Podcast appearances and mentions of Mike Newell

High school principals are warning they can't work with a new Ministry of Education interpretation on how schools are considered "open for instruction". Secondary Principals' Association vice-president Mike Newell spoke to Alexa Cook.

On the heels of Toronto FC's epic 6-1 trashing of rivals CF Montreal, hosts Mike Newell and Michael Singh break down the game – and what it could mean for the Reds moving forward. Will Ola Brynhildsen breakout? Will more goals come from Federico Bernardeschi? Playoffs!? Don't miss out. Hosted on Acast. See acast.com/privacy for more information.

We're back and we got a good one! It's a fine line between cop and criminal…what happens when one finds himself on either side of the road? On this one, we have Bill Duke's raw 1992 thriller “Deep Cover” vs. Mike Newell's influential 1997 thriller “Donnie Brasco”. Which one wins? Let's find out! Aftershow: Brad […]

It's a positive vibes show! On the heels of Toronto FC's best performance of the season, Michael Singh and Mike Newell break down the Reds 1-1 draw to Inter Miami and discuss what it could mean for this team moving forward. The duo give love to Federico Bernardeschi, Nicksoen Gomis, and Lorenzo Insigne!? Don't miss out! Hosted on Acast. See acast.com/privacy for more information.

After Toronto FC's 2-2 opening-day draw away to DC United, hosts Mike Newell and Michael Singh are joined by John Molinaro of TFC Republic to break down the Reds' first performance under new head coach Robin Fraser. The crew discuss Theo Corbeanu's debut, Henry Wingo, Federico Bernardeschi – and much more. Plus, some insight into what it's like to travel to an away game as a Toronto FC supporter and beat reporter. Don't miss out! Hosted on Acast. See acast.com/privacy for more information.

We're just days away from the 2025 Toronto FC season as hosts Mike Newell, Jeffrey P. Nesker, and Michael Singh are joined by GIVEMESPORT's MLS Insider Tom Bogert to tee up the start of the season for the Reds – and discuss the Lorenzo Insigne saga. Plus, the crew are joined by James Grossi to chat about why Toronto FC could be a "surprise" this year – positive vibes only! – and the impact Robin Fraser could have in his first season as head coach of the TFC. Don't miss out! Hosted on Acast. See acast.com/privacy for more information.

The boys are back, as hosts Mike Newell and Michael Singh chat storylines from Toronto FC's pre-season game against Fredrikstad FK in Marbella, Spain. The duo talk about Theo Corbeanu's impressive showing, Lorenzo Insigne's...showing – and glaring needs for the Reds ahead of the start of the season. Plus, is it time to panic with no signings on the horizon? Michael Singh provides the lowdown on why fans should stay patient. Don't miss out! Hosted on Acast. See acast.com/privacy for more information.

It may be the end of Goblet of Fire's microwave minutes, but Mike Newell's magnum opus is far from over! There might not be much dialogue as Harry completes the Second Task, but Alice, Martha, and special guest Shut Up Tim still find plenty to nitpick, from ze grindylows to Hermione's sub-par impression of Fleur. Please consider supporting us on Patreon! www.patreon.com/realweirdsisters New episodes are released every Monday and special topics shows are released periodically. Don't forget to subscribe to our show to make sure you never miss an episode!

« Celle qui rêve de devenir écrivaine » c'est quoi, ou plutôt c'est qui ? Eh bien c'est moi, Aurélia, 40 ans, passionnée par l'écriture, biographe, prête plume et aspirante écrivaine. Dans ce podcast, sous forme de journal de bord enregistré spontanément, je partage avec vous mon travail autour de l'écriture de mes romans principalement. Vous y retrouverez donc des problématiques d'auteur, des réflexions, des techniques et des astuces autour de l'écriture, mais pas que. Le but de ce podcast : vous faire vivre le processus créatif d'une aspirante écrivaine en train de se faire, en passant par toutes les étapes de la création d'un roman. Si vous écrivez vous-même ou que vous êtes intéressés par les secrets de fabrication, vous pourrez donc vous y retrouver et piocher quelques conseils, des pistes de travail et de réflexion, voire des sources d'inspiration. Dans cet épisode, je vous parle de préparation de roman, de structure, de matériau autobiographique, de méthode de travail, de plan, d'efficacité, de recherches, d'enjeux, d'enthousiasme, de concours, d'autofiction, de public cible, d'intrigue, de dynamique de groupe, de fleur bleue, de second degré, de nouveaux retours de professionnels et de bien d'autres choses ! Les références abordées dans cet épisode : Livre : — « Leurs enfants après eux » de Nicolas Mathieu – Actes Sud Auteur : — Olivier Norek Podcast : — « Journal d'un roman » d'Amandine Delecray Série : — « Stranger Things » de Matt et Ross Duffer Films : — « Harry Potter » d'Alfonso Cuarón, Mike Newell, David Yates, Chris Columbus d'après J. K. Rowling Si vous aimez ce podcast, vous pouvez vous y abonner, mettre des étoiles, me laisser des commentaires sur Apple podcast, ITunes, Spotify ou encore le partager autour de vous. Si vous souhaitez échanger avec moi, rendez-vous sur Instagram @aureliahorner. Je serais ravie de vous y retrouver

This week, in Part Two of Saturday Matinee with Friends, Janet and John continue their talk with Mike Newell at home in London to discuss his life, films, and some amazing revelations. 

In this special two-part Saturday Matinee with Friends, Janet and John visit Mike Newell at home in London to discuss his life, films, and some amazing revelations. 

"Mona Lisa Smile" is a universal film that aimed towards people who thnk they have their futures written in stone. A film directed by Mike Newell, stars Julia Roberts as this free-spirited teacher who travels over to the east coast to teach at an institution where women are guided to be submissive wives/partners. This was set in the mid-'50s. I never really focused on Roberts in films but this one really swept me to a point. I love her character as Katherine Ann Watson. She doesn't let anyone really dictate her life and style. The film is not about style but about how to hold on to your own and that you're not confined anywhere especially if you have personal goals set. I did like that they did a good job balancing the principle characters' dilemmas which is difficult to do in screenwriting, period. The plot is all right but I didn't like how they tackled it where it was an examination of the women in the film rather than playing high stakes. I didn't mind how it played out for Roberts' character but in connection to the other characters that support her morals & goals as a film, was weak and needed more work to established.Three out of four tokes.

We are in the studio of BAFTA-Wales winning composer Alexandra Harwood! Come along as we take a deep dive into Alexandra's work on ballets such as 'Geisha', film/television shows including 'All Creatures Great And Small' and Mike Newell's 'The Guernsey Literary And Potato Peel Pie Society', as well as our common experiences in educational institutions such as the Royal College Of Music, UCLA, and the National Film And Television School.For the first time in Composers In A Jukebox history, we are also joined by a gorgeous golden retriever, Brinkley, who makes a lovely cameo in this episode!

This week, director Mike Newell comes to CSS Saturday Matinee with friends LIVE in London!

Live at the Twenty Two Club, Director Mike Newell does the BAFTAS! This week Janet and John are joined by special guest Mike Newell to compare six of this year's BAFTA-nominated movies with six of the greatest British films. To learn more about this episode and others, visit the Official Cinema Sounds & Secrets website. And check out our Instagram, @cinemasoundspod!

Alice and Martha are once again joined by special guest Shut Up Tim to discuss another brilliant five minutes of Mike Newell's magnum opus! Hermione chastises the boys, Harry enters a REM cycle in record-breaking time, and Alfonso's influence helps move the film along. Viktor might not be particularly loquacious, but luckily for you, the sisters are! Please consider supporting us on Patreon! www.patreon.com/realweirdsisters New episodes are released every Monday and special topics shows are released periodically. Don't forget to subscribe to our show to make sure you never miss an episode!

On the heels of Toronto FC's Massive 2-1 victory over Austin FC, hosts Mike Newell, Michael Singh, and Jeffrey P. Nesker break down the reds' performance – including Richie Laryea and Jonathan Osorio's impressive outings. The crew then get into the three burning questions, including who should start at ST for the home stretch. Don't miss out! Hosted on Acast. See acast.com/privacy for more information.

```htmlHey everybody, welcome to Hit Rewind. This is Michael, and Jacob's on the other side. We are discussing the films of 1997. We're finally here! Yes! Look, I know- Action, baby! We had a game plan, and I got bored. I'm sorry, I'm a little erratic. We were going to go through the 60s and 70s and pick up stuff we missed in the 80s and 90s, and I said, I can't take any more westerns and war movies! Movies and other than that it seems like it's gonna be really hard to finish off the 60s and then hopefully we can burn through the 70s but for now i think for the rest of this year until you go on hiatus again we're just gonna do 97 probably 98 i seriously doubt we'll get through 99 but let's get started everybody what's the first movie of 1997 you want to discuss, well this one i wanted to get out of the way i hadn't seen this before and i didn't even know it was sort of like a follow-up to fish called wanda fierce creatures you know what's funny is you usually miss it you're like i'm gonna get this out of the way because this thing's a piece of fucking shit no i mean you have to start someone with these lists yeah to any of them well a lot of people do a lot of people do think this is a piece of shit it was a huge flop, critics hated it it got dumped like the second week of january no one gave a flying fart about it i don't think it's that bad is it is it because fish called one is probably considered at least bare minimum on every list a top 25 comedy of all time. Do you think those expectations are what ruined Fierce Creatures? Definitely have an impact. That would be a contributing factor. Yeah. You can't rule it out. The director did switch halfway through the movie and there was some reshoots to fix the entire ending. The last 20 minutes or so were completely reshot. So when his father shows up at the zoo, he died in a completely different way so before he gets shot in the head that whole thing was re-shot so that cost a lot of money and delayed release and stuff like that so that was a little bit. A little bit part of it's like flow is a little off. I think the only thing that really hurts this movie to me is I think some of the jokes don't work and they're not, they're not as macabre as they should be. It's so dark and weird in fish called one. I feel like they're pulling their punches a little bit in this one. Yeah. Oh, but for that, Oh God, that scene at the end, she did not expect that. Yeah. I mean, yeah, you get your supporting cast, like you got like Michael Palin coming back as well. Along with Jamie Lee Curtis, Kevin Kline playing two roles, you know, basically the owner of the company trying to buy the zoo and then his son, you know, trying to show that he can run things. Yeah, you know what's funny is in the original cut, he shows up as his mother. So he played three characters. Oh, no, Kevin Kline could pull that off. It's funny, I mean, especially after Wild Wild West. Yeah. It's so funny is after he won the Oscar, It seemed like he struggled in mainstream films that he had to go do smaller, more independent-minded movies. Life is a House and, oh, there's a teacher one that he did that was really good. But it's like whenever he does a big studio film, it seems like it's a struggle. Oh, In-N-Out, right? Is that what you're talking about? Well, yeah, In-N-Out's the one that won him the, I don't think he won, but he might have got the nomination. But it just seemed like he would jump from major movie and then just, like, it wouldn't do very well. then he would go do some independent smaller stuff and then that would, you know, rock the house. Because if you remember, the first entry in this, the whole Fish Called Wanda, was an independent movie that was picked up by MGM. Oh, wow. Oh, this was produced by Danny DeVito. See, that makes me even more depressed because it should have been more demented. Oh, absolutely. I mean, come on. I mean, after, what, War of the Roses, and The Law from the Train, and then later on Death of Smoochie, yeah, no, you'd think it would be a little bit more crazy. Yeah, I'm looking... Go ahead. but yeah that scene though like near the end to like you know open keep things up going yeah that did throw me for a loop I was like holy shit I did not expect that to happen of course Michael Palin's character you know being one of the loop keepers. You know, keep his area funded, you know, always talking about like deadliest animals. They have to be. And then, bam, the little piece shooter. Like, oh, my God. Well, that's if you haven't seen this movie, what it is, is this is a takedown of Fox News. This is a Kevin Kline is playing Rupert Murdoch. He flat out is. And his whole thing is consume. And it's still going today. Consume whatever you can to make your corporation even bigger. But in order to turn a profit from what you just spent buying a thing, you have to do massive cuts. So they're they're they're firing people. They're adding tons and tons of stupid advertising, but they're also getting ready some of the animals. And Rallo, who's played by John Cleese, is in charge. He's ex-military and they think that he can be really hardcore, you know, cutting this place down to the bone to make a profit. Because it's not just a profit, though. Wasn't it 20 percent is what they had to have? Yes that's insane like especially in the beginning of owning something you kind of have to eat the the profits for a while until you get things up and running and exactly you gotta spend some money to make yeah but you saw this with rupert murdoch and stuff like that and other guys like ted turner who bought shit up and didn't really fucking care as long as it built his empire and made money so and what they just happened with disney disney buying up ironically fox but also Also, like shutting down Blue Sky, you know, trimming the fat on any independent movies, small stuff. They basically destroyed Fox Searchlight. It barely exists now. So this is nothing new. So 25, almost 30 years ago, this movie really had their finger on the pulse. Pretty much. Oh, gosh. It does make a whole lot of sense. Just like how they had to have like some of the zoo staff dressed up as animals. All these stupid little, you know, advertisement boards and posters. The fake panda. Oh god yes animatronics and all that you know i know that gorilla suit is fake but god that was convincing that was really really good make yes god i mean honestly as much as i enjoy congo yeah that looked a lot more accurate than congo yeah but yeah so he has to find ways of keeping the animals alive keeping the place open but there's this whole subplot of somehow rollo keeps getting in these like situations that make him look like the biggest swinger in all of england like the most fuckable man in the whole place and everybody's just kind of confused by it i mean jimmy curtis seems to be confused by him and also amused and turned on exactly that's why she's kind of seducing him in the end yeah and all the while like kevin klein the son when he's playing the son he's trying to get with earth they have something like no this is purely a partnership you know this is a workplace professional relationship but i think nothing intimate it works out for him because he is a fucking what do you call that sex pest yeah he's a sex pest his whole thing but they finally find a piece for his character in that you know you've, To be fair, it took him accidentally killing his father. But, you know, like, give him the zoo. Just let us run this. Or no, get him to run the corporation, whatever. Now, the whole thing about faking the death is one of the most ridiculously comical things I've ever. The whole, oh, I'm in my dark phases. I gotta go be by myself in the barn. Oh, yeah. Then the whole shtick, trying to find everything, put everything in the right place. Make sure there's no suspicion that it was actually a suicide. Yeah. Like, the space in the gun and everything. And then having to carry on and provide those lines. Yeah, I think it's a really fun movie. But, yeah, it tanked so hard. Originally meant to be $18 million. The reshoots cost another $7 million. And it only made about $8 million in America. Thankfully, it made some decent money overseas. But in comparison, this only made $40 million. Dollars fish kawada beat 198 million and it only cost half of this oh yeah that's a huge drop, all right so what is our next film this one okay this is a bit of a turn this is we're going a little we're going dramatic with this one and this is what you know mainstream audiences take johnny depp far more seriously yeah donnie brosco i'm trying to think was he he was in that nick of time movie a couple years before this that you and i both enjoyed but guess what nobody saw it was a huge flop yeah before this it's either his movies were very very small independent movies like dead man or it was him just being quirky and cute you know like benny what did bonnie and june benny and june benny and june right stuff like that you know where he played quirky eccentric this is the first one besides nick of time that people are like oh he can play a normal dude which he rarely did. And I still think Pirates of the Caribbean is the worst fucking thing that could have happened to him. I mean, at the time it seemed great, but who knew that all that money, all that excess, all those demands for him to play weirdo characters for the rest of his goddamn life until just recently would just undo him. Absolutely. That and, of course, his on-set behavior. Yeah. I'm not really going to get into it, but I just think both of them are kind of fucked up. I don't know. I'm not choosing a side. It's just sometimes you look at the parties and go, yeah, you guys should have never been together in the first place. This is just... Yeah. No, fuck both of you. Yeah. So, yeah, Donnie Brasco is actually the only dramatic one in this bunch because it's weird how I make my list. And this just happens sometimes where we get predominant copies. I think the next one is predominantly thrillers. But yeah, this one is based on a true story. Undercover officer in the 1970s who had to infiltrate the mob. And it's really interesting is having Robert De Niro or Al Pacino play mobster gangster kind of guys was nothing new at this point. Both of them had done at least three or four movies in this vein by this point. But what's interesting is Al Pacino had the guts to accept a role where he was a fucking loser. Pretty much. Yeah, I know. know he was just a wise guy street hustler you know yeah just real low level bottom never gonna be running his own crew this is the closest he's gonna get to success and he gets there with the help of donnie brasco and just just the fucking tension throughout this movie it's not like like suspense movie dread you know like where you think it's gonna be big jumps there's just this This never-ending, oh God, at some point they're going to figure it out. What is going to happen? Is Al Pacino going to sell him down the river? Is Johnny Depp going to have to kill Al Pacino? You just don't know. Exactly. And then there's supporting characters. You've got other wise guys. Michael Madsen did a great job. And in one particular scene, yeah, he kind of screws over Al Pacino. Yeah, there was a point where Michael Madsen, he was never like a big star. But he was always getting quality work and supporting parts. And then he would go off and do like little independent stuff, sometimes trash, sometimes not. And now you look the last 20 years of his career since Kill Bill has been fucking embarrassing. Because he, like Eric Roberts, have this thing where they will literally accept any role for a certain amount of pay a day. And I shit you not, I looked it up. He gets $8,000 a day. He'll do any giant piece of fucking garbage they'll shoot everything in a day or two slap his name at the top of the the post or whatever and that's it he did have a part in sin city yeah so long ago man yeah and then of course there was the the hateful eight, Yeah, if Tarantino or Rodriguez are not involved, it's going to be garbage. I don't know what it is, if he's difficult to work with or he's lazy and tired. I don't know. But it's always a shame when you see actors just do this. I know. It sucks, especially when they had such prominent careers. Yeah. And then there's James Russo, who's another one of those that guy kind of. He's like Michael Madsen's right hand man. It's one of those works filled with guys who just did lots of gangster monster movies. This kind of seems almost like not a goodbye to the whole thing because I feel like Casino was kind of saying goodbye for a while. But this is because it's based on a true story. There's something just slightly different than trying to be a Goodfellas clone. Almost somewhat, yeah. Whoa, Donnie Brasco was a massive hit. I had no fucking clue. It made $125 million worldwide. That's wild to me. Yeah, absolutely. So, yeah, this is what definitely catapulted Johnny Depp to success. And he needed it because it'd been a while since he had a hit, I think. Yeah, I mean, especially if, like, Tim Burton's name wasn't attached to it. Yeah, because Don Juan DeMarco and Benny and June were probably his biggest, but they weren't, like, you're talking like $30 million. That's not a big hit. So this is kind of that next level. And I don't know what's next that really breaks big. Sleepy Hollow, maybe? No, I'm pretty sure there was something else. Yeah. No, Blow is after Sleepy Hollow. But yeah, he's just interesting watching his career go. I wonder if the director, Mike Newell, had seen him on 21 Jump Street where he plays more of a character like this. And that's why he cast him. Because he was an undercover cop. Yeah. So I wonder if that's why he cast him. Oh, man. I will tell you one thing. Like the intensity in that Japanese restaurant. Yeah, exactly what I was going to say. But he couldn't because he had the wire there and off. He also ended up giving the group some balls yeah the uh they're disrespectful as hell it's incredibly underrated i think kind of been forgotten in his oeuvre i think the most tense scene though is the one where there's a rat in the group and they're talking about when they're arrested and and and al pacino is kind of saying it and you know oh fuck they're gonna come after him but then you also start remembering bruno kirby was pulling some side deals with selling inhaling cocaine it's funny is that yeah neither one of them ratted each other out but all of it had here's the thing is the rap part had nothing to do with anybody in the group except that one guy who was going to run the bar and forgot to pay off the cops that's it and if he had just told him like i fuck up i i forgot to pay the cops i don't think he would have been shot but he would have been kicked out of the group and probably had his ass beat and then they wouldn't have had to kill someone else oh yeah exactly yeah oh god. Especially after that big execution scene where they took out rival gangsters. Yeah, yeah. I really thought that, oh, they're going to bring him in and they're going to at least bare minimum beat the fucking shit out of him. But no, they were just setting Bruno Kirby up. So they knew about the coke deal. Yeah, it's hard when you're undercover, you're not supposed to break the law. And while he doesn't take part of the shooting, he does take part of hacking somebody up, and that's a crime. Exactly. Yeah, I know. Yeah, and again, this being based on a true story, he's been in hiding ever since because there's a big, there's like a bounty on his head. Yeah, there's apparently another movie with his character that another mission that he went on where it's called Wise Gal. I think it was a TV movie with, I think, Jennifer Love Hewitt, Jason Gedrick, and James Caan. Huh, never knew about that. Yeah, I have to look it up, but I feel like his character, Joe Pistone, there's another case that got turned into a movie. What is our next one oh god sorry right one more thing about that ending though al pacino as soon as he like got that call and he was leaving telling his girlfriend you know i'll be back later if not don't wait up he knew it was going to be oh yeah everything just got revealed and he let someone into the organization who was an undercover cop that's why he left all his jewelry and everything yeah that was a really good scene because it's so quiet and he doesn't really do much besides you see the the the resignment i guess in his eyes just finishing it up going accepting his fate instead of going on the run because you know why they probably would have killed her if he ran exactly and it's like doesn't have much doesn't have much longer it's like you know that's pretty much where his life would be did you want to get any lower than where he is oh you know what i'm sorry i said i must have got confused on the way it was turned into a tv TV series with Jason Gedrick in the year 2000 called Falcone, which is just another play on it's still Joe Pistone's story is just they changed the character because it's a different mission. There is a really, really good TV show that came out the same exact time as 20 on Jump Street from the same creator. And it's called Wise Guy. It was only on for four years and really just watched the first year and it's about a guy who goes deep undercover with the mob and so every 13 episodes there's a new arc where he goes on a new mission you should watch that first season it's really fucking good yeah. What is our next for sure next will okay definitely part of a classic part of a classic franchise for Warner Brothers starring Chevy Chase called Vegas Vacation not the final entry I think a lot of people don't know that Christmas Vacation 2 even exists it was a TNT movie where it's cousin Eddie and the family and I think the very first Audrey goes with them to an island they They get kind of like, what is it, Robin Crusoe kind of thing, where they just trap the island trying to survive during Christmas. It's a comedy, but it's not very good. But for most people, this is it. And look, I know there's a lot that doesn't work in this. There's a lot of jokes that seem to kind

It may take nineteen minutes before getting to the meat of the show, but Alice, Martha, and special guest Shut Up Tim are so excited to talk about the next five minutes of Mike Newell's magnum opus! This week, twins start getting their own personalities (and looks), Cho stumbles over her words while accusing Harry of being a mumbler, and the OG MVB makes its appearance. AWKWARD!!Please consider supporting us on Patreon! www.patreon.com/realweirdsisters New episodes are released every Monday and special topics shows are released periodically. Don't forget to subscribe to our show to make sure you never miss an episode!

After Toronto FC's 2-1 come-from-behind win over the Philadelphia Union, hosts Mike Newell, Jeffrey P. Nesker, and Michael Singh discuss whether Saturday's win could be a(nother) turning point in the season for John Herdman's side. Plus, the crew discuss the upcoming transfer window and the priorities for Jason Hernandez, Sean Rubio and co. Don't miss out! Hosted on Acast. See acast.com/privacy for more information.

Alice, Martha, and special guest Shut Up Tim discuss the fourteenth five minutes of Mike Newell's classic masterpiece. There's plenty to talk about this week, including twinspeak (times two), alliterations, dancing lessons, and the return of the OG MVB Nigel! And by the way, who's Pinch??Please consider supporting us on Patreon! www.patreon.com/realweirdsisters New episodes are released every Monday and special topics shows are released periodically. Don't forget to subscribe to our show to make sure you never miss an episode!

Was Saturday's 4-1 defeat to the Chicago Fire Toronto FC's worst performance of the season? John Herdman certainly thinks so, as the crew Mike Newell, Michael Singh, and Jeffrey P. Nesker discuss the TFC head coach's post-game comments, while also diving into the play of the Reds' midfield – including Alonso Coello. The boys also wonder if it's time to start asking questions about Deandre Kerr — and Lorenzo Insigne's body language. Don't miss out! Hosted on Acast. See acast.com/privacy for more information.

A jam-packed one-hour edition of Toronto Til I Die + Who Are Ya, as hosts Mike Newell and Michael Singh begin by chatting about the Canadian men's national team's thrilling international window that saw Les Rouges take on Netherlands and France. The crew then jump into Toronto FC before bringing on special guest Alex Campbell, host of the CHGO Fire Podcast, to get to know TFC's upcoming opponent this weekend. Don't miss out! Hosted on Acast. See acast.com/privacy for more information.

THE Toronto FC fan show with your host Mike Newell … wait, nope, not Mike Newell. it's just Jeffrey P. Nesker and guess what sports fans - He's doing a chaos tonight. LOOK MA! NO MIKES!Just like the club we love, It's “Next Man Up PC” (PC for podcast)Got some great ringers: Noel Allen from our sister show, The Tunnel Club, and as a bit of an apology for Mikey Singh leaving him out of the “TFC beat reporters deserve praise not scorn, the G Money story” rant from last week's show, everyone's favourite OG TFC gumshoe, the man with many hats himself, Mr. James Grossi, ESQ!We're going to spend the next hour or so breaking down everything that went right in Toronto FC's mid-week demolition of CS St. Laurent and everything that went … wrong? in TFC 4-3 loss at home to defending shield holders FC Cincinnati. So we're talking about the Refereeing, mostly. Hosted on Acast. See acast.com/privacy for more information.

Let's run this one back again to see if we can get a different result! Fresh off the invite to the Toronto ‘Til I Die podcast, Geoff brings Mike back to discuss this wholly transformed Toronto squad, their surprising draw in Cincinnati last time, and how they've turned their 2023 poverty into 2024 prosperity. Perhaps we can figure out where to send this season's Wooden Spoon? Tune in and trade threads with us! #MLS #FCCincinnati #soccer Become a Patron! Special thanks to this month's new Patreon signups. Subscribe to Cincinnati Soccer Talk Don't forget you can now download and subscribe to Cincinnati Soccer Talk on iTunes today! The podcast can also be found on Stitcher Smart Radio now. We're also available in the Google Play Store and NOW ON SPOTIFY! As always we'd love your feedback about our podcast! You can email the show at feedback@cincinnatisoccertalk.com. We'd love for you to join us on our Facebook page as well! Like us at Facebook.com/CincinnatiSoccerTalk.

On the heels of Saturday's spectacle, hosts Mike Newell, Jeffrey P. Nesker and Michael Singh dissect Toronto FC's incredible 5-1 win over rivals CF Montréal. The crew touch on the special atmosphere at BMO Field, before giving kudos to a number of players, John Herdman, and even GM Jason Hernandez. Like this past weekend, the vibes were high. Don't miss out! Hosted on Acast. See acast.com/privacy for more information.

Mike Newell and Michael Singh are joined by NYCFC reporter Andrew Leigh to help tee up Saturday's Toronto FC home match vs. New York City FC. The crew get Andrew's thoughts on NYCFC's season to date, as well as his perception of the Reds today. Hosted on Acast. See acast.com/privacy for more information.

On the heels of Toronto FC's 3-1 victory over FC Dallas – the club's fourth win a row – hosts Mike Newell and Michael Singh break down the club's impressive victory and strong run of form. The crew get into whether or not TFC is the real deal or if fans should temper their expectations. Plus, the duo discuss Federico Bernardeschi's strong run of form, Tyrese Spicer's game, & what to expect when Lorenzo Insigne returns from injury. Hosted on Acast. See acast.com/privacy for more information.

The standalone, and superior, version of "Who Are Ya?" returns ahead of Toronto FC's clash with FC Dallas at the Fortress by the Lakeshore. Mike Newell and Jeffrey P. Nesker are joined by Jose Tellez of Golz.tv.@ItsBroMigo@golz_tv Hosted on Acast. See acast.com/privacy for more information.

There strange death of Mike Newell in Vineland, New Jersey in the spring of 1971 was possibly the first homicide attributed to Satanism in the history of The Garden State. What made it so strange? Find out today on The Devil Within. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pushing Tin was the 135th-highest grossing film of the year, grossing 8.4 million dollars on a 33 million dollar budget, opening April the 23rd, 1999 as the #4 movie at the Box Office behind The Matrix, Life, and Never Been Kissed. Directed by Four Weddings and a Funeral and Donnie Brasco director Mike Newell and written by Cheers co-creators Les and Glen Charles, Pushing Tin felt like a sure thing, especially given its very of-the-moment core cast of John Cusack, Cate Blanchett, Billy Bob Thornton, and Angelina Jolie. But it never left the runway (get it) with audiences or critics. What went wrong? And is Pushing Tin a forgotten gem, or was everyone right about it 25 years ago? This week, John and Jenn are joined by comedian Joe Kwaczala to talk about this weird, uneven, confused, and very pre-9/11 romcom-dramedy thing! You can find Joe on most of the socials @joekjoek

On the heels of TFC's worst performance of the season, a 3-1 home loss to Sporting Kansas City, hosts Mike Newell, Jeffrey P. Nesker, and Michael Singh return to share their takeaways from Saturday's match. Were there any positives? Is this a sign of things to come? Can Toronto FC bounce back this weekend against the Vancouver Whitecaps? Let's get into it. Don't miss out! Hosted on Acast. See acast.com/privacy for more information.

Toronto FC suffered their first defeat of the season on Saturday, falling 2-1 to NYCFC. The crew (Mike Newell, Jeffrey P. Nesker, and Michael Singh) share their takeaways from a lackluster TFC performance before diving into how the Reds have to rebound against Atlanta United at BMO Field this weekend. Plus, more over-unders! Don't miss out! Hosted on Acast. See acast.com/privacy for more information.

On the heels of Toronto FC's season-opening 0-0 draw at FC Cincinnati, hosts Mike Newell and Michael Singh are joined by TorontoFC.ca's James Grossi to recap an all-around solid first performance from the Reds to kick off the 2024 campaign. The crew discuss the deployment of Federico Bernardeschi as a wing-back, the return of Richie Laryea, Raoul Petretta at LCB, Man of the Match Deybi Flores, and much, much more. Hosted on Acast. See acast.com/privacy for more information.

Jersey Swap Returns! The sun has finally risen on a new day and a new season for FC Cincinnati! The first MLS squad to step into the ring is the reigning Wooden Spoon holders, Toronto FC. Mike calls us from the Great White North to give us his perspective on the Reds' reset and if new coach John Herdman can straighten out the team's off-field issues. Tune in and trade threads with us! #MLS #FCCincinnati #soccer Become a Patron! Special thanks to this month's new Patreon signups Subscribe to Cincinnati Soccer Talk Don't forget you can now download and subscribe to Cincinnati Soccer Talk on iTunes today! The podcast can also be found on Stitcher Smart Radio now. We're also available in the Google Play Store and NOW ON SPOTIFY! As always we'd love your feedback about our podcast! You can email the show at feedback@cincinnatisoccertalk.com. We'd love for you to join us on our Facebook page as well! Like us at Facebook.com/CincinnatiSoccerTalk.

His heritage in Colorado dates back five generations. So, it made sense when Mike Newell graduated from Littleton High School that he wanted to stay in Colorado despite football scholarships from many other schools. He quickly became Colorado State's starting center and along with being part of an offensive line that did not allow a sack for two straight seasons and a Holiday Bowl win over Missouri, Mike racked up a number of impressive accolades. He was eventually inducted into the CSU Athletics Hall of Fame. Along with Mike's great play, came some injuries, including a misdiagnosed back injury his senior season. Mike needed surgery and instead of going to the Senior Bowl and NFL combine, he went under the knife. Thankfully, the pain was gone after surgery, but a tough physical and mental road laid ahead as an undrafted free agent in the NFL. Over the course of 5 seasons, Mike was with the Packers, NFL Europe, Rams and Texans. The grind was real, and yet he never played a down in a regular season NFL game. When his career was over, he was relieved. Today, Mike still lives in Colorado, is an elementary school PE teacher and father to three very active teens. He continues to support the Rams and barely recognizes the guy who used to play center for CSU.

Mike NeWELL, it's time for another Take Five! Special guest Shut Up Tim joins the sisters to discuss Moody's transfiguration tactics and tongue antics. Find out which sister scares Tim more, and listen for a first on the Quora Question of the Week segment! Please consider supporting us on Patreon! www.patreon.com/realweirdsisters New episodes are released every Monday and special topics shows are released periodically. Don't forget to subscribe to our show to make sure you never miss an episode!

Hosts Michael Singh, Mike Newell, and Jeffrey P. Nesker react to the Reds' first pre-season win, as Jeff will surely implode seeing Lorenzo Insigne and Federico Bernardeschi find the back of the net. The crew recap the first half of preseason before looking ahead to the second half of camp in California. Plus, we ask you – which TFC player do you expect to be on the move before the start of the regular season. Don't miss out! Hosted on Acast. See acast.com/privacy for more information.

What are TFC's options for Tuesday's MLS Draft, as the Reds hold the No. 1 pick for the first time in over a decade. The crew will provide a few potential candidates to go first overall, while also dishing out their Toronto FC "Story of the Year," as hosts Mike Newell, Jeffrey P. Nesker, and Michael Singh look back on the year that was. Don't miss out! Hosted on Acast. See acast.com/privacy for more information.

We're BACK with another episode of I Had Trials Once!Jordan & Gaz are joined by former Blackburn Rovers & Aston Villa left back Alan Wright as they discuss everything from playing against Barcelona to playing for Fleetwood Town.Wright also talks about trying to defend against a young David Beckham and what Alan Shearer is really like off the pitch.Alan then goes into his life after football and what it's like to coach at Manchester City.

Alice, Martha, and special guest Shut Up Tim are back to discuss another five minutes of Mike Newell's cinematic masterpiece! These five minutes are heavy on Sirius, birds (finally!) and amazing acting by Harry (as usual). Plus, the world goes topsy-turvy when it comes time for all the segments! Please consider supporting us on Patreon! www.patreon.com/realweirdsisters New episodes are released every Monday and special topics shows are released periodically. Don't forget to subscribe to our show to make sure you never miss an episode!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3296753/advertisement

Alice, Martha, and special guest Shut Up Tim are back to discuss Mike Newell's most unhinged five minutes yet. McGonagall proves to be the only sane adult in the room, as well as possibly the only good actor in the five minutes. Plus, Harry and Ron get into a very convincing fight and Tim picks a highly predictable Classic Owlice moment. Please consider supporting us on Patreon! www.patreon.com/realweirdsisters New episodes are released every Monday and special topics shows are released periodically. Don't forget to subscribe to our show to make sure you never miss an episode!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3296753/advertisement

The fourth Harry Potter film finds Harry in over his head as he's entered to compete in the Tri-Wizard Tournament! We get a glimpse at some of the other Witchcraft and Wizardry schools from around the world, the Quidditch cup and dragons!! Joining us this week (and for the rest of the Harry Potter films) is Justin's sister, Janelle! This one tends to be a favorite, so see what they think and let us know what YOU think of Harry Potter and the Goblet of Fire! Cinema Heroes YouTube Instagram

Mike Newell ag labhairt as Boston faoi Chumann na Gaeilge.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   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.

Alice and Martha are once again joined by not-so-special guest Shut Up Tim to discuss a riveting five minutes of Mike Newell's almost-magnum opus.Please consider supporting us on Patreon! www.patreon.com/realweirdsistersNew episodes are released every Monday and special topics shows are released periodically. Don't forget to subscribe to our show to make sure you never miss an episode!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3296753/advertisement

Take Five is back, baby! Let's give our guest, Shut Up Tim, a proper greeting! (Insert frantic tongue waggling here!) Alfonso's magnum opus might be over, but the task he has laid out before us is far from concluded. Mike Newell might just well give him a run for his money! Please consider supporting us on Patreon! www.patreon.com/realweirdsistersNew episodes are released every Monday and special topics shows are released periodically. Don't forget to subscribe to our show to make sure you never miss an episode!

For Tate's next pick, we review 1997's Donnie Brasco, starring Johnny Depp, Al Pacino, and Anne Heche. We talk about lions, whether it would be cool to go into witness protection, other mafia movies and how this one compares, and more! Before we get into the movie we take some time to congratulate Michael Nipp from The Deucecast Movie Show for winning our Oscar Prediction competition, go over some feedback and touch briefly on the 2023 Oscars. This movie was directed by Mike Newell. GD4AM: 81/100 IMDb: 7.7/10 Metacritic: 76/100 RT: 88% An FBI undercover agent infiltrates the mob and finds himself identifying more with the mafia life, at the expense of his regular one. This movie is currently available for rent on most VOD platforms. NEXT MOVIE REVIEW: Ben-Hurn (1959) currently streaming on HBOMAX.