Podcast appearances and mentions of Patrick Macnee

The Howling (1981) synopsis: “After a bizarre and near deadly encounter with a serial killer, a television newswoman is sent to a remote mountain resort whose residents may not be what they seem.”Starring: Dee Wallace, Patrick Macnee, Christopher Stone, and Robert PicardoDirector: Joe DanteThis week on Podcasting After Dark, Zak and Corey breakdown and review Joe Dante's The Howling! Released the same year as American Werewolf in London, it's hard not making comparisons between the two iconic werewolf films, especially since they were both critically well received and featured jaw-dropping transformation scenes. Of course, only one of these two movies has an absolute stacked cast, including Slim Pickens and Robert Picardo in his first movie role, and that's the one the boys are reviewing today!A huge THANK YOU to Cam for selecting The Howling for us to review via our highest Patreon tier! You can listen to Cam on The Jacked Up Review Show Podcast - Apple Podcasts / Spotify / Instagram— SUPPORT PODCASTING AFTER DARK —PATREON - Two extra shows a month including Wrap-Up After Dark and The Carpenter Factor, plus other exclusive content!MERCH STORE - We have a fully dedicated merch store at TeePublic with multiple designs and products!INSTAGRAM / FACEBOOK / LETTERBOXD - Follow us on social media for updates and announcements!This podcast is part of the BFOP Network

Steven's taken up card reading with his eyes closed, Richard's throwing a guest star over Miss Havisham's wedding spread, and Brendan's setting up Patrick Macnee's latest headshots on a Lazy Susan. It's a bonus episode for the festive season, as we discover whether one can ever really have Too Many Christmas Trees. Steven wants everyone to know there really is a Santa Claus, specifically this terrifying one played by Alexei Sayle. The Three Handed Game is an Australian commentary podcast for the 1960s television classic, The Avengers. NEXT EPISODE: The Pop Explosion concludes with the most dangerous Game. Please drop us a review on Apple Podcasts, and send us your thoughts via ⁠Bluesky⁠, ⁠Facebook⁠, ⁠X⁠⁠⁠⁠⁠⁠⁠, or by email at thethreehandedgame@gmail.com. Music Credits Faster Does It Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Every Friday during Halloween Humpfest is devoted to those Friday Night Fiends. Iconic creatures and monsters who give us the chills and today is the second of three werewolf flicks for the month. Dee Wallace plays “Karen” a TV news anchor who is being stalked by a predatory serial killer. She, quite bravely, attempts to entrap her stalker in the back of a porn store where police barely arrive in time to save her. She's traumatized into amnesia and this dude is in her dreams, day and night, so her psychiatrist decides to send her and her husband to a retreat with a lot of folksy music. Ok, so it's inhabited by a commune of werewolf swingers. Sure, they don't say or show too much swinger stuff but you can tell what's going on here. It's kind of a sexy movie. That one lady is in heat. We're talking Joe Dante's reverential werewolf horror from 1981, “THE HOWLING” also starring Patrick Macnee, Christopher Stone & Slim Pickens. Yes, Slim Pickens. Imagine him in a werewolf orgy. Maybe he wanted to throw himself on that fire because he couldn't participate in the werewolf orgy anymore? Happens to the best of us. Here's a link: https://archive.org/details/thehowling1981_202002 Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Check our past & current film ratings here: https://moviehumpers.wordpress.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

Stop On By And Give Afterlife A Try...with some podcasters. Analog Jones watches a listener-submitted movie when we check out both Waxwork (1988) and Waxwork II (1992).  Waxwork Quick Facts Directed by Anthony Hickox (Hellraiser III: Hell on Earth) Written by Anthony Hickox Produced by Staffan Ahrenberg Distributed by  Vestron Pictures Release Dates: June 17, 1988 Budget: $3.5 million Box Office: $800,000 Rotten Tomatoes: 60% Tomatometer / 47% Audience Score Starring in Waxwork Zach Galligan as Mark Loftmore (Billy from Gremlins) Deborah Foreman as Sarah Brightman Michelle Johnson as China Webster Dana Ashbrook as Tony David Warner as David Lincoln Patrick Macnee as Sir Wilfred John Rhys-Davies as Werewolf Mihaly 'Michu' Meszaros as Hans Waxwork II Quick Facts Directed by Anthony Hickox (Waxwork) Written by Anthony Hickox Produced by Nancy Paloian Distributed by Electric Pictures Release Dates: June 16, 1992 Budget: $2.5 million Box Office: Direct-to-Video Rotten Tomatoes: NA Tomatometer / 32% Popcornmeter Starring in Waxwork II Zach Galligan as Mark Loftmore Monika Schnarre as Sarah Brightman Martin Kemp as Baron Von Frankestein Bruce Campbell as John Loftmore Marina Sirtis as Gloria Buck Flowers as Sarah's dad Alexander Godunov as Scarabis Michael Des Barres as George Drew Barrymore, David Carradine, Harrison Young, and Patrick Macnee make cameos How to listen and reach Analog Jones and the Temple of Film Discuss these movies and more on our Facebook page. You can also listen to us on iTunes, iHeartRADIO, Podbean, Spotify, and Youtube! Please email us at analogjonestof@gmail.com with any comments or questions!

It's time to count down the top five "True Crime shows of the decade" as presented by Patrick MacNee.The only problem is, Matt's wiped all the tapes.However, the ever resourceful Patrick reveals a unique opportunity for Matt and Kev to finally do some acting. Written, performed, produced, directed and edited by Kevin Chilvers and Matt Sanders. Social media management by Laurie Stone. Original artwork by Maisie Chilvers and AI generated episode cover by KC. Some sound effects sourced from www.zapsplat.com Come find us on Instagram @catnoirpodcast . Geoff the Baker would like us to point out that he often appears in the small print for many other podcasts,but he likes the way we treat him with respect and so has renewed his contract to stay in our small print for a further three years.God bless Geoff. Hosted on Acast. See acast.com/privacy for more information.

This week we do the Avengers movie everyone thinks of, the one with Ralph Fiennes. We watched The Avengers (1998), man, when Sean Connery does spite, he really nails it.  How will The Avengers (1998) hold up? Host: Jon Panel: Nic, Steve, Matthew   Directed by Jeremiah S. Chechik Starring: Ralph Fiennes, Uma Thurman, Sean Connery, Patrick Macnee, Jim Broadbent, Fiona Shaw, Eddie Izzard

This week we do the Avengers movie everyone thinks of, the one with Ralph Fiennes. We watched The Avengers (1998), man, when Sean Connery does spite, he really nails it.  How will The Avengers (1998) hold up? Host: Jon Panel: Nic, Steve, Matthew   Directed by Jeremiah S. Chechik Starring: Ralph Fiennes, Uma Thurman, Sean Connery, Patrick Macnee, Jim Broadbent, Fiona Shaw, Eddie Izzard

BRIT PICK! Stand up and salute the Union Jack, 'cause Jason keeps us seaborn with this week's film THE BATTLE OF THE RIVER PLATE! Can it hang with the other films? Did Paste Magazine even watch this one? It's Powell and Pressburger, for chrissakes. Next week: The director of Kanal is BACK... in pog form. Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) The Battle of the River Plate stars Bernard Lee, Peter Finch, John Gregson, Anthony Quayle, Ian Hunter, Jack Gwillim, Patrick Macnee, Andrew Cruikshank, Anthony Newley and Christopher Lee; directed by Michael Powell and Emeric Pressburger. Learn more about your ad choices. Visit megaphone.fm/adchoices

Michael, Rob, and Karen dance into the fire and board the iceberg submarine to talk about Roger Moore's final performance as James Bond in A View to a Kill. Also starring Grace Jones, Christopher Walken, Tanya Roberts, and Patrick Macnee.

May is here, and that means it's time for "Summer Sweeps," a five-episode look at failed cinematic adaptations of classic television series. First up, The Avengers. No, not those Avengers! We're talking about the 1998 attempted-blockbuster, starring Ralph Fiennes, Uma Thurman, and Sean Connery, based on the cult-classic British spy action-comedy series of the '60s. While the original show - which had a fascinating development history - was popular in both the UK and North America, and made stars out of both Patrick Macnee and Diana Rigg, the '98 movie was, well, less well-received. But what went wrong? Does the movie manage to capture the campy-charm of its source material? Can the entirety of a decade-spanning, ever-evolving series really be encapsulated in a 90-minute movie? And is there a potentially more successful longer-cut of the film, waiting to be seen? We discuss all this, and more!  Our Twitter Our Facebook Our Instagram Our YouTube Trev's Letterboxd Chris' Letterboxd

Lance remembers back to his kung fu roots with Jackie Chan's intro to American audiences, The Big Brawl! The awesome heists continue with Bob le Flambeur! The Bad Batch picks up with the latest two episodes! As a bonus, the Geeks review the 1970s TV movie Mr. Jericho starring Patrick MacNee! And this week's Top 3 List features favorite songs about stealing! Thanks for listening and Keep On Geekin' On! Timestamps 7:46 Top 3 Songs about Stealing 20:02 The Big Brawl 34:56 Mr. Jericho 45:32 The Bad Batch Episodes 7 & 8 54:04 Bob Le Flambeur --- Send in a voice message: https://podcasters.spotify.com/pod/show/3oldgeeks/message

I know what you're thinking - WTF Happened to The Avengers? Nothing, it was one of the biggest hits ever. Not so fast - we're not talking about the Marvel superhero team-up that shot the MCU into the stratosphere. Instead, we're talking about 1998's misbegotten remake of the classic British spy series, The Avengers. On paper, this should have been a great movie. The Avengers was a classic British TV series starring Patrick Macnee and Diana Rigg as super spy agents John Steed and Emma Peel. Their “will they or won't they” chemistry influenced everything from Cheers to Moonlighting, and the show still runs daily in the UK. Given that the show was always considered the best Eurospy franchise outside of James Bond, it should have turned into a massive franchise for Warner Bros. The cast was next-level, with Uma Thurman playing Emma Peel, Ralph Fiennes as John Steed, and James Bond himself, Sean Connery, as the main villain, Sir August de Wynter. So what went wrong? Just about everything, as we'll dig into in this episode of WTF Happened to this Movie.For one thing, the finished version of the film clocked in at 89 minutes, about a half hour shorter than intended. Director Jeremiah Chechik found himself saddled with a finished film that didn't make a lick of sense. Given the issues with the cut, instead of being a summer blockbuster, it was dumped to the same late-summer dumping ground we find ourselves in right now (there's a reason nothing really opens until after Labor Day). So dig in and check out this tale of the spy franchise that wasn't. For more MOVIE NEWS, visit: http://www.joblo.com

Shane and Andrew check out four episodes from the fourth season of 60s action comedy series The Avengers, starring Bond veterans Diana Rigg and Patrick Macnee.

Agents Scott and Cam hijack a rusty barge and embark on a mission to thwart German U-boats with the 1980 star-studded WWII adventure film The Sea Wolves. Directed by Andrew V. McLaglen. Starring Gregory Peck, Roger Moore, David Niven, Trevor Howard, Barbara Kellerman, Patrick Macnee, Kenneth Griffith, Patrick Allen and Wolf Kahler. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Purchase the latest exclusive SpyHards merch at Redbubble. Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes Theme music by Doug Astley.

Clay Sayre joins Jim in a rousing Halloween discussion of the 1981 Werewolf Classic "The Howling," starring Dee Wallace, Christopher Stone, Patrick Macnee, Elizabeth Brooks, Robert Picardo, Slim Pickens, Dennis Dugan, Belinda Balaski, Kevin McCarthy, John Carradine, Kenneth Tobey, and directed by Joe Dante. A series of murders leads a newswoman to a psychological retreat inhabited by werewolves. Find out more on this episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.

Clay Sayre joins Jim in a rousing Halloween discussion of the 1981 Werewolf Classic “The Howling,” starring Dee Wallace, Christopher Stone, Patrick Macnee, Elizabeth Brooks, Robert Picardo, Slim Pickens, Dennis Dugan, Belinda Balaski, Kevin McCarthy, John Carradine, Kenneth Tobey, and directed by Joe Dante. A series of murders leads a newswoman to a psychological retreat … The Howling | Episode 382 Read More » The post The Howling | Episode 382 appeared first on The ESO Network.

We bring back writer Alana Phelan (@hellolibrarian) to talk about the horror-comedy Waxwork, which features the great David Warner doing his best Vincent Price impression as the villainous owner of a waxwork museum, and a group of college students as his victims.  Starring Zach Galligan, Deborah Foreman, Michelle Johnson, David Warner, Dana Ashbrook, and Patrick Macnee. Written and directed by Anthony Hickox.

Jim takes an emotional look at a classic British TV series and pays tribute to the life and career of Diana Rigg. "The Avengers" ran on American TV from 1961-1969 and created a very large and loyal cult following. The adventure/Sci-Fi was at one time the top-rated imported show on television with Diana Rigg as its most popular co-star. The show also helped launch the career of Patrick Macnee. Join us for this very special episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.

Ray Austin was for many a founding father of stunt work. Here in the UK he was one of those few who gave many of the stunt business legends a leg up at the start of their careers. He gave Rocky Taylor an opportunity at doubling Patrick MacNee on The Avengers and he never looked back.Ray's story is fascinating and this interview will give you an insight into his world, a magical world where if you dreamed big dreams you could have a big career.Enjoycheck out his website www.raymondaustin.comIf you've enjoyed this episode then why not follow us on Twitter, Instagram and Facebook using the following linkhttps://linktr.ee/behindthestunts

Tony Kinger is an international award winning filmmaker and author. His films include The Who's “The Kids Are Alright”. He began his career working on The Avengers starring Patrick Macnee. He's currently working on a new edition of his book “Who Knows - The Making Of A Rock ‘n Roll Movie” and several new documentaries.My featured song is my reimagined version of The Who's “I Can't Explain” which was recorded live in Serbia by my band Project Grand Slam. Spotify link.—--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Tony and I discuss the following:The AvengersThe Who film; open warfareTeamwork in filmmakingCreative processBusiness side of filmmakingStreaming platformsUS and UK as exporters of culture worldwideIran - the power of the InternetHis father, Michael Klinger, and “Get Carter”—-----------------------------------------“BOBBY M AND THE PAISLEY PARADE” is Robert's latest album. Featuring 10 songs and guest appearances by John Helliwell (Supertramp), Tony Carey (Rainbow) and international sitar sensation Deobrat Mishra. Produced by Tony Carey. Called "ALBUM OF THE YEAR!" by Indie Shark and “One of the great rock sets of the year!” by Big Celebrity Buzz. "Catchy and engaging with great tunes!" - Steve Hackett (Genesis)"This album has life and soul!" - John Helliwell (Supertramp)"Bobby M rocks!" - Gary Puckett (Union Gap)"Nice cool bluesy album!" - Jim McCarty (The Yardbirds)"Robert really really really rocks!" - Peter Yarrow (Peter Paul & Mary)"Great songs. Great performances. It's a smash!" - David Libert (The Happenings)Click here for all streaming links. Download here. Audio production:Jimmy RavenscroftKymera Films Connect with Tony at:www.tonydklinger.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comPGS Store - www.thePGSstore.comYouTubeFacebook - www.facebook.com/projectgrandslamSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   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.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   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.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   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.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This week we watched the film "The Howling from 1981 J - 6.5 M - 7 Each week we choose a movie from one of the horror genre to discuss the following week. Follow along each week by keeping up with the movies we are watching to stay in the loop with the movie club! Check out other podcasts, coffee and pins at www.darkroastcult.com ! THANKS TO ANDREW FOR MAKING THE INTRO SONG. (soundcloud.com / andoryukesuta)@andoryukesuta The Howling 1981 In a red light district, newswoman Karen White is bugged by the police, investigating serial killer Eddie Quist, who has been molesting her through phone calls. After police officers find them in a peep-show cabin and shoot Eddie, Karen becomes emotionally disturbed and loses her memory. Hoping to conquer her inner demons, she heads for the Colony, a secluded retreat where the creepy residents are rather too eager to make her feel at home. There also seems to be a bizarre connection between Eddie Quist and this supposedly safe haven. And when, after nights of being tormented by unearthly cries, Karen ventures into the forest and makes a terrifying discovery The Howling is a 1981 American horror film directed by Joe Dante. It is based on the novel of the same name by Gary Brandner. The film stars Dee Wallace, Patrick Macnee, Dennis Dugan, and Robert Picardo. The Howling was released in the United States on March 13, 1981, and became a moderate success, grossing $17.9 million at the box office. It received generally positive reviews, with praise for the makeup special effects by Rob Bottin. The film won the 1980 Saturn Award for Best Horror Film while still in development, and was one of the three high-profile werewolf-themed horror films released in 1981, alongside An American Werewolf in London and Wolfen. Its financial success aided Dante's career, and prompted Warner Bros. to hire Dante (as director) and Michael Finnell (as producer) for Gremlins. A series consisting of seven sequels arose from the film's success. A remake is in development, with Andy Muschietti set to direct. Karen White is a Los Angeles television news anchor who is being stalked by serial killer Eddie Quist. In cooperation with the police, she takes part in a scheme to capture Eddie by agreeing to meet him in a sleazy porn theater. Eddie forces Karen to watch a video of a young woman being bound and raped, and when Karen turns around to see Eddie, she screams. The police enter and shoot Eddie, and although Karen is safe, she suffers amnesia. Her therapist, Dr. George Waggner, decides to send her and her husband, Bill Neill, to the "Colony", a secluded resort in the countryside where he sends patients for treatment. The Colony is filled with strange characters, and one, a sultry nymphomaniac named Marsha, tries to seduce Bill. When he resists her unsubtle sexual overtures, he is attacked and scratched on the arm by a werewolf while returning to his cabin. After Bill's attack, Karen summons her friend, Terri Fisher, to the Colony, and Terri connects the resort to Eddie through a sketch he left behind, having previously discovered that Eddie's body disappeared from the morgue. Karen begins to suspect that Bill is hiding a secret far more threatening than marital infidelity. Later that night, Bill meets Marsha at a campfire in the woods. While having sex in the moonlight, they undergo a frightening transformation into werewolves. While investigating the next morning, Terri is attacked by a werewolf in a cabin, though she escapes after cutting the monster's hand off with an ax. She runs to Wagner's office and places a phone call to her boyfriend Chris Halloran, who has been alerted about the Colony's true nature.

Our first link, Patrick Macnee, plays a washed up vaudevillian actor, but no one cares because there are two Angela Lansburys in this episode.

This week it's just John and Planty and they are talking Bad dates, The Marquis De Sade, Voltron, Sarah Brightman and who we think are the worst vampires in Cinema.---Join our Patreon for £1 a month and we'll shout you out each episode as well as give you the chance to pick an episode each month and give you access to hours of bonus content like interviews, facts and lies and rock n roll and some afterschool TV chat!patreon.com/100thingsfilm ---Waxwork is a 1988 American comedy horror film written and directed by Anthony Hickox in his directorial film debut and starring Zach Galligan, Deborah Foreman, Michelle Johnson, David Warner, Dana Ashbrook, and Patrick Macnee. It is partially inspired by the 1924 German silent film Waxworks.

The Avengers was a classic 1960s ITV espionage series. This “spy-fi” show included some science-fiction elements along with its spy concepts. It isn't related to the Marvel Superhero franchise with the same name. This time, we're talking about series six (1968 – 1969) where Patrick Macnee and Linda Thorson star as John Steed and Tara […]

The Avengers was a classic ITV espionage series from the 1960s. It included some science-fiction elements and is often considered a “spy-fi” show. It isn't related to the Marvel Superhero franchise that has the same name. In this two-part discussion, we're talking about series six (1968 – 1969) featuring Patrick Macnee as John Steed and […]

On this episode of The James Bond A-Z Podcast hosts Tom Butler and Brendan Duffy explore the characters creatives of the 007 films that fall under the letter T.Topics covered include:Lee Tamahori, the director of Die Another DayTiger Tanaka, Bond's ally in You Only Live TwiceSeries regular Bill TannerSir Godfrey Tibbett, Patrick Macnee's memorable A View To A Kill characterNo Time To Die production designer Mark TildesleyDr No and From Russia With Love's Sylvia Trench, played by Eunice GaysonGoldenEye's Alec Trevelyan, played by Sean BeanAnd much, much more...James Bond will return... in next week's James Bond's A-Z Podcast.Buy us a coffee: ko-fi.com/jamesbondatozShop James Bond A-Z t-shirts and merchandise: the-james-bond-a-z-podcast.creator-spring.com/Find us on Twitter: twitter.com/jamesbondatozFind us on Instagram: instagram.com/jamesbondatozEmail us on: podcast@jamesbondatoz.co.ukAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Patrick MacNee probes the story of two of the most active serial killers of our time in this very special episode of The TV Crime documentary "Harmed to Death."Over the last 18 months during the Cat Noir Comedy Podcast there have been exactly 34 on screen deaths. Now this may sound like a coincidence but believe me, it's not. Our final, 35th death has not let happened, but when it does, it will activate the #35 protocol that has been running since the very first episode. A klaxon will indicate that the 35th death is imminent. Do not be alarmed. You will not need to do anything, other than, sit back and enjoy this episode. Why not have a bet with a friend, as to who will be that all important 35th death. Geoff the Baker might be #35... stay tuned to find out.Written, performed, produced, directed and edited by Matt Sanders and Kevin Chilvers.Artwork by Maisie Chilvers. Some sound effects sourced from www.zapsplat.comFind us on Instagram @Catnoirpodcast Hosted on Acast. See acast.com/privacy for more information.

This week on Myopia Movies, we get seduced by a werewolf while helping our wife recover from emotional stress after nearly being killed by a serial killer. Yup. We watched the Howling, the Werewolf movie where werewolves don't show up for almost 45 minutes.  How will The Howling hold up? Host: Nic Co-Host: Matthew, Daniel, and Nur   Directed by Joe Dante Actors: Dee Wallace, Patrick Macnee, Dennis Dugan, Christopher Stone, Belinda Balaski, Kevin McCarthy, John Carradine, Slim Pickens, Elisabeth Brooks

This week on Myopia Movies, we get seduced by a werewolf while helping our wife recover from emotional stress after nearly being killed by a serial killer. Yup. We watched the Howling, the Werewolf movie where werewolves don't show up for almost 45 minutes.  How will The Howling hold up? Host: Nic Co-Host: Matthew, Daniel, and Nur   Directed by Joe Dante Actors: Dee Wallace, Patrick Macnee, Dennis Dugan, Christopher Stone, Belinda Balaski, Kevin McCarthy, John Carradine, Slim Pickens, Elisabeth Brooks

Streamed live on Sep 29, 2022 On this episode, Allan, Rich, Scott, and Hadley have picked their favorite Scream Queen, and paired it with a movie she starred in. Enjoy! Dee Wallace in the Howling a 1981 American horror film directed by Joe Dante. It is based on the novel of the same name by Gary Brandner. The film stars Dee Wallace, Patrick Macnee, Dennis Dugan, and Robert Picardo. Linnea Quigley in The Return of the Living Dead a 1985 American comedy horror film. The film tells the story of how a warehouse owner, accompanied by his two employees, mortician friend and a group of teenage punks, deal with the accidental release of a horde of unkillable, brain-hungry zombies onto an unsuspecting town. Caroline Munro in Starcrash a 1978 American space opera film directed and co-written by Italian filmmaker Luigi Cozzi, and starring Marjoe Gortner, Caroline Munro, Christopher Plummer, David Hasselhoff and Joe Spinell. Jamie Lee Curtis in Prom Night is a 1980 Canadian slasher film. The plot follows a group of high school seniors targeted at their prom by a masked killer seeking vengeance for the accidental death of a young girl six years earlier. www.wyrdrealities.net linktr.ee/wyrdrealities --- Send in a voice message: https://anchor.fm/wyrd-realities/message Support this podcast: https://anchor.fm/wyrd-realities/support

– Ah, I make it just on half-past three. – Eight, Holmes. – What on earth are you talking about? – Half-past eight, see. – Watson, we are on New York time. – Oh. Oh, well I've always found Greenwich time perfectly adequate to me needs. I see no reason for changing it now. This month: New York! With a horribly miscast Roger Moore as Sherlock Holmes and a horribly misjudged John Watson in Patrick Macnee, Sherlock Holmes in New York is the story of a ruddy-cheeked and thoroughgoingly heterosexual consulting detective, his toffy-nosed dimwit sidekick, and their inexplicably beautiful girlfriend (Charlotte Derampling), who all harbour a dark secret, in the form of an appalling American moppet called Scott. Plus, all of the world's gold has been stolen, or at least shifted to a nearby floor. Which is why, dear listener, it took us two attempts to work up the courage to even watch this. (Don't) see the film If you want to spend some money here, a plastic disc release of the film is available. (Amazon US) (Amazon UK) (Amazon AU) If not, it's currently up on YouTube, for some reason. Follow us! Nathan is on Twitter as @nathanbottomley , Brendan is @brandybongos, Richard is @RichardLStone and James is @ohjamessellwood. You can follow the podcast on Twitter as @Bondfingercast. We're also on Facebook, and you can check out our website at bondfinger.com. And if you rate or review us on Apple Podcasts, we'll send you some unsolicited tickets to the opening night of our next show.

Patrick Macnee on a donkey...

Patrick Macnee on a donkey...

Patrick Macnee on a donkey...

Patrick Macnee on a donkey...

With Fal off slacking with a sore throat it's the Pandemic Special 3. To save Dave a bit of time and to prep for the coming months, he has decided to re-release one of the episodes behind the paywall. Originally recorded the 20th of July 2021 and therefor one of the earlier episodes, it includes politics and nonsense that has been avoided in the podblast's new format. But it is also very apt as this week marks the centenary of Patrick Macnee's birth. Don't worry we'll be back to Bond soon enough.Support this podcast at — https://redcircle.com/pilotspodblast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Avengers was a classic ITV espionage series from the 1960s. It included some science-fiction elements and is often considered a “spy-fi” show. It isn't related to the Marvel Superhero franchise that has the same name. In this two-part discussion, we're talking about series four and five (1965 – 1968) featuring Patrick Macnee as John […]

James Bond is back and this time, he's older than ever. We bid fairwell to Rodger Moore in his final performance as the super spy and he goes out with a bang. Out to stop Max Zorin with is recycled Goldfinger plot involving microchips that doesn't make any sense. Starring (too old for this shit) Rodger Moore as one half of the dream team with Patrick Macnee, a film stealing Christopher Walken, Grace Jones as Grace Jones, Tanya Roberts as a leading lady who only makes the leading man look older, The Chinese Detective and Dolph Lundgren more he was He-Man. You can follow us on Becca, Chris and Dave on Twitter Please send us an email at expectustotalk@gmail.com to give us any feedback or add your own thoughts on Bond. You can find us on iTunes and Stitcher and if you like us leave us a lovely review as it helps us grow. If that wasn't enough, you can even you can follow us on Twitter and like us on Facebook. Do You Expect Us To Talk Will Return in Live and Let Die – commentary

The Avengers was an iconic 1960s spy series from ITV. It featured some science-fiction elements and is often considered a “spy-fi” show. In this two-part discussion, we cover series four and five (1965 – 1968) featuring Patrick Macnee as John Steed and Diana Rigg as Emma Peel. Please send us your comments, questions, requests and […]

In this week's episode, William and Carey got together to talk about Waxwork a Horror/Comedy film from director Anthony Hickox and starring Zach Galligan, Deborah Foreman, Michelle Johnson, David Warner, Dana Ashbrook, and Patrick Macnee. In addition, they also talk about  House of Wax from(1953), and the German silent film from 1924  titled Waxworks that may have loosely inspired the 1988 Waxwork. William introduced me to a film by Director David Fresina called When the Witches Came to Town, a documentary about the making of 1986's The Witches of Eastwick. get your copy on the link below. When the Witches Came to Town DVD 

Join Trivial Theater and Movie Emporium as we journey through the world of Rod Serlings influential The Twilight Zone. This Week we talk one of Twilight Zones classic episode with Season 1 Episode 10 titled Judgement Night. The Episode is Directed By: John Brahm and Stars: Nehmiah Persoff, Deidre Owens, Patrick Macnee, Ben Wright, Leslie Bradley, Kendrick Huxham, Hugh Sanders, Richard Peel and James Franciscus. If you like to help out Jaime Hitchcock, click either link below to help donate to the GoFundMe page or Buy a shirt from online store: * GoFundMe page: https://www.gofundme.com/f/surgeries-for-smitty * Online Store: https://smitshappens.threadless.com/ You can find Trivial Theaters content at: Youtube Channel: www.youtube.com/TrivialTheater Twitter: @trivia_chic You can find Movie Emporium's content at: Youtube Channel: www.youtube.com/MovieEmporium Twitter: @Movie Emporium Intro Created by Trivial Theater Music By Dan Jensen #TheTwilightZone #MovieEmporium #TrivialTheater --- Support this podcast: https://podcasters.spotify.com/pod/show/5thdimension/support

This week Gary and Iain review and discuss, The Howling (1981) by Director, Joe Dante. Starring, Dee Wallace, Patrick Macnee, Dennis Dugan. For more Off The Shelf Reviews: https://www.youtube.com/channel/UChWxkAz-n2-5Nae-IDpxBZQ/join Podcasts: https://offtheshelfreviews.podbean.com/ Follow us on Twitter: https://twitter.com/@OTSReviews Youtube: https://www.youtube.com/c/OffTheShelfReviews Facebook: https://www.facebook.com/OffTheShelfReviews Support us: http://www.patreon.com/offtheshelfreviews Twitch: https://www.twitch.tv/offtheshelfreviews Discord: https://discord.gg/Dyw8ctf

Everyone knows the characters of the iconic '60s show "The Avengers," starring Diana Rigg and Patrick MacNee, but how well do the episodes hold up? The Spy-Fi Guys watch "The Town of No Return" and "Who's Who???" You can find the Spy-Fi Guys at the following social media links: https://www.facebook.com/thespyfiguys/

Agents Scott and Cam put on pastel teddy bear suits and unleash bad weather on the world while experiencing the 1998 big screen adaptation of The Avengers.    Directed by Jeremiah Chechik. Starring Ralph Fiennes, Uma Thurman, Sean Connery, Patrick Macnee, Jim Broadbent, Fiona Shaw and Eddie Izzard. Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes.

Legendary British actor Patrick Macnee guest stars on a Higgins-centric episode of “Magnum, p.i.,” featuring a flashback to an adventure at Robin’s Nest back in the ’70s, with Higgins as Watson to Macnee’s delusional Holmes. Meanwhile, in this segment-centric episode of “Magnum, podcast,” we discuss beards and these young whippersnapper criminals today. Host Jason Snell, Philip Michaels and David J. Loehr.

For Halloween, we're going to take a bite out of The Howling, and we'll be joined by a special guest from the cast, James Murtaugh. Directed by Joe Dante from a screamplay, sorry, I mean a screenplay by John Sayles, with makeup effects by a brilliant team including the amazing Rob Bottin (The Thing) and Rick Baker (Planet of the Apes). With a cast that includes Dee Wallace, Patrick Macnee, Kevin McCarthy, John Carradine, Slim Pickens, and Robert Picardo. With special guest from the cast, James Murtaugh.

We return to the Vestron Video Collector's Series, as we venture into the Waxwork (1988)! Twice. Kind of. But not really. Because despite being a sequel, Waxwork II: Lost in Time (1992), has nothing to do with any waxworks, at all. Well, you'll hear what I'm talking about. Featuring the superb acting talents and rollicking adventures of Zach Galligan and other thespians of the utmost quality! Okay, I'm having a little fun at Zach's expense. But even David Warner, Bruce Campbell, John Rhys-Davies, Patrick Macnee and David Carradine show up! Prepare yourself for a trip back to the convoluted vat of gooey, boiling wax that WAS the VHS era!

Get ready for another TITLE VERSUS TITLE face-off! But THIS time, it's ANTHOLOGY DEATHMATCH style! First, we're subjected to a deadly premonition, ghosts, a haunted mirror, a ventriloquist dummy...and golf. Which story survives the first deathmatch, in the classic anthology film from Ealing Studios, Dead of Night (1945)? Then, we jump ahead to Dead of Night (1977), for our second anthology deathmatch. This time, stories featuring time travel, vampirism and a ritual to bring a child back from a watery grave, battle it out in a three-way dance, to determine who comes out on top! And then from there, it's title versus title! Which movie reigns supreme and takes home the title as Dead of Night champion?