Podcasts about neo western

Did you think it was one word?Today Matt, Todd, and our neighbor to the North - Logan, discuss the 1997 crime-thriller Cop Land.Cop Land, directed by Louis Mangold has an outstanding ensemble cast:Sylvester Stallone in a rare dramatic turn; polarizing to some (loved by us)Harvey Keitel, Ray Liotta, Robert DeNiro, Peter Berg, Robert Patrick*, Michael Rapaport, Annabella Sciorra, Noah Emmerich*, and Janeane Garofalo.Respected by most critics when it emerged on the scene in 1997, and with some critical buzz for Oscar nods, Cop Land... landed with noise in August of '97 but seemed to have been quickly forgotten. Today, we remember fondly and we hope you do to. Join us for this Neo-Western gem of character-driven performances.Sheriff Matt keeps a much closer watch on his beloved reviews on: Letterboxd and Bluesky: @MovieMattSirois He works deep undercover to suss out the films you're flipping by on Netflix (or Amazon, or Pluto... etc) as Marcus, at the ⁠⁠⁠⁠Movie Asylum of the Weird, Bad and Wonderful⁠.When he needs to blow of steam with bourbon and smoke, find him at his favorite dives:⁠⁠⁠Once Upon a Geek⁠⁠⁠ and  ⁠⁠⁠The Fade Out Podcast⁠

Inbetween our many celeb impressions & movie tropes examined, we sum up a double feature of the HIGH NOON movies while also summing up the various regurgitations of a common cinematic movie formula that is present in just about any blockbuster movie today!   SONG USED:  "RIO BRAVO(1959) Song" By John Wayne, Dean Martin, Ricky Nelson & Walter Brennan   MOVIE/TV SHOW CLIPS SHOWN IN INTRO:  DIE HARD (1988) THE SURE THING (1985) MIDNIGHT COWBOY (1967) THE SOPRANOS S6E15             MAIN LINKS:  LinkTree: https://linktr.ee/JURSPodcast Facebook Page: https://www.facebook.com/JackedUpReviewShow/ Facebook Group: https://www.facebook.com/groups/2452329545040913 Twitter: https://twitter.com/JackedUpReview  Instagram: https://www.instagram.com/jacked_up_podcast/        SHOW LINKS: YouTube: https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ   iHeartRadio: https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/   Podbean: https://jackedupreviewshow.podbean.com   Spotify: https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M   Apple Podcasts: https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218   RadioPublic: https://radiopublic.com/the-jacked-up-review-show-We4VjE   Overcast: https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast   Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz   Anchor:  https://anchor.fm/s/a46297c/podcast/rss   PocketCasts: https://pca.st/0ncd5qp4   CastBox:  https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222   Discord:  https://discord.com/channels/796154005914779678/796154006358851586         #MovieReview #FilmTwitter #PodFamily #PodcastersOfInstagram #Movies #Film #Cinema #Music #Reviews #Retrospect #Podcasts #MutantFam #MutantFamily #actionmystery #bmovies #scifihorror #truecrime #historydramas #warmovies #podcastcollabs #hottakes #edgy #cultmovies #nsfw #HorrorFam #badass 

Cold Blooded January Kicks Off with Wind River!"This isn't the land of waiting for back up. This is the land of you're on your own."Welcome to 2025! We're starting the new year with Cold Blooded January, a month-long celebration of chilling Winter and Snow-themed thrillers. This week, Henrique and David dive into one of the best Neo-Westerns of the last decade: Wind River (2017).Set in the harsh, unforgiving landscapes of Wyoming, Wind River tells the gripping story of an FBI agent and a seasoned game tracker teaming up to solve the murder of a young woman on a Native American reservation. Directed by Taylor Sheridan and starring Elizabeth Olsen, Jeremy Renner, and Graham Greene, this film is a masterclass in tension, atmosphere, and storytelling.Join us as we discuss:How Taylor Sheridan's earlier films led us to Wind River.Why Wind River transcends the typical revenge thriller genre.The perfect pacing and execution of its story.Some of the most intense, unforgettable scenes that still resonate today.Plus, Henrique and David review Nosferatu and share highlights from their New Year's Day movie marathon—including film recommendations you won't want to miss. Stick around for a sneak peek at the final surprise film that will wrap up Cold Blooded January!Watch Wind River for Free Stream Wind River on Fawesome: Watch NowConnect with Us

This week on the Talk Without Rhythm Podcast I'm bringing NoirVember to a close (and in the month of December) with two more films that blend Neo-Noir and Neo-Western: 1955's Bad Day at Black Rock and 1996's Lone Star. [00:00] INTRO [02:02] The Good, the Bad, and the Odd Promo [02:46] RANDOM CONVERSATION [11:03] Bad Day at Black Rock (1955) [50:19] Lone Star (1996) [01:27:02] FEEDBACK [01:34:43] ENDING MUSIC: Dark Night by The Blasters Buy Bad Day at Black Rock (1955) Buy Lone Star (1996) Support TWoRP Contact Us talkwithoutrhythm@gmail.com

This week on the Talk Without Rhythm Podcast I'm exploring the intersection between Neo-Noir and Neo-Western courtesy of Taylor Sheridan with 2015's Sicario and 2016's Hell or High Water. [00:00] INTRO [01:38] Chin Stroker vs Punter Promo [02:46] RANDOM CONVERSATION [19:33] Sicario (2015) How Sicario Fools its Audience by Film Thought Project [58:00] Hell or High Water (2016) [01:20:32] FEEDBACK El Goro on Strange Highways [01:24:20] ENDING MUSIC: Dust of the Chase by Ray Wylie Hubbard Buy Sicario (2015) Buy Hell or High Water (2016) Support TWoRP Contact Us talkwithoutrhythm@gmail.com

Swole Cinema Episode 40 is here, and this week, Ryan and Mark are heading to the dusty, gunslinging world of "Last Man Standing"! Starring Bruce Willis, this neo-Western action flick brings classic shootouts, tough-guy attitude, and non-stop intensity. Join us as we dig into Willis' role as a lone drifter caught in a bloody gang war, the film's gritty style, and how it channels that old-school Western vibe with a 1930s twist. From epic standoffs to unforgettable one-liners, "Last Man Standing" is a hidden gem you don't want to miss! #SwoleCinema #LastManStanding #BruceWillis #NeoWestern #ActionMovies #PodcastEpisode #GunSlingingAction

Zack Snyder has a reputation as a Director's Cut director: but what does that actually mean? And what happens when he's given the chance to simultaneously make a Directors Cut and a ‘theatrical' cut that will never go to theatres? CONTENT WARNING: This episode discusses fictional depictions of sexual assault and sexual violence from 44:55 - 47:28 If you want to support the show, we now have a Patreon! You can subscribe for bonus episodes, plug-free versions of the show and also to give me the ability to see Megalopolis on the big big screen. You can follow the show on twitter or tumblr @goingroguepod, or for slightly less hinged content, follow @tansyclipboard on twitter or @tansyg.bsky.social on Bluesky. If you want to get in touch, you can email goingroguetansy@gmail.com CLIPS USED:  Rebel Moon Part One - A Child of Fire (dir. Zack Snyder, 2023) Rebel Moon Part Two - The Scargiver (dir. Zack Snyder, 2024) Rebel Moon Chapter One - Chalice of Blood (dir. Zack Snyder, 2024) Rebel Moon Chapter Two - Curse of Forgiveness (dir. Zack Snyder, 2024) Rebel Moon: Part One - A Child of Fire with Zack Snyder and Louis Leterrier (The Director's Cut Podcast Ep. 464) Zack Snyder

We made it to the end of another season. This episode marks the end of our Neo-Western series and we're ending with a banger (and another film that isn't a Neo-Western.) It's Big Trouble in Little China. And you know what Jack Burton always says at a time like this?! Sure he says "I never drive faster that I can see," but he also says "always listen to Shoot The Hostage."  We get into John Carpenter's career, our favourite JC movies and why this one flopped on it's initial release. Plus we run through all of the questions asked by Jack Burton.  We are back on May 20th for a brand new season and this time it's Sarah's choice.  If you like what you hear, please rate and review us on you podcast player of choice. It can be as easy as rating 5 stars on Spotify and it really helps the podcast get found by like-minded folk. Or come find us on social media: Instagram | X | TikTok | Threads | YouTube

Welcome friends. It's the penultimate episode in our Neo-Western series of movies and this week we have a good ol' chin wag about Walter Hill's The Warriors.  We talk about Walter Hill as a filmmaker, the intention behind the movie and of course, the costumes. Plus come and find out which are our favourite and least favourite gangs in this film and why there wasn't a William Shatner gang.  Season 5 will run until 22nd April 2024. For the full season line-up head over to our Patreon page and become a free member.  If you like what you hear, please rate and review us on you podcast player of choice. It can be as easy as rating 5 stars on Spotify and it really helps the podcast get found by like-minded folk. Or come find us on social media: Instagram | X | TikTok | Threads | YouTube

It's episode 6 of 8 in our Neo-Western season and this week we get our teeth stuck into Kathryn Bigelow's 1987 horror, vampire, western, romance Near Dark. Surprisingly, this is the first vampire movie we've covered on the show and it's also the first Lance Henriksen film we've spoken about. It will not be the last of either of those things.  We get into why Bill Paxton was so great IN EVERYTHING, the Terminator and Aliens connections, subverting the vampire genre and why is Homer.   Season 5 will run until 22nd April 2024. For the full season line-up head over to our Patreon page and become a free member.  If you like what you hear, please rate and review us on you podcast player of choice. It can be as easy as rating 5 stars on Spotify and it really helps the podcast get found by like-minded folk. Or come find us on social media: Instagram | X | TikTok | Threads | YouTube

Welcome to another edition of our Neo-Western season. This week we take a deep-dive into Waterworld. Once again we are joined by a host of the Just The Thing podcast. Joel Jessup joins us to talk about the questionable ethics of The Mariner, Kevin Costner's ego, a proposed alternative outcome to the bungee scene and anything (everything) else.    Season 5 will run until 22nd April 2024. For the full season line-up head over to our Patreon page and become a free member.    If you like what you hear, please rate and review us on you podcast player of choice. It can be as easy as rating 5 stars on Spotify and it really helps the podcast get found by like-minded folk.   Or come find us on social media:   Instagram | X | TikTok | Threads | YouTube

Episode four of Neo Western season sees us joined by Chris Regan of the awesome Just The Thing podcast. We chat about the 2000 action-thriller oddity Way Of The Gun. Amongst the topics of conversation this week are the absolutely stacked star cast, how we feel about the rampant bigotry in the context of the film, and Christopher McQuarrie's career.   Season 5 will run until 22nd April 2024. For the full season line-up head over to our Patreon page and become a free member.    If you like what you hear, please rate and review us on you podcast player of choice. It can be as easy as rating 5 stars on Spotify and it really helps the podcast get found by like-minded folk.   Or come find us on social media:   Instagram | X | TikTok | Threads | YouTube

Our third episode in Neo Western season sees us go to Perfection, Nevada to catch up with Earl and Val for a deep burrow into 1990's Tremors. Is it a Western? Well, that's debatable, but hearing Dan justify its inclusion is certainly interesting! We chat about the cast and crew, including Fred Ward, Kevin Bacon and Michael Gross, and we also give our thoughts on how we'd cast our imaginary reboot. Enjoy!   Season 5 will run until 22nd April 2024. For the full season line-up head over to our Patreon page and become a free member.    If you like what you hear, please rate and review us on you podcast player of choice. It can be as easy as rating 5 stars on Spotify and it really helps the podcast get found by like-minded folk.   Or come find us on social media:   Instagram | X | TikTok | Threads | YouTube

Join us as we delve into the comic book world of James Mangold's Logan, for one last Wolverine hurrah (but not really). In the first episode of our Neo Western season, we take you on an emotional journey through the gritty landscape of the 2017 film, as well as discovering exactly what makes a Neo Western. We're breaking down the film's themes of family, sacrifice, and finding your people, along with a full critique of the movie, and some chat about Hugh Jackman, Patrick Stewart, Dafne Keen, & more. What makes this film stand out in a saturated comic book market, and what do The X Men mean to us? Listen to find out.   Season 5 will run until 22nd April 2024. For the full season line-up head over to our Patreon page and become a free member.    If you like what you hear, please rate and review us on you podcast player of choice. It can be as easy as rating 5 stars on Spotify and it really helps the podcast get found by like-minded folk.   Or come find us on social media:   Instagram | X | TikTok | Threads | YouTube

Welcome listeners both new and old. We hope you enjoy our thoughts on Madame Web.  Next week we begin our fifth season which is all about Neo-Western movies. On March 4th we kick things off with our first in the 8 episode run with Logan.  If you like what you hear, and would like to support us on Patreon, our £3.00 a month tier will get you access to a minimum of 2 reviews of brand new films per month and our end of season wrap shows. Or if you just wanted access to our season schedules ahead of time, you can see these as a free member.    Head over to Patreon to find out more.  If you're a new listener or if you haven't rated on your podcast player yet, we'd love it if you did. It can be as easy as rating 5 stars on Spotify and it really helps the podcast get found by like-minded folk.   or come hang out with us on social media:   Instagram | X | TikTok | Threads | YouTube

Hey friends. In just 2 weeks, we begin our fifth season which is all about Neo-Western movies. If this sounds like your jam you will be pleased to know that season 5 begins on March 4th and we would love it if you join us for that.  If you would like to keep listening to us while we're on our break, you can catch us on Patreon and sign up for free to see what it's all about. Our £3.00 a month tier will get you access to a minimum of 2 reviews of brand new films and our end of season wrap shows. Or if you just wanted access to our season schedules, you can see these as a free member.    Head over to Patreon to find out more.  If you like what you hear, please rate and review us on you podcast player of choice. It can be as easy as rating 5 stars on Spotify and it really helps the podcast get found by like-minded folk.   or come find us on social media:   Instagram | X | TikTok | Threads | YouTube

?Betrunkenes Betragen?: Gespräch mit dem Psychiater und Übersetzer Jakob Hein // Oscar-Nominiert: Der chilenische Neo-Western ?Colonos? // Man klebt nur zweimal: Die allerletzte Generation sorgt für Bekleisterung // Musik: Madi Diaz: ?Weird Faith?

We have reached the end of another season. But before we move on to season 5, we have the small matter of our end of season wrap show to address. This a preview of that show which is available to members of our £3.00 a month Patreon tier.  If you would like to keep listening to us while we're on our main feed hols, you could head over there. For £3.00 a month you'll get access to seasons 1-4 wrap shows, a minimum of 2 reviews of brand new movies each month and the knowledge that you are a good person who supports an independent podcast.  If you can't sign up for a paid tier and just want access to our season line-ups ahead of time, you can sign up as a free member on Patreon. Next week we're announcing the release schedule for season 5.  The theme for season 5 is Neo-Western and the first movie we're taking a look at is Logan and I cannot tell you how excited we are to talk about that one.  Thank you to everyone who listens and if you do enjoy the show but can't support us on Patreon, you could pop us a review on your podcast player of choice: Apple | Spotify | Podcast Addict | Player FM | Audible or come find and interact with us on the social medias:  Instagram | X | TikTok | Threads | YouTube If we don't see you on Patreon, we'll see you on the 4th March. 

Yellowstone, 1883 & 1923 | Ein wilder Ritt durch den Neo-Western-Serienkosmos (Paramount+) Spätestens seit dem Deutschlandstart von Paramount+ ist auch hierzulande ein Serienhype angekommen, der in den USA schon seit einigen Jahren das Publikum vor die Bildschirme fesselt: "Yellowstone". Oscarpreisträger Kevin Costner und "Wind River"-Macher Taylor Sheridan trafen mit dem Neo-Westerndrama rund um die Ranch der Familie Dutton einen echten Nerv. Mittlerweile hat man das Ganze aber neben bislang vier Staffeln der Hauptserie mit weiteren Spin-Offs zu einem regelrechten Serienuniversum ausgebaut. So widmet sich "1883" mit Sam Elliott der Vorgeschichte der Duttons, wohingegen "1923" nach der Jahrhundertwende angesiedelt ist und mit weiteren Stars wie Harrison Ford und Helen Mirren in den Hauptrollen aufwartet. Während mit "1944" und "2024" bereits zwei weitere Ableger angekündigt wurden, müssen Fans sich durch den Hollywoodstreik bei der fünften und letzten Staffel von "Yellowstone" leider voraussichtlich bis Herbst 2024 in Geduld üben. Zumindest wurden diese Woche aber schon mal die ersten acht von 14 Episoden auf Paramount+ veröffentlicht, was Theresia und David zum Anlass genommen haben, ausgiebig über die bisherigen Serienkosmos ausgiebig zu schwärmen. Dabei versucht das Fanduo die Faszination dafür mit dem imaginären Lasso einzufangen, euch die wichtigsten Charaktere näherzubringen, aber ebenso neben dem Weiden an den Highlights die Schwächen zu brandmarken. Und das beste: beide bleiben dabei relativ spoilerfrei für potenzielle Neueinsteiger. Also: sattelt die Pferde, schwingt die Hufe und begleitet uns auf einem wilden Ritt quer durch die Geschichte der Duttons und von "Yellowstone". Bevor ihr euch jetzt aber schon bei einer Reitschule anmelden wollt: drückt vorher noch auf Play und macht mit beim Podcast-Rodeo. Howdy! Viel Spaß mit der neuen Folge vom Tele-Stammtisch! Wir liefern euch launige und knackige Filmkritiken, Analysen und Talks über Kino- und Streamingfilme und -serien - immer aktuell, informativ und mit der nötigen Prise Humor. Website | Youtube | PayPal | BuyMeACoffee Großer Dank und Gruß für das Einsprechen unseres Intros geht raus an Engelbert von Nordhausen - besser bekannt als die deutsche Synchronstimme Samuel L. Jackson! Thank you very much to BASTIAN HAMMER for the orchestral part of the intro! I used the following sounds of freesound.org: 16mm Film Reel by bone666138 wilhelm_scream.wav by Syna-Max backspin.wav by il112 Crowd in a bar (LCR).wav by Leandros.Ntounis Short Crowd Cheer 2.flac by qubodup License (Copyright): Attribution 4.0 International (CC BY 4.0) Folge direkt herunterladen Folgt uns ab sofort regelmäßig live auf Twitch: twitch.tv/dertelestammtisch

in the second to last episode for this week, Robert Baum hops aboard to help summarize the Neo-Western influence, subtext, backstory, character traits, memorable moments and other style of the Snake Plissken character and universe!                   MAIN LINKS:  LinkTree: https://linktr.ee/JURSPodcast Facebook Page: https://www.facebook.com/JackedUpReviewShow/ Facebook Group: https://www.facebook.com/groups/2452329545040913 Twitter: https://twitter.com/JackedUpReview  Instagram: https://www.instagram.com/jacked_up_podcast/          SHOW LINKS: YouTube: https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ   iHeartRadio: https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/   Podbean: https://jackedupreviewshow.podbean.com   Spotify: https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M   Apple Podcasts: https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218   RadioPublic: https://radiopublic.com/the-jacked-up-review-show-We4VjE   Overcast: https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast   Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz   Anchor:  https://anchor.fm/s/a46297c/podcast/rss   PocketCasts: https://pca.st/0ncd5qp4   CastBox:  https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222       #MovieReview #FilmTwitter #PodFamily #PodcastersOfInstagram #Movies #Film #Cinema #Music #Reviews #Retrospect #Podcasts #MutantFam #MutantFamily #actionmystery #bmovies #scifihorror #truecrime #historydramas #warmovies #podcastcollabs #hottakes #edgy #cultmovies #nsfw #HorrorFam #badass 

Kathryn Bigelow's 1987 Neo-Western vampire noir, NEAR DARK, is our feature presentation this week. We discuss the music of Tangerine Dream, James Cameron's hidden hand on the film, Bill Paxton's character "Severn", the X-Factor of the film, character actor Troy Evans, and much much more! We also pick our TOP 7 LANCE HENRIKSEN MOVIES in this week's SILVER SCREEN 7. Check out the fifth entry in our DOUBLE-STUFFED OCTOBER series. Subscribe, become a regular, and tell your friends about us! Happy Birthday, Chad!

Grab your time machine, as Alex & Dan revisit some of their favourite 90s film classics for a Volume 2 - and thanks to the power of social media - some of yours too! Alex gets carried away and imagines a conversation with Quentin Tarrentino and his foot fetish in Dan's film choice - and at times, overshares with Lori Petty! Dan glazes over talking about a Neo-Western and a leading actress in the form of Salma Hayek - and keeps a body count as he recalls some of his favourite shooty-shooty bang-bang films.... including a trouser pistol? Tune in for the final table flipping episode from your favourite podcast duo - its the episode which finally breaks the camel's back - or in this case - Alex's! Also - were the Adidas Trackies with the Poppers worth a purchase the first time around? Are you picking them up the second time? Let us know! #GITS

US Marshal Raylan Givens is back, but he's in a place much darker than Kentucky. Mike, Mike, and award-winning author Bobby Nash ask “You good?” with the follow up to one of best Neo Western series of all time. All this, along with Angela's A Geek Girl's Take, Ashley's Box Office Buzz, Michelle's Iconic Rock Moment, and Shout Outs. We want to hear from you! Feedback is always welcome. Please write to us at feedback@earthstationone.com and subscribe and rate the show on Apple Podcast, Pandora, Google Play, Spotify, Pandora, Amazon Music, wherever fine podcasts are found, and now we can be found on our own YouTube Channel. Links The Earth Station One Website Earth Station One on Apple Podcasts The Earth Station One YouTube Channel Earth Station One on Spotify Past Episodes of The Earth Station One Podcast Angela's A Geek Girl's Take Ashley's Box Office Buzz Michelle's Iconic Rock Talk Show Movie Insider Bobby Nash The Brittrack At DragonCon YourTube Chanel Promos Tifosi Optics The Earth Station Who Cigar Nerds The ESO Network Patreon Unique Crafts by Jenn ESO Network Tee-Public If you would like to leave feedback or a comment on the show please feel free to email us at feedback@earthstationone.com Special Guest: Bobby Nash.

US Marshal Raylan Givens is back, but he's in a place much darker than Kentucky. Mike, Mike, and award-winning author Bobby Nash ask “You good?” with the follow-up to one of the best Neo Western series of all time. All this, along with Angela’s A Geek Girl’s Take, Ashley's Box Office Buzz, Michelle’s Iconic Rock … Justified: City Primevil Review Read More » The post Justified: City Primevil Review appeared first on The ESO Network.

Heidiho Welt! Wir sind wieder zu viert am Start und bringen euch eine feuchtfröhliche Sommersendung mit. Zum Start plaudert Berg über die super Stimmung und den tollen Musikmix vom Highfield. Filme hat er Dreierlei im Gepäck: "Little Joe" ist die besser Variante von "The Happening", "Gold - Im Rausch der Gier" begeistert mit Zac Efron und dem postapokalyptischen Setting und "Bone Tomahawk" brilliert als Neo-Western mit geilem Cast und Gewaltspitzen, die einem die Zirbeldrüse auspressen! MO hat in seiner künstlerischen Auszeit auch den ein oder anderen Streifen geschaut und beginnt sein Comeback gleich mit 4 (in Worten: vier) Sichtungen. Neben der Pakt und The Beanie Bubble hat er sich zusammen mit Charmebolzen Idris Elba in ein gekapertes Flugzeug begeben und bildet damit eine direkte (Flug-)Brücke zur vorherigen Folge. Aufgrund mieser Qualität bleibt das vor ca. 10 Folgen angekündigte Callback zu "The desperate hour" aus. Das Ding ist echt ne Gurke... Dafür konnte ihn der auf wahren Begebenheiten beruhende CIA-Wüsten-Thriller "Kandahar" recht gut unterhalten. Ab und zu klappt es dann doch mit dem Herrn Butler. Sandro lässt uns mit "Winnie the Pooh - Blood and Honey" an einer weiteren RANT-Zone Sternstunde teilhaben. Kaum einer kann so schön schlechte Filme in der Luft zerfetzen wie unser Sandro. Während seine Tränen bei Winnie aufgrund seiner Wut über die unterirdische Qualität des Films aus seinen Augen quollen, so liegt es bei "The Son" an der schwermütigen Thematik. Nicht ganz die Qualität von "The Father", aber auch nicht weit davon entfernt! Tja und Steven könnte eigentlich mal wieder was vernünftiges schauen und entscheidet sich für ... "Accident Man - Hitman's Holiday" mit Scott Adkins. Für Steven gilt bei dieser B-Movie-Action-Perle aber das, was für MO bei Jackass 3 galt: für das was er sein will, ist er einfach gut! Jetzt bleibt nur noch die Frage: wer ist eigentlich Love-Guy und Plane-Man? Wie immer gilt: bleibt gesund und spoilerfrei!

Mary Jo runs into a very angry former poker opponent. Chaos ensues.  Originally published on 10/5/20. Theme Music: New Hero in Town by by Kevin MacLeod. License: http://creativecommons.org/licenses/by/4.0/ Art by: Susannah Lewis and Kalhh Our current Discord server, The Actual Playce: https://discord.gg/NwcsRwVeej. Check out our flagship show, Thornvale. Become a member on Patreon https://www.patreon.com/thornvale. Find out how to support us: https://www.thornvalepodcast.com/support-us. Other sounds and music: Wild West Vikings by Alexander Nakarada from www.filmmusic.io. March of the Mind by Kevin MacLeod from www.filmmusic.io. SummersEnd by Lilo Sound from www.filmmusic.io. Battle Metal by Alexander Nakarada from www.filmmusic.io. Hard Metal Intro by WinnieTheMoog from www.filmmusic.io. Jack the Lumberer by Alexander Nakarada from www.filmmusic.io. Assassin by Rafael Krux from www.filmmusic.io. Heavy single body punch 1 by Foley Walkers from https://www.zapsplat.com. Neo-Western by Kevin MacLeod from www.filmmusic.io. Western Streets by Kevin MacLeod from www.filmmusic.io. Tectonic by Kevin MacLeod from www.filmmusic.io. Gunshot 4.wav by ShawnyBoy from https://freesound.org. Knife Slits 1 by WillHiccups from https://freesound.org. Devastation and Revenge by Kevin MacLeod from www.filmmusic.io. Bullet hit glass bottle, smash 3 by ZapSplat from https://www.zapsplat.com. Darkening Developments by Kevin MacLeod from www.filmmusic.io. Runningaway by Lilo Sound from www.filmmusic.io. Unsafe Roads by Alexander Nakarada from www.filmmusic.io.

Our group of dangerous vagabonds have been ambushed by even more dangerous vagabonds. It's time for Keeper Susannah to break out the good rolls for this fight. Can the PCs survive it? Originally published on 9/7/20. Theme Music: New Hero in Town by by Kevin MacLeod. License: http://creativecommons.org/licenses/by/4.0/ Art by: Susannah Lewis and Kalhh Our current Discord server, The Actual Playce: https://discord.gg/NwcsRwVeej. Check out our flagship show, Thornvale. Become a member on Patreon https://www.patreon.com/thornvale. Find out how to support us: https://www.thornvalepodcast.com/support-us. Other sounds and music: Suvaco do Cristo by Kevin MacLeod from www.filmmusic.io. Knife Slits 1 by WillHiccups from https://freesound.org. Neo-Western by Kevin MacLeod from www.filmmusic.io. Gunshot 4.wav by ShawnyBoy from https://freesound.org. Bodyfall thump over motorbike seat Parking Space.flac by kyles from https://freesound.org. Shalash by Alexander Nakarada from www.filmmusic.io. Body fall on concrete with the sound of leather by SmartSounds from https://www.zapsplat.com. Blood Eagle by Alexander Nakarada from www.filmmusic.io. Jack the Lumberer by Alexander Nakarada from www.filmmusic.io. Rite of Passage by Kevin MacLeod from www.filmmusic.io. The Escalation by Kevin MacLeod from www.filmmusic.io. The Land Of The Dead by Rafael Krux from www.filmmusic.io.

Grab your suitcase full of cash, your cattle gun and come with us down the dusty old trail, away from traditional Western ideals and saddle up for this Coen brothers foray into the Neo-Western genre.  In this episode we figure out what exactly is meant by "Neo-Western" and how it relates to more traditional Western films.  There are also various tangents on movie themes, Tibetan singing bowls, required summer reading and Matt will read poetry from Yeats at you.  Finally, we discuss the central theme of what we might do with found money.

The shadowrunners make their way into the meatpacking plant. Fluke works some more technomancy wizardry, and Zarah befuddles some guards.  Originally published on 7/13/20. Theme Music: Hit N Smash by Rafael Krux. Art by: Hannah Gallaher Our current Discord server, The Actual Playce: https://discord.gg/NwcsRwVeej. Check out our flagship show, Thornvale. Become a member on Patreon https://www.patreon.com/thornvale. Find out how to support us: https://www.thornvalepodcast.com/support-us. Other sounds and music: Rougarou by Lilo Sound from www.filmmusic.io. Chemical Z by Alexander Nakarada from www.filmmusic.io. Odyssey by Kevin MacLeod from www.filmmusic.io. Klockworx by Kevin MacLeod from www.filmmusic.io. One Sly Move by Kevin MacLeod from www.filmmusic.io. Neo-Western by Kevin MacLeod from www.filmmusic.io. Magic Scout Cottages by Kevin MacLeod from www.filmmusic.io.

Ero and Zarah fight a spirit. Then, Fluke takes a trip into the Matrix to check out the inside of the target building. He finds out some... interesting information. Originally published on 7/6/20. Theme Music: Hit N Smash by Rafael Krux. Art by: Hannah Gallaher Our current Discord server, The Actual Playce: https://discord.gg/NwcsRwVeej. Check out our flagship show, Thornvale. Become a member on Patreon https://www.patreon.com/thornvale. Find out how to support us: https://www.thornvalepodcast.com/support-us. Other sounds and music: Trinarius by Mikael Hellman from www.filmmusic.io. Spectral Absences by Luca Fraula from www.filmmusic.io. Severe Tire Damage by Kevin MacLeod from www.filmmusic.io. Neo-Western by Kevin MacLeod from www.filmmusic.io. Lightless Dawn by Kevin MacLeod from www.filmmusic.io.

Heidiho Welt, Berg und Steven beglücken euch heute mit einer knackigen Folge, in der Steven seiner Kernkompetenz "Serien" und Berg seiner Spezialität "Filmen" fröhnt. Da Steven umfangtechnisch nicht sonderlich Punkten kann, gibt es von ihm mal wieder Youtube-Empfehlungen. An der Serienfront hat er ein (eher) überflüssiges Spin-Off, die zweite Staffel einer spanischen Serie, sowie eine Hitserie von Netflix und eine Lehrerserie für die Generation Tik-Tok am Start. Berg musste das Defizit an Material durch teilweise eher mittelmäßige Filme ausgleichen. Den Anfang macht er mit einem Zeitschleifen-Dreifaltigkeit, bei welcher zumindest ein Film ziemlich gut war. Ausserdem begibt sich Berg in Gefahr, da er sich an einen Regisseur getraut hat, dessen Filme von der Kritik gelobt und von ihm eher verschmäht werden. Als Rom-Com Experte entgeht dem guten Mann natürlich kein Film mit Anna Kendrick, wobei dieser hier den respektablen Versuch echter Schauspielerei enthält. Ein schwacher Neo-Western, eine ebenso schwache Action-Rom-Com und ein solider Thriller runden diese Folge ab. Achja: MO und Sandro haben auch noch, in Form kleiner Audioschnippsel, einen Beitrag zur Folge geleistet. So ist dat Ding dann wirklich rund! Los geht's! Wie immer gilt: bleibt gesund und spoilerfrei!

Justified is well-crafted blend of crime and western shows. Read more at: https://scottsself-indulgentmovieblog.blogspot.com/

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

Subscribe to listen to this episode now, or listen to it for free from 10 Jan 2022. A major police operation in Australia uncovers some gristly secrets. A former leader makes a shock move, and members attempt to follow the money. To subscribe: Apple Podcast Spotify Premium  Produced by DM Podcasts CONTENT WARNING This series deals with themes including child abuse and coercive control, mental illness and related subjects. Please be advised. Anyone struggling with their mental health and feelings of suicidal ideation or depression can call LIFELINE AUSTRALIA 13 11 14   From the US text or call 988 for the Suicide and Crisis Lifeline Bravehearts Australia is contactable on free line 1800 272 831 for information and support for those impacted by child sexual abuse Credits:  Voice actor Samuel Haft Theme:Twisted by Kevin MacLeod Link: https://filmmusic.io/song/4552-twisted License: https://filmmusic.io/standard-license Breaking News 2 by Sascha Ende Free download: https://filmmusic.io/song/5951-breaking-news-2 License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://www.sascha-ende.de   Rising by Kevin MacLeod Free download: https://filmmusic.io/song/4290-rising License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://incompetech.com   House Fire SFX by Played n Faved: https://www.youtube.com/channel/UCQb8sOHpJl4EMFlotcqxrjQ   Metropolitan Inner Confusion by Agnese Valmaggia Free download: https://filmmusic.io/song/7548-metropolitan-inner-confusion License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://soundcloud.com/user-801147991   Cinematic Suspense Series Episode 004 by Sascha Ende Free download: https://filmmusic.io/song/5798-cinematic-suspense-series-episode-004 License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://www.sascha-ende.de   Cinematic Suspense Series Episode 002 by Sascha Ende Free download: https://filmmusic.io/song/5789-cinematic-suspense-series-episode-002 License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://www.sascha-ende.de   City in Panic SFX by Played n Faved: https://www.youtube.com/channel/UCQb8sOHpJl4EMFlotcqxrjQ   Soft Drizzle In Your Face by MusicLFiles Free download: https://filmmusic.io/song/7810-soft-drizzle-in-your-face License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://cemmusicproject.wixsite.com/musiclibraryfiles   New Sky by Rafael Krux Free download: https://filmmusic.io/song/5693-new-sky License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://www.orchestralis.net/   Hit the Streets by Kevin MacLeod Free download: https://filmmusic.io/song/3879-hit-the-streets License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://incompetech.com   Asian Drums by Kevin MacLeod Free download: https://filmmusic.io/song/3386-asian-drums License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://incompetech.com   Firesong by Kevin MacLeod Free download: https://filmmusic.io/song/3759-firesong License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://incompetech.com   Waiting For The End Of The Quarantine by Sascha Ende Free download: https://filmmusic.io/song/6108-waiting-for-the-end-of-the-quarantine License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://www.sascha-ende.de   Cinematic Suspense Series Episode 001 by Sascha Ende Free download: https://filmmusic.io/song/5786-cinematic-suspense-series-episode-001 License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://www.sascha-ende.de   Drums of the Deep by Kevin MacLeod Free download: https://filmmusic.io/song/3681-drums-of-the-deep License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://incompetech.com   Neo Western by Kevin MacLeod Free download: https://filmmusic.io/song/4114-neo-western License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://incompetech.com   The Question Is (Quizpackage) by Sascha Ende Free download: https://filmmusic.io/song/228-the-question-is-quizpackage License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://www.sascha-ende.de   Breaking News 3 by Sascha Ende Free download: https://filmmusic.io/song/5952-breaking-news-3  License (CC BY 4.0): https://filmmusic.io/standard-license  Artist website: https://www.sascha-ende.deSee omnystudio.com/listener for privacy information.

Subscribe to listen to this episode now, or listen to it for free from 3 Jan 2022. Mark and Rose deal with the fallout of their decision, and come up with a plan. Meanwhile, the Tribes are under scrutiny worldwide. To subscribe: Apple Podcast Spotify Premium  Produced by DM Podcasts CONTENT WARNING This series deals with themes including child abuse and coercive control, mental illness and related subjects. Please be advised. Anyone struggling with their mental health and feelings of suicidal ideation or depression can call LIFELINE AUSTRALIA 13 11 14   From the US text or call 988 for the Suicide and Crisis Lifeline Bravehearts Australia is contactable on free line 1800 272 831 for information and support for those impacted by child sexual abuse Credits:  Voice actor Samuel Haft Theme: Twisted by Kevin MacLeod Link: https://filmmusic.io/song/4552-twisted License: https://filmmusic.io/standard-license Hidden Truth  by Rafael Krux Free download: https://filmmusic.io/song/5296-hidden-truth License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://www.orchestralis.net/   Walking into Darkness - Myuu - thedarkpiano.com Silent Turmoil - Myuu - thedarkpiano.com Among Us - Myuu - thedarkpiano.com Don't Die on Me - Myuu - thedarkpiano.com   Assassins  by Rafael Krux Free download: https://filmmusic.io/song/5289-assassins License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://www.orchestralis.net/   Breaking News 3 by Sascha Ende Free download: https://filmmusic.io/song/5952-breaking-news-3 License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://www.sascha-ende.de   Crime Thriller Podcast by Dave Deville Free download: https://filmmusic.io/song/9532-crime-thriller-podcast License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://www.davedevillemusic.com/   Dark Secrets (DECISION) by Sascha Ende Free download: https://filmmusic.io/song/246-dark-secrets-decision License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://www.sascha-ende.de   Neo Western by Kevin MacLeod Free download: https://filmmusic.io/song/4114-neo-western License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://incompetech.com   Drums of the Deep by Kevin MacLeod Free download: https://filmmusic.io/song/3681-drums-of-the-deep License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://incompetech.com   Tension Builders Inc by Brian Holtz Music Free download: https://filmmusic.io/song/6995-tension-builders-inc License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://brianholtzmusic.com   Cinematic Suspense Series Episode 007 by Sascha Ende Free download: https://filmmusic.io/song/7128-cinematic-suspense-series-episode-007 License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://www.sascha-ende.de   Rite of Passage by Kevin MacLeod Free download: https://filmmusic.io/song/4291-rite-of-passage License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://incompetech.com   Enter the Maze by Kevin MacLeod Free download: https://filmmusic.io/song/3712-enter-the-maze License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://incompetech.com   Waterpark SFX by Played n Faved: https://www.youtube.com/channel/UCQb8sOHpJl4EMFlotcqxrjQ   Satiate - only percussion by Kevin MacLeod Free download: https://filmmusic.io/song/4320-satiate-only-percussion License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://incompetech.com   Rising by Kevin MacLeod Free download: https://filmmusic.io/song/4290-rising License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://incompetech.com See omnystudio.com/listener for privacy information.

Halloween never stops here at The Hold Up.  Join us for a record breaking month of releases as we do a special Catch Up episode for 1987's neo western horror: Near Dark.  Will Longino think this Kathryn Bigelow cult vampire classic is smokin' or bites? Listen and find out!

Prepare yourselves for season 3 of Garden Plots with Skeletor with this very accurate trailer filled with 100% genuine clips that will absolutely be in said season. Tremble at its veracity! Cast: Narrator: Nathaniel Hubbard Skeletor: Dan Mulkerin Evil-Lyn: Marissa Bond Beast Man: Rafael Medina He-Man: Kris Newton Mer-Man: Nathaniel Hubbard Whiplash: Liz Logan Riley: Kit Mulkerin Man-at-Arms: Jarod Anderson Music Used: The Descent by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4490-the-descent License: https://filmmusic.io/standard-license Neo Western by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4114-neo-western License: https://filmmusic.io/standard-license Oppressive Gloom by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4174-oppressive-gloom License: https://filmmusic.io/standard-license Clear Waters by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3516-clear-waters License: https://filmmusic.io/standard-license Our Story Begins by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4181-our-story-begins License: https://filmmusic.io/standard-license Scheming Weasel (faster version) by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4326-scheming-weasel-faster-version License: https://filmmusic.io/standard-license Darkest Child by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3615-darkest-child License: https://filmmusic.io/standard-license Crisis by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3561-crisis License: https://filmmusic.io/standard-license

Visit https://www.loreandlegends.net/2022/08/the-chronovisor.html for more!This episode tells the story of the Chronovisor. An alleged time machine put together by various scientists under the direction of the Vatican in the 1950's. The Chronovisor, according to Fr Pellegrino Ernetti, allowed its operators to hear, see, and record past events without interacting with them. Deemed too dangerous and controversial by Pope Pius XII, it was ordered to be disassembled and locked away in the Vatican's Archives.Episode Art:Time-travel dom on.png by David Revoy / Blender Foundation CC BY 3.0Music in Episode:"The Complex" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"Gregorian Chant" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"Neo Western" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Primary Sources:Brune François. (2002). Le Nouveau mystère du vatican. Albin Michel. Krassa, P., & Krassa, P. (2000). Father ernetti's chronovisor the creation and disappearance of the world's first time machine. New Paradigm Books. Support this podcast at — https://redcircle.com/lore-and-legends/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

#Actress #AliLarter discusses her new film #TheLastVictim and her role in the new #NeoWestern

There's nothing quite like revenge...On this episode we've got a double does as we dive into 'The Last Victim' which is on VOD now, not only with its co-writer and director Naveen A. Chathapuram but also with one of its stars Tahmoh Penikett.'The Last Victim' is a Neo Western thriller set in the American southwest, following Sheriff Hickey trying to solve the worst case he has seen in his small town, likely caused by a violent local gang led by a fearsome criminal.Shot in Vancouver this is a gritty little piece of cinema that fans of any one from Terence Malick to Quentin Tarantino themselves will get a kick out of.  We talked with Naveen about the origins of the story, working with a dream cast like this in the cold of the mountains and so very much more.We also sat down with Tahmoh about his role in the film, the joys of working in the entertainment business and the legacy of 'Battlestar Galactica' which was a huge hit for him when just starting out and the pros and cons of carrying that kind of legacy into other jobs.

Alex and Davis welcome host of the Woodstock Hour AND WEGL Program Director JP Williams onto the set to discuss No Country for Old Men and Wind River, two quintessential films of the Neo-Western genre. In the world of news, Gilbert Gottfried passed away at age 67, the trailer for Stranger Things season 4 was released and Adam Sandler and the Safdie Brothers are collaborating again. Would you see Spider-Man No Way Home 292 times? Why? The trio breaks down the key elements of the Neo-Western as well as how No Country for Old Men and Wind River fit the genre and how the casts and cinematography of each film stands out. All of this and more on the latest episode of Through the Lens.

Special Guest Matt Kerker, joins your hosts Bryan Frye and Dustin Melbardis for the Retro Movie Roundtable as they revisit No Country for Old Men (2007) [R] Genre: Western, Neo-Western, Drama, Crime, Thriller     Starring:  Tommy Lee Jones, Javier Bardem, Josh Brolin, Woody Harrelson, Kelly Macdonald, Garret Dillahunt, Tess Harper, Barry Corbin, Stephen Root, Rodger Boyce, Beth Grant, Ana Reeder   Director: Ethan and Joel Coen Recoded on 2022-03-25

Last year, a trippy neo-western appeared in the Chainsaw Awards. Bacurau works well as a western, but its horror award nominations and complicated trailer confuse our crew this week. Also, can we all geek out about Spine of Night? Motion Picture Terror Scale: 1 (Marcus) / 2 (Melissa & Grady). Quality: 3. Enjoyment: 2. Articles mentioned in this episode: "EXCLUSIVE INTERVIEW: THE CREATORS OF “BACURAU,” THE MUST-SEE THRILLER NOW ON-LINE, PART ONE," by Michael Gingold for Rue Morgue "The Violence of Power Relations: Kleber Mendonça Filho and Juliano Dornelles on Bacurau," by Fabio Andrade in Filmmaker Magazine

Episode 54 is here, and this week, Liam and Rob are looking back at that 1987 vampire movie that isn't Lost Boys. Kathryn Bigelow's Neo-Western take on the vampire mythology might not have garnered the attention (or box office) of Joel Schumacher's all singing, all dancing 80s extravaganza, but make no mistake, Near Dark is one of the finest vampire movies ever made with one of the most memorable supporting roles by one of the industry's greatest ever supporting actors, the late, great Bill Paxton. 

Welcome back to the Outplay 2021 finals dramatic readings. Enjoy days 3 and 4 of Outplay as we rush to the climax! Dramatic Reading Link: Outplay Round 4 Music used in this episode: Machinations by Kevin MacLeod (license) Round Drums by Kevin MacLeod (license) Gathering Darkness by Kevin MacLeod (license) Final Count by Kevin MacLeod (license) Dreams Become Real by Kevin MacLeod (license) Neo Western by Kevin MacLeod (license) Crusade Heavy Industry by Kevin MacLeod (license) Indore by Kevin MacLeod (license) Midnight Tale by Kevin MacLeod (license) Controlled Chaos by Kevin MacLeod (license) Arcane by Kevin MacLeod (license) Mechanolith by Kevin MacLeod (license) To the Ends by Kevin MacLeod (license) Urban Gauntlet by Kevin MacLeod (license) Ascending the Vale by Kevin MacLeod (license)

This episode we are talking about the 1987 cult classic western vampire flick Near Dark.  Billy and Daniel are joined by Hayden as they discuss this film from Kathryn Bigelow that despite being highly spoken of is often overlooked and even harder to find.  The 80s saw the rise of the teen/young adult vampire film with Fright Night, The Lost Boys, and others.  Not least among them is Near Dark.  Starring Adrian Pasdar and what seems to be half the cast of Aliens the film is everything all at once.  You want a love story?  Check.  Vampire film?  We got you.  Neo Western?  No problem.  The story of a young man trying to find his place and where he fits in?  Look no further.  All those things and more packed into a tight 94 min runtime.  Take a listen as the crew at Very Unreasonable Things dive into Near Dark and it's vampire's somewhat shaky time management skills.   https://veryunreasonablethings.com/ Twitter:  @VUTpodcast Facebook:   https://www.facebook.com/Very-Unreasonable-Things-102845525174413/ Instagram:  veryunreasonablethings Intro Music:  Switch Me On by Shane Ivers - https://www.silvermansound.com/ Outro Music:  SQZ by Shane Ivers - https://www.silvermansound.com/

Jenn and Rich kick off a new arc, one that focuses on the Neo-Western subgenre, starting with the brand-spankin' new Angelina Jolie vehicle Those Who Wish Me Dead.  Every review helps us get noticed!  If you like our show, won't you please leave a written review on Apple Podcasts or the podcast delivery system of your choice?  Thanks for listening, and thanks for supporting independent podcasting!  Visit us on Facebook, Twitter, or email us at aviewfromthecouch@yahoo.com. 

Helpful Goat plays an experimental 1-shot RPG (and improvised sequel!) inspired by the 1989 Tom Hanks and Carrie Fisher movie, The 'Burbs! Designed and GMed by Adam (Burbage Kemp in The Fates of Ryn, Silvyr Norran in Waterdeep: Dragon Heist, GM of Big Gay Orcs) and streamed on Twitch on Thursday, October 24, 2019 as part of our Special Spooktober Stream Series! Warning: There's some potentially offensive/triggering content in this episode, including violent imagery, darkly comedic references to 9/11 and drug abuse, and jokes about Canada that only came about because one of the players rolled for their motivation to be "To get even with the dirty immigrants." Speaking of which, thank you to Jason Morningstar for the list of needs/motivations that we used (from the "Tales From Suburbia" Fiasco playset)! The premise: Mayfield Place. A cul-de-sac located in Hinkley Hills, a neighborhood of Des Moines, Iowa. 30 years ago, on this very street, Tom Hanks began suspecting that his new next-door neighbors were killers. While investigating with his man-child friends, he inadvertently blew up his neighbors’ house—and went down in history in the process. Now, 30 years later, the events of 1989 are the stuff of local myth and legend—and firmly set in the past. Or are they...? - Map used on Roll20 - https://i.imgur.com/5xWICvI.png (adapted from http://www.dayc.vispa.com/burbs/) - 0:41 - 1:11 of Spooktober intro - Reddit user r/posidonking - In-game music: Incompetech ("Classic Horror 3," "Neo Western," "Western Streets," "Thinking Music," "Hero Down," "Air Prelude," "Marty Gots a Plan," "Sinfonia No. 3 in D Major - BWV 789," "Classic Horror 2," "Dark Walk," "Sneaky Snitch," "News of Sorrow," "Evening of Chaos," "Invariance," "Long Note Two," "Supernatural Radio," "Custav Sting," "Waltz of the Carnies," "Reawakening," "Anxiety" & Tabletop Audio ("Crossroads," "Abandoned Fair") - Theme song: "Theme for Harold (var. 1)" by Kevin MacLeod - All music licensed under Creative Commons: By Attribution 3.0 License - http://creativecommons.org/licenses/by/3.0/