Podcast appearances and mentions of Michael Winner

Issue 59 of the monthly magazine podcast for the discerning  film nerd continues with the Remakes Tribunal, where we put bad filmmaking on trial. First up, we look at the 2004 reboot of this month's Classic, Flight of the Phoenix, and ask if it deserves to exist. Then for our Parole Board we look at the 1983 version of The Wicked Lady, and ask if anyone could possibly improve on a historical drama produced by Cannon and directed by Michael Winner... The other parts of this issue are already out - Double Reel Monthly and Classics & Hidden Gems, and we will bring you a Spotlight in M Night Shyamalan next week.

ART! TRASH! TERROR! Adventures in Strange Cinema (Headpress 2025) by Chris Alexander is a treasure trove of in-depth essays and edifying interviews that celebrate some of the most eccentric and unforgettable movies in cult cinema history. From recognized classics (George A. Romero's Dawn Of The Dead, David Lynch's The Elephant Man) to misunderstood masterpieces (Michael Mann's The Keep, Boris Sagal's The Omega Man) to unfairly maligned curios (Kostas Karagiannis' Land Of The Minotaur, Brett Leonard's Hideaway), the author takes an alternately serious and playful but always personal look at several strains of international horror, dark fantasy, and exploitation film -- motion pictures that transform, transgress, challenge, infuriate, shock, and entertain. Connecting these passionate and critical essays are insightful interviews with revered talents, such as John Waters (writer/director, Cecil B. Demented), Michael Winner (director, The Sentinel), Nicolas Cage (actor, Vampire's Kiss), Gene Simmons (co-founder/bassist, KISS), William Crain (director, Blacula), William Lustig (director, Maniac), Werner Herzog (director, Nosferatu: Phantom Der Nacht) and many more, as well as witty, heartfelt memoirs charting the author's oddball experiences on the fringes of Hollywood and beyond. Illustrated with more than 200 startling photographs! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

ART! TRASH! TERROR! Adventures in Strange Cinema (Headpress 2025) by Chris Alexander is a treasure trove of in-depth essays and edifying interviews that celebrate some of the most eccentric and unforgettable movies in cult cinema history. From recognized classics (George A. Romero's Dawn Of The Dead, David Lynch's The Elephant Man) to misunderstood masterpieces (Michael Mann's The Keep, Boris Sagal's The Omega Man) to unfairly maligned curios (Kostas Karagiannis' Land Of The Minotaur, Brett Leonard's Hideaway), the author takes an alternately serious and playful but always personal look at several strains of international horror, dark fantasy, and exploitation film -- motion pictures that transform, transgress, challenge, infuriate, shock, and entertain. Connecting these passionate and critical essays are insightful interviews with revered talents, such as John Waters (writer/director, Cecil B. Demented), Michael Winner (director, The Sentinel), Nicolas Cage (actor, Vampire's Kiss), Gene Simmons (co-founder/bassist, KISS), William Crain (director, Blacula), William Lustig (director, Maniac), Werner Herzog (director, Nosferatu: Phantom Der Nacht) and many more, as well as witty, heartfelt memoirs charting the author's oddball experiences on the fringes of Hollywood and beyond. Illustrated with more than 200 startling photographs! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

ART! TRASH! TERROR! Adventures in Strange Cinema (Headpress 2025) by Chris Alexander is a treasure trove of in-depth essays and edifying interviews that celebrate some of the most eccentric and unforgettable movies in cult cinema history. From recognized classics (George A. Romero's Dawn Of The Dead, David Lynch's The Elephant Man) to misunderstood masterpieces (Michael Mann's The Keep, Boris Sagal's The Omega Man) to unfairly maligned curios (Kostas Karagiannis' Land Of The Minotaur, Brett Leonard's Hideaway), the author takes an alternately serious and playful but always personal look at several strains of international horror, dark fantasy, and exploitation film -- motion pictures that transform, transgress, challenge, infuriate, shock, and entertain. Connecting these passionate and critical essays are insightful interviews with revered talents, such as John Waters (writer/director, Cecil B. Demented), Michael Winner (director, The Sentinel), Nicolas Cage (actor, Vampire's Kiss), Gene Simmons (co-founder/bassist, KISS), William Crain (director, Blacula), William Lustig (director, Maniac), Werner Herzog (director, Nosferatu: Phantom Der Nacht) and many more, as well as witty, heartfelt memoirs charting the author's oddball experiences on the fringes of Hollywood and beyond. Illustrated with more than 200 startling photographs! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

ART! TRASH! TERROR! Adventures in Strange Cinema (Headpress 2025) by Chris Alexander is a treasure trove of in-depth essays and edifying interviews that celebrate some of the most eccentric and unforgettable movies in cult cinema history. From recognized classics (George A. Romero's Dawn Of The Dead, David Lynch's The Elephant Man) to misunderstood masterpieces (Michael Mann's The Keep, Boris Sagal's The Omega Man) to unfairly maligned curios (Kostas Karagiannis' Land Of The Minotaur, Brett Leonard's Hideaway), the author takes an alternately serious and playful but always personal look at several strains of international horror, dark fantasy, and exploitation film -- motion pictures that transform, transgress, challenge, infuriate, shock, and entertain. Connecting these passionate and critical essays are insightful interviews with revered talents, such as John Waters (writer/director, Cecil B. Demented), Michael Winner (director, The Sentinel), Nicolas Cage (actor, Vampire's Kiss), Gene Simmons (co-founder/bassist, KISS), William Crain (director, Blacula), William Lustig (director, Maniac), Werner Herzog (director, Nosferatu: Phantom Der Nacht) and many more, as well as witty, heartfelt memoirs charting the author's oddball experiences on the fringes of Hollywood and beyond. Illustrated with more than 200 startling photographs! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

There's a Shadow in the City on Episode 143 of The Bulletproof Podcast!  Join your host, Chris the Brain, along with co-hosts, the "Toyman" Chris DePetrillo and Ryan Campbell, as they discuss the Cannon classic... Death Wish II! Charles Bronson's return to the role of architect turned vigilante Paul Kersey, bridges the gap of the 1974 original and sets up the future over the top sequels! Michael Winner's perversions, the unforgettable lines and delivery of Charles Bronson, the Jimmy Page soundtrack, the multiple versions of the movie are among the topics of discussion, Plus, numerous attempts to connect the film to Kojak are made! Learn more about your ad choices. Visit megaphone.fm/adchoices

Your host Jason Drury begins the show with the superb 22-minute "Grand Gothic Suite" by Elliot Goldenthal from the album ELLIOT GOLDENTHAL: MUSIC FOR FILM (Silva Screen Records), containing music from BATMAN FOREVER and BATMAN AND ROBIN. Jason then continues with selections from Nino Rota's Oscar-winning score from 1974‘s THE GODFATHER PART 2 (La La Land Records) and Jerry Goldsmith's classic 1976 score for ISLANDS IN THE STREAM, which Intrada Records recently reissued. The wonderful theme from John Barry's Oscar-winning score from the 1985 film OUT OF AFRICA (Intrada Records) continues the show. This is followed by music from David Fanshawe's score for the 1991 Michael Winner revenge thriller DIRTY WEEKEND (Silva Screen Records) and then music from Don Davis's score from the 2001 film JURASSIC PARK III (La La Land Records) Jason then rounds off the show by playing more music from the album ELLIOT GOLDENTHAL: MUSIC FOR FILM with another suite, this time from his classic score from 1992‘s ALIEN 3. Enjoy. —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Sarah Brouns, Aaron Collins, Randall Derchan, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Rudy Amaya, Stacy Livitsanis, Rick Laird, Carl Wonders, Nathan Blumenfeld, Lee Wileman, Daniel Herrin, Scott Bordelon, James Alexander, Brett French, Ian Clark, Ron, Andy Gray, Joel Nichols, Steve Daniel —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Cette semaine on vous présente trois films : Crème de jouissance de ? (????)Mommy de Xavier Dolan (2014)Death Wish de Michael Winner (1974) Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Raymond Chandler defined Los Angeles as a corrupt labyrinth of hidden truths that only an adventurous detective with noir eyes, a steel spine, and a witty disgust for sham and pettiness could uncover. In this Gain of Fiction/FAA crossover, Glen Rockney and I uncover the modern day relevance of Chandler's first and best novel The Big Sleep (1939), and the classic Howard Hawks 1946 movie adaptation starring Humphrey Bogart and Lauren Bacall, and what they teach about being a man. We also mention the unclassic 1978 Michael Winner adaptation starring Robert Mitchum which Tarantino just ludicrously recommended.   For the full 2+ hour episode -- plus twice as many adventures and regular Smoke Break mini eps on topics of the day -- subscribe to the show at patreon.com/filthyarmenian   Follow us on X/insta @filthyarmenian    If you like what you hear, please rate and review the show on your podcast app

The Buchinsky Boyz meet at the corner of Sutter and Belmont to discuss Michael Winner's Opus of extreme violence and Cannon Film's greatest 80's blood bath Death Wish 3!!! LIKE, SUBSCRIBE AND SHARE! We'll owe ya one dude.

Interviews include Executive Producers Ronald D. Moore, David Kantor, Michael Winner and Isa Dick Hackett who is Phili K. Dick's daughter. Plus actor Liam Cunningham who stars in the episode, Human Is. Special thanks to New York Comic Con and Amazon. New Edited Version Subscribe To Sci-Fi Talk Plus For A Low Locked In Forever Price This Episode is Only Available For Thirty Days 

Join We Own the Dark as we abandon all hope and journey through the circles of hell with Episode 07! Jason possessed us with his choice of The Sentinel (1977), Michael Winner's demon-laced religious horror with a star-studded cast and all the trippy, surreal vibes we could hope for from great 70s horror. Jerry couldn't help but continue the hellscape appreciation by pairing Lars von Trier's The House that Jack Built (2018), a deep, dark, violent dive into art vs. artist, man vs. woman, engineer vs. architect…   This is the perfect double feature for anyone seeking gorgeous, deviant imagery and philosophical musings on brutality. Take a watch then take a listen and let us know what you think of the pairing! Also, head over to Rue Morgue and read Jerry's editorial on The House that Jack Built for her Beautiful Filth column!   Follow us on Instagram at: https://www.instagram.com/weownthedark Follow Jerry on Instagram at: https://www.instagram.com/thesleepermustawaken Follow Jason on Instagram at: https://www.instagram.com/vongodi Check out Whiskey & Horror at: https://www.whiskeyandhorror.com  

In this unashamed, brazen episode of Tubi or Not Tubi, we break the chains of common human decency with the 1983 film, The Wicked Lady, directed by Michael Winner and starring Faye Dunaway. One of the most dangerous versions of a Tubi film one can find is the early 1880's rated R period comedy. But is said danger actually an amusement, or is it just plain dangerous? Let's find out together!

Michael Winner didn't just make violent movies and try to live only on steak tartare. He also made this comedy about the Golden Age of Hollywood. Won Ton Ton the Dog Who Saved Hollywood is one of the mid 70s movies that tries to put as many cameos in as possible and hopes that you won't notice the movie isn't all that great. Why am I doing an episode about it? Because these kind of movies are the ones I get obsessed about. Important links: Visit ⁠⁠⁠B&S About Movies⁠⁠⁠ and email me at bandsaboutmovies@gmail.com. Donate to our ⁠⁠⁠ko-fi page⁠⁠.

What was the British pop movie like before The Beatles? They were quite a lot like What a Whopper, as Graham and Mark discover this week. A featherweight farce in which a struggling writer and his bohemian friends try to fake a Loch Ness Monster sighting - just go with it, OK - it features a plethora of British comedy legends, a script by Dalek creator Terry Nation, and, as its lead, one Adam Faith. It's easy to forget what a massive name Faith was in his heyday, and our hosts examine every aspect of his wild career, from his other acting roles in Budgie and Beat Girl through his career in financial advice to his delightful last words. We also discuss the real-life Loch Ness Monster hoaxes that may have inspired Nation's script, the tragic life of female lead Carol Leslie, the film's not-wholly-unstereotypical vision of Scotland and the state of Michael Winner's finances. It's a monster of an episode! If you don't want to see us reduced to hoaxing cryptids to make ends meet, you can donate to our Patreon, where you'll get a bonus episode of this podcast every month. There's a new one, about the classic blaxploitation movie Truck Turner, out in just one day's time! You also get written reviews of The X-Files, Red Dwarf and classic Asian genre cinema, and our monthly miscellany podcast Last Night... Follow us on Facebook, Twitter and Instagram to find out more.

A good Michael Winner film...

Agents Scott and Cam dodge a CIA hit squad and flee to Vienna with Burt Lancaster while decoding the gritty 1973 spy thriller Scorpio. Directed by Michael Winner. Starring Burt Lancaster, Alain Delon, Paul Scofield, John Colicos, Gayle Hunnicutt, J.D. Cannon, Joanne Linville, Mel Stewart and Vladek Sheybal. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Purchase the latest exclusive SpyHards merch at Redbubble. Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

Welcome back to Bad Dads Film Review, where today we're taking aim at a controversial classic that arguably defined an entire genre: Death Wish (1974). Directed by Michael Winner and starring Charles Bronson as the archetypal vigilante, Paul Kersey, this film sparked debate upon its release and continues to be a topic of conversation for cinephiles and critics alike.Death Wish plunges viewers into the grim reality of a New York City plagued by crime and fear. Charles Bronson's Paul Kersey is an architect, a conscientious objector turned avenging angel after a brutal attack leaves his wife dead and his daughter catatonic. The film explores Kersey's transformation from a peace-loving citizen into a gun-toting vigilante, taking the law into his own hands to exact revenge on the city's muggers and criminals.The narrative thrust of Death Wish follows Kersey as he prowls the streets at night, baiting criminals so he can dispatch his own brand of justice. It's a brutal, morally ambiguous journey that forces viewers to question the lines between right and wrong, justice and vengeance.Death Wish was ground-breaking for its stark portrayal of vigilante justice, a theme that has been replicated, examined, and critiqued in countless films since. Bronson's stoic performance as Kersey became iconic, embodying the frustrations and fears of a city (and a nation) feeling powerless against rising crime rates. The film's gritty realism, combined with its controversial subject matter, makes it a compelling yet uncomfortable watch.Despite its controversies, or perhaps because of them, Death Wish is a seminal film in the action genre. It's a product of its time yet remains relevant in its exploration of crime, fear, and the lengths to which individuals will go to feel safe. It offers no easy answers but instead serves as a gritty, thought-provoking piece of cinema that continues to resonate with audiences today.So, whether you view Death Wish as a thrilling action film or a problematic portrayal of justice, there's no denying its impact on cinema and culture. Join us on Bad Dads Film Review as we delve into the dark streets of New York City with Paul Kersey, exploring the legacy and controversies of this iconic film.

Welcome to an all-new Films for the Void, episode #76! In this episode, Eric and Landon take sweet revenge on Teddy Chiu's 1985 film BLOOD DEBTS, as well as take a look at the film that inspired it - Michael Winner's 1974 film DEATH WISH, all on the latest episode of Films for the Void!TIME STAMPS00:01:55 Death Wish00:19:55 Blood Debts00:54:15 Landon's Recommendation for Next EpisodeTWITTER: @films_void$3/MONTH PATREON: patreon.com/films_voidLANDON'S TWITTER @igotdefevermanLANDON'S INSTAGRAM @duhfeverLANDON'S LETTERBOXD @landondefeverERIC'S TWITTER @ericwiththehairERIC'S INSTAGRAM @ericwiththebeardERIC'S LETTERBOXD @ericwiththehairArtwork by Annie CurleTheme Music by Meghan Gove

In the first of a new occasional series Ian is joined by Mark Plant to celebrate the iconic British filmaker Michael Winner. This episode we cover his cinematic swansong Parting Shots. But is it a Winner Winner Chicken Dinner or a Dogs BreakfastParting Shots (1998). Directed by Michael Winner. Written by Winner and Nick Mead. Starring Chris Rea, Felicity Kendall, Diana Rigg, Bob Hoskins, Ben Kingsley, Oliver Reed 

A whole crew of TWICB favorites are here for a potentially homoerotic classic!! We play a little grab ass in this free-for-all discussion about Michael Winner's classic Assassin film. We are joined by Rich Schef, Rock Legend John Littlejohn, and Pop Culture Podcaster Fanacek!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/twicb/message

New year, new episode of FURTHER REEDING, a podcast all about the life and career of actor Oliver Reed! On this episode we're joining Reed and all his seaside buddies as they take in (and take out) the tourist trade in 1964's THE SYSTEM (also known by the confusingly titled THE GIRL-GETTERS in the US). Directed by regular Reed collaborator (and notorious scumbag) Michael Winner, it's a fascinatingly layered drama with a star making performance from Reed in the lead. BUT IS IT ANY GOOD? Listen and find out! The post Episode 203 – Further Reeding – The System (1964) first appeared on Cinema Smorgasbord.

We talk about the 1972 Michael Winner film The Mechanic, starring Charles Bronson.      Music is creative commons license from String quartet number 2 op. 10 By Arnold Schoenberg, fourth movement, played by the Carmel String Quartet, with soprano Rona Israel-Kolatt

Republican wet dream Support the Show Patreon: https://www.patreon.com/user?u=84434074 Follow the Show: @freshmoviepod on Tiktok, Instagram and Twitter Follow Chelsea @Chelseathepope Follow Victoria on Letterboxd: https://letterboxd.com/vicrohar/ Email the Show abreathoffreshmovie@gmail.com Shop the Store: http://tee.pub/lic/bvHvK3HNFhk  Show Art by Cecily Brown Theme Music "A Movie I'd Like to See"Arranged & Performed by Katrina EresmanWritten by Al HarleyYouTube Channel  

We talk about Michael Winner's 1974 classic, Death Wish, starring Charles Bronson. 

Lifeforce (aka Space Vampires) is a 1985 science fiction horror film directed by Tobe Hooper, adapted by Dan O'Bannon (writer of Alien!) and Don Jakoby, and starring Steve Railsback, Peter Firth, Frank Finlay, Mathilda May, and Patrick Stewart. It also features John Forbes-Robertson as ‘The Minister' The film is based on Colin Wilson's 1976 novel, The Space Vampires. It portrays the events that unfold after a trio of humanoids in a state of suspended animation are brought to Earth after being discovered in the hold of an alien spaceship. This was the first film of Hooper's three-picture deal with Cannon Films, the other two films are the remake of Invaders from Mars and The Texas Chainsaw Massacre 2. Prior to Lifeforce, Hooper was originally offered the script for E.T. but turned it down. Spielberg then suggested Hooper direct Poltergeist, a project he had written himself and had planned on directing. he took the job and Spielberg went on directed E.T. (and most people also believe Poltergeist as well) Before Hooper, Michael Winner was offered the Lifeforce director's gig, but it didn't work out. And Billy Idol said he had been offered a lead role as a vampire by Hooper, who had directed the video for "Dancing with Myself", but turned it down due to touring commitments. It has been suggested that this is a remake of Hammer Film Productions' Quatermass and the Pit. In an interview, director Tobe Hooper discussed how Cannon Films gave him $25 million, free rein, and Colin Wilson's book The Space Vampires. Hooper then shares how giddy he was: "I thought I'd go back to my roots and make a 70mm Hammer film." Hooper came up with the idea of using Halley's Comet in the screenplay, rather than the asteroid belt as originally used in the novel, as the comet was going to pass by Earth one year following the film's release. Colin Wilson, the author of the source material, was unhappy with the way the film turned out. He wrote of it, "John Fowles had once told me that the film of The Magus was the worst movie ever made. After seeing Lifeforce I sent him a postcard telling him that I had got one better." According to interviews with Bill Malin, who plays one of the male vampires, the film went over schedule during production. Because of this, some important scenes were never shot, and the film was shut down at one time because the studio had simply run out of money. The film marked the fourth project to feature special effects produced by Academy Award winner John Dykstra. Dykstra who has worked on 38 films including: Star Wars, Star Trek the Motion Picture, Batman Forever and Batman and Robin, Spider-Man 1 and 2, and the last three Tarantino films. His last IMDB credit is a fan man Spiderman film that is getting some heat because of racist slurs used by some of the cast whilst promoting the film. The umbrella-like alien spaceship was modelled after an artichoke, while the miniature London destroyed in the film was actually the remains of Tucktonia, a model village near Christchurch, United Kingdom, that had closed not long before the shooting of the film. The initial Director's cut was 128 minutes long. This is 12 minutes longer than the final version, which had several scenes cut, most of them taking place on the Space Shuttle Churchill. According to an interview he gave on the UK talk show Wogan in 1985, most of Nicholas Ball's performance ended up on the cutting room floor Mathilda May had to learn her lines phonetically, for her audition as Space Girl, because she didn't know any English at the time. She then went on to learn the language during the six months she spent in England on this movie. Patrick Stewart has said several times that Tobe Hooper was his favourite director to work with (which is rather unkind to Jonathan Frakes I thought). Music and SFX provided by https://slip.stream and Audio jungle Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

This week we are celebrating 2 important dates; November 1st which marks the day that Death Wish 3 hit theaters back in 1985 and November 3rd, 1921 which was the day that Charles Bronson was born. So what better way to celebrate than to get together "3 of the nicest bad guys ever" from Death Wish 3.  Alex Winter, Kirk Taylor, and Tony Spiridakis played the roles of "Hermosa", "The Giggler", and "Angel".  They talked about their auditions, death scenes, personal experiences with Charles Bronson, Michael Winner, and so much more.  This reunion was put together by myself and Chris Rauch who runs the Charles Bronson Twitter account and we thought, "hey let's get these bad guys together," but what we didn't know was that we reunited 3 people who formed a bond on set and haven't seen each other in almost 36 years. It was quite special to see them together again. This is by far the coolest thing we have ever been a part of, enjoy! You can watch the reunion at sequelsonly.com/DW3Reunion Follow Chris's Bronson Twitter @bronsontweets9 Follow Alex Winter on Twitter @Winter Follow Kirk Taylor on Twitter @IamKirkTaylor The next sequel we are reviewing is "Meet the Fockers" and we interviewed Actor Jack Plotnick who had a small, but a hilarious role in the movie.  You know Jack from the Ellen Show in the 90s, Jenny McCarthy Show, Rubber, and so much more.  Most recently you can see Jack in a lot of guest-starring roles on Z-Nation, Grace and Frankie, Reno 911 Lone Star, and more.  This was a great chat. Follow us on all social media @sequelsonly and our website is sequelsonly.com Review, rate, and share us with your friends, enemies, neighbors, ex's, and even that annoying superm

When will parents learn to listen to their children. A teenage daughter tries to tell her mom that her new husband is trying to kill her and she just won't listen. So much is wrong with this film but we both can't help but enjoy it. Starring Rachael Kelly, David Allen Brooks, Marie Masters, Rocco Sisto, Lolita Lesheim, and Corey Parker. Written by Tom Holland and Directed by Michael Winner in 1984. If you would like to become a supporter of the show you can check out our Patreon page and choose a tier. There are different perks at all levels and every contributor will have access to our Pre-Horror Show. Check out our favorite coffee by clicking on our link: Four Sigmatic Please share the podcast with your friends on social media to help us grow. Leave us a great review on whatever platform you are using. Check us out on Facebook, Instagram, Twitter, and Slasher. If you would like to watch our interviews, you can check out our YouTube channel. If you would like to ask us a question or make a suggestion for the show, send us an email at horrorscriptpodcast@gmail.com You can write us or record a voice memo of yourself asking the question and we can play it on an upcoming episodeSupport the show by picking up some Horror Script Podcast merchandiseIf you do reviews and interviews virtually try Squadcast for free by using our link. You also help support the show by using it. Special thanks to John Saccardo and Vince Lipscomb for the amazing music. Support the show

The one occasion you get Michael Caine and Roger Moore in a movie together and it turns out to be this....sadly its not great but is rescued by ROY ALON as stunt coordinator who creates a number of action set pieces to take your mind off the fact that Michael Winner has written and directed this nonsense.TERRY WALSH doubles Michael Caine and STUART CLARK doubles Roger for the few moments he's in the thick of it.Check out the YouTube video on Friday for more detailsEnjoyIf you've enjoyed this episode then why not follow us on Twitter, Instagram and Facebook using the following linkhttps://linktr.ee/behindthestunts

This week, Josh and Drusilla have the blues, BUT! They cheer themselves up with the incredibly chic The Sentinel (1977.) From wiki: “The Sentinel is a 1977 American supernatural horror film directed by Michael Winner, and starring Cristina Raines, Chris Sarandon, Ava Gardner, Burgess Meredith, Sylvia Miles, and Eli Wallach. The plot focuses on a young model who moves into a historic Brooklyn brownstone that has been sectioned into apartments, only to find that the building is owned by the Catholic diocese and is a gateway to Hell. It is based on the 1974 novel of the same name by Jeffrey Konvitz, who also co-wrote the screenplay with director Winner. It also features Christopher Walken, Jeff Goldblum, John Carradine, Jerry Orbach, Tom Berenger, Nana Visitor and Beverly D'Angelo in supporting roles.”Josh is rewatching Project Runway which causes the pair to discuss how mean the 2000s were and all the nasty reality shows and horror films from the era. Dru brings up the super fucked-up There's Something About Miriam. They discuss the Errol Morris documentary Tabloid. They also discuss The Swan and Boy Meets Boy. Drusilla is really bummed about the allegations against Justin Sane, front man for Anti-Flag. They rage about J.K. Rowling. Enya is the model! Drusilla saw the new Indian Jones and the new Mission: Impossible. Also discussed: Cannon Films, Susan Sarandon, Jeff Goldblum, Charles Bronson, and more!NEXT WEEK: The Addiction (1995)Website: http://www.bloodhauspod.comTwitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.comDrusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/ Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/Joshua's website: https://www.joshuaconkel.com/Joshua's Twitter: https://twitter.com/JoshuaConkelJoshua's Instagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel 

Welcome Goons to our Pride/ Father's day month here on Slashers Podcast! This June's event is where we discuss horror films that highlight the joys and terrors of fatherhood; or maybe just a fun episode celebrating pride, depending on what tickles our fancy this week.  Plus we have a lot of daddies on the show, so why not? Today, join Mikey, Doug, Lance and Ade as they discuss The Sentinel from 1977. Directed by Michael Winner, the film follows a model who rents an apartment in NYC that hosts a sinister evil. The best thing about the film, besides the cat's birthday party, is that it's a who's who of the 70's, as it stars Chris Sarandon, Burgess Meredith, Jeff Goldblum, Ava Gardner, William Hickey, Christopher Walken, Tom Berenger, and Beverly D'Angelo, just to name a few. Even Richard Dreyfuss has a cameo in there. Currently streaming on Tubi, so give it a watch and let us know your thoughts! If you ever have feedback or recommendations on future episodes,  please let us know at slasherspod@gmail.com. You can always find us on our social media: Instagram, Twitter, Slasher App:  @slasherspod Facebook: /slasherspod Reddit: u/slasherspod https://www.youtube.com/c/slasherspodcast You can find our merch, and links to all our online presence here: linktr.ee/slasherspod Theme song is I wanna Die by Mini Meltdowns. https://open.spotify.com/artist/5ZAk6lUDsaJj8EAhrhzZnh ; https://minimeltdowns.bandcamp.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/slasherspod/support

From 2017, Interviews include Executive Producers Ronald D. Moore, David Kantor,Michael Winner and Isa Dick Hackett who is Phili K. Dick's daughter. Plus actor Liam Cunningham who stars in the episode, Human Is. Specual thanks to Prime Video and New York Comic Con. 

Agents Scott and Cam speed away in a booby-trapped convertible with the gritty 1972 Charles Bronson hitman thriller The Mechanic.   Directed by Michael Winner. Starring Charles Bronson, Jan-Michael Vincent, Keenan Wynn, Jill Ireland, Linda Ridgeway and Frank DeKova. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Purchase the latest exclusive SpyHards merch at Redbubble. Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

This week Bring Me The Axe takes a look at the 1977 Michael Winner clone of The Omen/Rosemary's Baby, The Sentinel. Ostensibly the most Catholic horror movie ever made, it's also about as paranoid as a horror movie can be. One damned soul, alone must stand watch over the gateway to Hell and Alison Parker is next in line to take on the mantle. Along the way, literally everyone will manipulate her toward their own ends. --- Send in a voice message: https://podcasters.spotify.com/pod/show/bring-me-the-axe/message

A remarkable feat of action by the stunt team under the watchful eye of stunt coordinator MARC BOYLE, but one sadly overshadowed by the stupidity and arrogance of director Michael Winner.Don't forget to check out the YouTube episode on Friday where we'll analyse the stunts in more detail.Link is belowIf you've enjoyed this episode then why not follow us on Twitter, Instagram and Facebook using the following linkhttps://linktr.ee/behindthestunts

Niet alleen Michelinsterren kunnen koks fataal worden: ook recensenten. Deze week in Top of the Snobs In deze aflevering de unieke en gevreesde restaurantcriticus en schrijver Michael Winner. Hij wist weinig van gastronomie maar liet zich dat niet hinderen in zijn column in de Sunday Times. Jort herinnert zich nog goed hoe hij zelf met een opgerolde krant van de pagina's geslagen werd. Yvo brengt wat sterkers dan normaal te berde. Wat is een snobwaardige bijbaan? De snobs weten raad. En in deze agriculturele tijden maken ze een klein beetje ruimte voor de politieke boer die verder nooit geen beurt kreeg. Verder wacht de snobs een zware taak: een keuze maken uit vijftig tinten wit. Tot slot nemen de snobs wat feedback van luisteraars voor kennisgeving aan.

In this episode of the Who's He? Podcast.... Doctor Who: Peter Cushing and The Daleks In this podcast, Phil is joined by an old friend of the show, Jim Cameron from the Krynoid Podcast and the Mutoid Podcast to chat about both Peter Cushing Dalek movies, Dr. Who and The Daleks and Daleks Invasion Earth 2150 AD. Both of them scratch their heads and try and remember when they first saw these films and Jim reminds Phil of his dislike of Michael Winner. You can find us on Twitter and Facebook and you can subscribe to our show on Apple Podcasts/iTunes, Spotify, Amazon Podcasts, Google Podcasts and many other podcatchers and don't forget to subsribe to our Youtube Channel. You can find Jim's podcasts by clicking on the links below: https://krynoid.libsyn.com/ https://mutoidpodcast.libsyn.com/ #doctorwho #petercushing #daleks

 This week an all star cast of different generations stumbles upon a doorway to hell in an apartment in New York in 1977's THE SENTINEL directed by Michael Winner of Death Wish fame. Plus, musical guest "BRED FOR SLAUGHTER" appear courtesy of Horror Pain Gore Death Productions. (horrorpaingoredeath.com)

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

Comedians Mike Suarez & Melissa Diaz join Zac Amico for a viewing of “The Sentinel,” a 1977 film directed by Michael Winner where a young woman moves into an apartment in a building which houses a sinister evil.Air Date: 01/20/22Support our sponsor!Fans over the age of 21, go to yokratom.com – home of the $60 kilo!The newest 15 episodes are always free, but if you want access to all the archives, watch live, chat live, access to the forums, and get the show five days before it comes out everywhere else - you can subscribe NOW at http://www.GaSDigitalNetwork.com and use the code ZAC for a 7-Day FREE Trial and save 15% on your subscription to the entire network.Check out https://www.PodcastMerch.com/ZAC to get EXCLUSIVE Zac Amico merchandise!FOLLOW THE SHOW!Zac Amico:https://www.instagram.com/zacisnotfunny/https://www.twitter.com/zacisnotfunny/Mike Suarez:https://www.instagram.com/mikevsuarezhttps://www.twitter.com/MikeVSuarezMelissa Diaz:https://www.instagram.com/melissadiaz4uhttps://www.twitter.com/tinystories4uSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Première partie de notre portrait musical de Jerry Fielding, compositeur torturé et sans concessions qui a entre autres mis en musique l'essentiel des films des réalisateurs Sam Peckinpah et Michael Winner.

Alex Shephard, senior writer for The New Republic, returns to Junk Filter to discuss two demented grindhouse classics from the English director Michael Winner, the notorious Charles Bronson thriller Death Wish 3 (1985) and a recently rediscovered home invasion melodrama from the year prior, Scream For Help. Both films have much in common: two trashy and violent melodramas, both set in New York State but mostly filmed in London. each with an original soundtrack from a member of Led Zeppelin! Alex says Death Wish 3 is a work of American fascist art, a proto-MAGA vision that helps to explain today's reactionary conservative mindset. Scream For Help is like an R-rated After School Special that couldn't be made today and is a must-watch for DW3 heads. Plus! A supersized post-mortem of the World Cup in Qatar, including the greatest WC final ever, Messi securing GOAT status, the crashing-out of Cristano Ronaldo from elite status in football, and how journalists managed to cover the tournament while also combatting the sportswashing efforts of FIFA and the host country. Vamos Argentina Carajo! Happy Holidays! Thank you to the listeners and patrons. We'll have new episodes in early January! There are over three dozen premium episodes of the show available exclusively to patrons: some notable previous Patreon guests include Jared Yates Sexton, Jacob Bacharach, David Roth, Bryan Quinby and Sooz Kempner. More to come! Sign up at https://www.patreon.com/junkfilter Follow Alex Shephard on Twitter. A clip from an industrial commercial for the Wildey .457 Magnum, tied into the release of Death Wish 3 Trailer for Death Wish 3 (Michael Winner, 1985) Trailer for Scream For Help (Michael Winner, 1984) Winner promoting Death Wish II in the UK before getting his ass handed to him by BBC presenter Anna Raeburn over the film's depiction of sexual assault, 1982 An archive of some of the “Winner's Dinners”: a long-running restaurant review column for the Sunday Times “Fox Sports' US World Cup Coverage Is An Unmissable Abomination” by Alex Timms, for The Guardian, December 5, 2022

Bullseye! (1990) Find out what happens when two great British actors meet one of the country's most successful directors. Ian's joined by Mark Plant to review Michael Caine and Roger Moore in the Michael Winner directed Bullseye! We also discuss the latest Sight and Sound poll and Agnes Varda's Cleo from 5 to 7

In a not at all literal cry (or scream) for help, Jeffrey and Richard discuss Scream for Help (1984), directed by Michael Winner. Sometimes they think it's a movie, but in fact, it's a revolution. Please enjoy them.Jeffrey's blog:http://nessuntimore.blogspot.com/Jeffrey's other podcast:https://podcasts.apple.com/us/podcast/super-chillers/id1589557499http://doomedmoviethon.comhttp://doomedmoviethon.blogspot.comhttp://legionpodcasts.coms

In a not at all literal cry (or scream) for help, Jeffrey and Richard discuss Scream for Help (1984), directed by Michael Winner. Sometimes they think it's a movie, but in fact, it's a revolution. Please enjoy them.Jeffrey's blog:http://nessuntimore.blogspot.com/Jeffrey's other podcast:https://podcasts.apple.com/us/podcast/super-chillers/id1589557499http://doomedmoviethon.comhttp://doomedmoviethon.blogspot.comhttp://legionpodcasts.com The post H!TITDS #256 – Scream for Help first appeared on Legion.

Today we're talking Bullseye with Roger Moore and Michael Caine directed by Michael Winner. Guests joining me are British Film producer Jonathan Sothcott & editor of Bond Suits Matt Spaiser.  Some style, some trivia, some good times. You can also find some more style chat around this film on our YouTube channel where we break down the suits and ties in more detail.  Matt: https://www.instagram.com/bondsuits/ Jonathan: https://www.instagram.com/jonathansothcott/ More giveaways and info can be found on my blog: https://fromtailorswithlove.co.uk/about and listener mail is here:  fromtailorswithlove@gmail.com From Tailors With Love is not represented, endorsed, sponsored or supported by EON, MGM, Danjaq or any other 3rd party.

Other projects have thrown off my podcasting schedule so I present this short episode as a bridge to our next full show. Troy joins me to respond to a couple of emails addressing some questions about THE MECHANIC. This includes some fascinating insight into director Michael Winner's reputation from someone who has interviewed him! Exciting. We hint around about some of the projects that have been occupying our time recently without giving away any information we shouldn't. I think.   I also make public my plea for a certain genre of adventure films to get more love and attention from Blu-Ray companies. We dart off in odd directions a few times with Ken Russell movies and lesser known Michael Caine films getting some discussion.   If you want to be a part of future mailbag segments thebloodypit@gmail.com is the address. Let us know what you think and we'll be back soon. 

“What's going on here? I'm lost.”On this show we review Michael Winner's FIREPOWER (1979). A film where the plot is almost as bonkers as the cast. We're joined by Nick Rehak to try and work out what on earth is going on and discuss the exploding helicopter action.Show notesFirepower (1979)Directed by: Michael WinnerCast: James Coburn, Sophia Loren, OJ Simpson, Vincent Gardenia, Eli Wallach, Jake La Motta, Victor MaturePlot: A retired hitman is hired by the F.B.I. to track down a powerful and reclusive businessman who is suspected of murder. Episode: 125Follow Exploding HelicopterTwitter: @chopperfireballWebsite: explodinghelicopter.comInstagram: explodinghelicopterFollow Nick RehakTwitter: @TheRehakWebsite: Rehak Radio

This week's bonus episode sees our hosts Dominic Lawton & Ken B Wild zipping up their red tracksuit tops and getting some cold blooded revenge on the 1985 film - BLOOD DEBTS. The boys discuss bad movie legend Richard Harrison, the similarities to Michael Winner's 1974 film - Death Wish and of course, that end scene! Meanwhile, Dom laughs through some of the truly bad dubbing this film has whilst Ken reminisces about picking a drunken man up out of his own urine. Have you got a question or would like to send us your own film pitch that we will read out on the podcast? Email us! Visit our website for more episodes & written reviews : WWW.BADMOVIECULT.COM Follow us on TWITTER Follow us on INSTAGRAM Join us on FACEBOOK Dominic Lawton can be found on TWITTER Ken B Wild can be found on TWITTER Got a spare minute? Leave us a rating or review on iTunes!

Comedians Mike Recine and Rufat Agayev join Zac Amico for a screening of “Death With II.” Starring an old Charles Bronson and directed by Michael Winner, the movie follows architect Paul Kersey, who once again becomes a vigilante when he tries to find the five street punks who murdered his daughter and housekeeper– this time on the dark streets of Los Angeles.Air Date: 03/18/22Support our sponsors!Visit https://www.rockauto.com/ for all your auto-part needs, and let them know you heard about them on Zac Amico's Midnight Spookshow!Fans over the age of 21, go to https://yodelta.com/ and use promo code GAS for 25% off your order!Visit https://zippixtoothpicks.com/ and use promo code SPOOK10 for 10% off your order. The newest 15 episodes are always free, but if you want access to all the archives, watch live, chat live, access to the forums, and get the show five days before it comes out everywhere else - you can subscribe NOW athttp://www.GaSDigitalNetwork.comand use the code ZAC for a 7-Day FREE Trial and save 15% on your subscription to the entire network.Check outhttps://www.PodcastMerch.com/ZAC to get EXCLUSIVE Zac Amico merchandise!FOLLOW THE SHOW!Zac Amico:https://www.instagram.com/zacisnotfunny/https://www.twitter.com/zacisnotfunny/Mike Recine:https://www.instagram.com/mikerecinecomedyhttps://www.twitter.com/mikerecineRufat Agayev:https://www.instagram.com/rufatcamp https://www.twitter.com/Rufatcamp See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.