett Guffey Reparto Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman, Estelle Parsons, Dub Taylor, Gene Wilder, Denver Pyle, Evans Evans Productora Warner Bros. Pictures. Productor: Warren Beatty Género Acción. Thriller | Gran Depresión. Años 30. Crimen Sinopsis En la época de la Gran Depresión, una banda de jóvenes delincuentes, encabezados por la pareja formada por Bonnie Parker y Clyde Barrow, recorre los Estados Unidos asaltando bancos, favoreciendo a los humildes y ridiculizando a las autoridades.

This week, the lives of Bonnie and Clyde go under the microscope as Zach learns about bloody violence in 1967's Bonnie and Clyde. Bonnie and Clyde is a 1967 American crime film directed by Arthur Penn and starring Warren Beatty and Faye Dunaway as the title characters Clyde Barrow and Bonnie Parker. The film features Michael J. Pollard, Gene Hackman, and Estelle Parsons, with Denver Pyle, Dub Taylor, Gene Wilder, Evans Evans, and Mabel Cavitt in supporting roles. The screenplay was written by David Newman and Robert Benton. Robert Towne and Beatty provided uncredited contributions to the script; Beatty also produced the film. The soundtrack was composed by Charles Strouse. Bonnie and Clyde is considered a landmark film, and is regarded as one of the first films of the New Hollywood era, since it broke many cinematic taboos and was popular with the younger generation. Its success prompted other filmmakers to be more open in presenting sex and violence in their films. The film's ending also became iconic as "one of the bloodiest death scenes in cinematic history". Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers VIP. It will help ensure Zach on Film continues far into the future! A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

This week, the lives of Bonnie and Clyde go under the microscope as Zach learns about bloody violence in 1967's Bonnie and Clyde. Bonnie and Clyde is a 1967 American crime film directed by Arthur Penn and starring Warren Beatty and Faye Dunaway as the title characters Clyde Barrow and Bonnie Parker. The film features Michael J. Pollard, Gene Hackman, and Estelle Parsons, with Denver Pyle, Dub Taylor, Gene Wilder, Evans Evans, and Mabel Cavitt in supporting roles. The screenplay was written by David Newman and Robert Benton. Robert Towne and Beatty provided uncredited contributions to the script; Beatty also produced the film. The soundtrack was composed by Charles Strouse. Bonnie and Clyde is considered a landmark film, and is regarded as one of the first films of the New Hollywood era, since it broke many cinematic taboos and was popular with the younger generation. Its success prompted other filmmakers to be more open in presenting sex and violence in their films. The film's ending also became iconic as "one of the bloodiest death scenes in cinematic history". Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers VIP. It will help ensure Zach on Film continues far into the future! A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

Movie Meltdown - Episode 255 As we finish up our 6th annual holiday "special" we discuss, among other things, Richard Donner's Christmas classic "Scrooged" starring Bill Murray. In this episode so powerful - it could tear a family apart, some of the things we mention are… A New York Doll, impressions take on a life of their own, Bernie Taupin, E.T. porn, glitter, right now… Kelly’s doing it with Patrick Swayze!!, Tina Fey, cartoon moments, a spare best friend, Karen Allen, looking ahead to zombies, Lincoln lip, Mean Girls, Santa’s sensitivity training, I feel like I should be a mean husband, eating salt dough ornaments, GQ Magazine, if you had that hair… you were the bad guy, Chevy Chase, Magnolia, somebody stealing your spot, what makes a man sexy, being a celebrity impersonator, Normal, well-adjusted people don’t just make awesome things usually, Michael J. Pollard, Iron Man 3, having cache, Alfre Woodard, theme songs, Misery, This was some F-ing Looney Tunes, Stockholm Syndrome sh*t… get out of my house!!, a K-Mart David Bowie, manhandling children, Dustin Hoffman gets suspended, an unspoken theme of forgiveness, like early Matisse, The Sound of Music, strippers and kids, yeah… I try to let the Looney Tunes subtly seep out of me, I know life is great, John Malkovich, The Last Picture Show, I’m afraid of bats, and… crushed it! Spoiler Alert: You will be visited by jerks bearing spoilers. So go watch “Scrooged” before listening to this episode. You have been warned.  Corrections: 1.) Of course it’s Mickey Rooney in "Breakfast at Tiffany's" 2.) And because the Murray’s are like the Baldwin’s… at some point we mix up John Murray and Joel Murray. Apologies to both Murray brothers. “God Bless us all… Goddammit.”