Podcast appearances and mentions of Paul Bartel

After a lengthy break, your favorite Bartel-casting comrades return with BARTEL ME SOMETHING GOOD, featuring the second episode of the Steven Spielberg-produced anthology series AMAZING STORIES directed by Paul Bartel, as well as the 1988 slasher comedy OUT OF THE DARK, produced by Bartel and featuring a wild cast including Karen Black, Bud Cort, Geoffrey Lewis, Tracey Walter, Divine, Tab Hunter and - of course - Paul Bartel! It's a packed episode, so check it out! The post Episode 275 – Bartel Me Something Good – Out of the Dark (1988) & Amazing Stories “Gershwin's Trunk” first appeared on Cinema Smorgasbord.

Your boys are back this week to discuss the beach, Full Moon, and many other things. In honor of Sabu, the iconic hardcore wrestler who just died, we watch his first ECW match and chat about how homicidal he was. After that, we discuss the 1972 proto-slasher West Coast weirdo movie, "Private Parts" from 1972. It's not the Howard Stern, it was Paul Bartel's (Eating Raoul, Death Race 2000) first movie! In it, a girl visits her aunt in an old creepy hotel and runs afoul of the weird inhabitants. Direct Donloyd Here After this episode, join our Patreon for all-new bonus episodes and then call the voice mail line to talk to us!

In the twenty-first episode of Season 11: The Son of Cult Flicks, Kyle is joined by stunt actor Danny Hernandez and filmmaker Daniel Lopez to discuss the prescient dissection of media violence, personality politicians, and the co-mingling of religion and corporation that makes up the Roger Corman produced and Paul Bartel directed exploitation satire Death Race 2000 (1975).

Everyone has a different path at New World Pictures, but Alan Toomayan may have had one of the strangest!  From driving RVs on movie sets to working as a Production Assistant on New World's GRAND THEFT AUTO and driving Ron Howard around to moving into the editing room for SATURDAY THE 14TH and working with producer Julie Corman, Alan has done it all! Moving on from New World, Alan worked on THE HOWLING where he met director Paul Bartel and would work on Bartel's EATING RAOUL, THE LONGSHOT, NOT FOR PUBLICATION, SCENES FROM THE CLASS STRUGGLE IN BEVERLY HILLS and LUST IN THE DUST, which was released by the second ownership group of New World Pictures! Alan shares the behind-the-scenes stories of working with Bartel, even on the unfortunately cancelled EATING RAOUL sequel, BLAND AMBITION. We also get into Alan's work editing trailers for New World in the 1980s and why HELLRAISER has a special meaning to him. Thanks so much to Alan Toomayan for appearing on the show!! Check out more of Alan's work at his website by clicking here. For more about the New World Pictures Podcast, including previous episodes, t-shirts, mugs, sweatshirts, other merch and more, head here: https://newworldpicturespodcast.com/ For all the shows in Someone's Favorite Productions Podcast Network, head here:  https://www.someonesfavoriteproductions.com/  

In today's episode, Steve sits down with Paul Bartel, a senior intelligence analyst with PeakMetrics. Paul was previously with the Defense Intelligence Agency, and he speaks with Steve about his experience working in the government sector, how the public and private sectors can cooperate more effectively, and what businesses can do to protect themselves from misinformation campaigns. Key Takeaways: Generative AI is rapidly changing the nature of misinformation. Social media companies must take more responsibility for moderating the content on their platforms. To protect your organization from damage from misinformation, being aware of the current information environment and what information is out there about you, is key. Tune in to hear more about: Paul Bartel's background with the Defense Intelligence Agency (1:30) The three primary sources of misinformation in the US (4:40) How businesses can adapt to the changing information environment (17:56) Standout Quotes: “I think one of the biggest things that we have going now, and this is obviously in every sort of sector, is the use of generative AI. So what we're seeing a lot in social media now is instead of just random accounts that might be controlled by a person or two, what you're seeing is hundreds and hundreds of bot accounts that are able to push forward a large amount of information very quickly.” - Paul Bartel “The biggest thing I think that needs to start happening is the social media companies really especially need to take accountability for their own clientele base that might be spreading the misinformation.” - Paul Bartel “Getting an early handle on what's being said about them, and the information environment at large, can help them [organizations] navigate a lot of the challenges that we see in an information environment that's pushing out more and more information and can change on a minute to minute, hour to hour basis.” - Paul Bartel Mentioned in this episode: Dear InfoSec Read the transcript of this episode Subscribe to the ISF Podcast wherever you listen to podcasts Connect with us on LinkedIn and Twitter  From the Information Security Forum, the leading authority on cyber, information security, and risk management.

In today's episode, Steve sits down with Paul Bartel, a senior intelligence analyst with PeakMetrics. Paul was previously with the Defense Intelligence Agency, and he speaks with Steve about his experience working in the government sector, how the public and private sectors can cooperate more effectively, and what businesses can do to protect themselves from misinformation campaigns. Key Takeaways: Generative AI is rapidly changing the nature of misinformation. Social media companies must take more responsibility for moderating the content on their platforms. To protect your organization from damage from misinformation, being aware of the current information environment and what information is out there about you, is key. Tune in to hear more about: Paul Bartel's background with the Defense Intelligence Agency (1:30) The three primary sources of misinformation in the US (4:40) How businesses can adapt to the changing information environment (17:56) Standout Quotes: “I think one of the biggest things that we have going now, and this is obviously in every sort of sector, is the use of generative AI. So what we're seeing a lot in social media now is instead of just random accounts that might be controlled by a person or two, what you're seeing is hundreds and hundreds of bot accounts that are able to push forward a large amount of information very quickly.” - Paul Bartel “The biggest thing I think that needs to start happening is the social media companies really especially need to take accountability for their own clientele base that might be spreading the misinformation.” - Paul Bartel “Getting an early handle on what's being said about them, and the information environment at large, can help them [organizations] navigate a lot of the challenges that we see in an information environment that's pushing out more and more information and can change on a minute to minute, hour to hour basis.” - Paul Bartel Mentioned in this episode: Dear InfoSec Read the transcript of this episode Subscribe to the ISF Podcast wherever you listen to podcasts Connect with us on LinkedIn and Twitter  From the Information Security Forum, the leading authority on cyber, information security, and risk management.

Some great titles in physical media this week and Erik Childress is joined by Peter Sobczynski to convince you to pick them up. They include a great modern con artist noir from Criterion and a lost film from Paul Bartel. The ‘70s bring us some sexploitation horror and Sherlock Holmes hunts Jack the Ripper while the '80s gave us one of the most unique and divisive slasher films. Peter goes to bat for a pair of 4K upgrades from John Carpenter and Tarsem. Finally, there is a trio of new 4Ks from Quentin Tarantino that includes one of Peter's favorite films and one of Erik's favorite music cues. 0:00 - Intro 2:16 – Criterion (The Grifters 4K) 15:30 - Liberation Hall (Shelf Life) 26:29 - Kino (Fade-In, Invasion of the Bee Girls, Murder by Decree 4K, April Fool's Day 4K) 58:57 - Shout Factory (John Carpenter's Vampires 4K) 1:06:57 - Arrow (The Cell 4K) 1:19:45 - Lionsgate (Jackie Brown 4K, Kill Bill Vol. 1 4K, Kill Bill Vol 2 4K) 1:39:44 - New Theatrical Titles On Blu-ray (Here, The Return, Rumours, Smile 2, The Substance, Venom: The Last Dance) 1:44:00 – New Blu-ray Announcements

Happy (almost) new year! We're ending 2024 with an all-timer episode of YOU DON'T KNOW DICK (the world's finest Dick Miller podcast) featuring guest Oscar Goff joining us to not only chat about a Season 6 episode of WHO'S THE BOSS (featuring Dick Miller as a suspicious hotel manager), but also a lengthy discussion on Alan Arkush's beloved 1979 comedy ROCK 'N' ROLL HIGH SCHOOL featuring P.J. Soles, The Ramones, Paul Bartel & Mary Woronov and - of course - Dick Miller! Learn about PUNK MUSIC from the experts! Enjoy and see you on the other side. The post Episode 254 – You Don't Know Dick – Rock ‘n' Roll High School (1979) (/w Oscar Goff) first appeared on Cinema Smorgasbord.

BARTEL ME SOMETHING GOOD returns with two films co-written by the man himself! We start with a rare oddity, the Paul Bartel-starring sex comedy(?) UTTERLY WITHOUT REDEEMING SOCIAL VALUE from 1969, also featuring Don Calfa and a guy who makes robotic art. FUN! Then we're finishing up with the totally bizarre, totally tasteless Police Academy.. uh.. spoof? from 1988 MORTUARY ACADEMY, which reunited Paul Bartel and Mary Woronov! How do we feel about it? It's complex! Listen! The post Episode 252 – Bartel Me Something Good – Utterly Without Redeeming Social Value (1969) & Mortuary Academy (1988) first appeared on Cinema Smorgasbord.

Paul Bartel directs this black comedy that's "not Lubitsch—but it's not quite John Waters either", according to Criterion essayist David Ehrenstein. Eating Raoul (1982), is a story of America, of the normally hidden and unpunished violence of wealth accumulation. Or it's a story of America, of two prudish weirdos punishing the people they don't like. Or it's a story of America. the dream of revenge against the managerial class. Or it's none of these things completely, as we get into a discussion this week about just how strong the metaphor in Eating Raoul is. But hey, it's still a pretty fun movie.

While everyone is stuffing their face during the holiday, we will be discussing cannibal comedies from the 1980s. Bon Appetite! The Founder and Chief Programmer of The BizarroLand Film Festival, Stephen Stull, joins us for this delicious discussion about the films Eating Raoul (1982), Lucky Stiff (1988) and Parents (1989). To learn more about the BizarroLand Film Festival, click HEREOriginal Music and episode audio mastering by Beau Hitt. Check out more of Beau's music at the link below.https://spoti.fi/3OcxTMSFollow us on :FacebookInstagramLetterboxd

Hello and welcome back to another episode of B Bin Horror! On this week's episode we talk about the 1986 Horror/Sci Fi film, Chopping Mall. Chopping Mall was co-written by Jim Wynorski and Steve Mitchell and was directed by Jim Wynorski. The film stars Kelli Maroney, Tony O'Dell, John Terlesky, Russell Todd, Paul Bartel, Mary Woronov and Barbara Crampton. On this week's episode the guys talk about the film, the deleted horse scene idea and they create their own Kill Bots! If you like what you hear please follow us on Instagram and Facebook @bbinhorror. You can also send us emails at bbinhorror@gmail.com and please don't forget to subscribe to B Bin Horror on whatever podcast platform you listen on! *B Bin Horror theme music - "Uprising" by Karl Casey @ White Bat Audio*

This week, Millie and Danielle discuss DEATH RACE 2000 (1975) and EATING RAOUL (1982), Millie's trip to Warwick, Pulp in concert, and the legendary career of Paul Bartel. To see a full ISWYD movie list, check out our Letterboxd here: https://letterboxd.com/isawwhatyoudid/films/diary/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Elon Thrust is back with his dumb pick! Content Warning: we discuss outdated themes in the film that would not be acceptable by today's standards. Click here to see Thor's Drum of Dumb randomly select the last topic of Septdumber.   Check out the various projects of our pantheon members: Mr. Monopoly cohosts Bad For Me, Chibi hosts Unidentified Flying Obsession, and Ballarina Suzy is one of the panelists on Cinemondo.

What if Maxwell Caulfield was a secret agent superhero that is being trailed by Linda Blair shows up as a cop, supplied with weapons by Paul Bartel and works for Stacy Keach? Then you'd have this week's movie, Prey for the Jaguar.  Important links: You can watch this movie on ⁠YouTube.⁠ Theme song: Strip Search by Neal Gardner. Visit ⁠⁠⁠B&S About Movies⁠⁠⁠ and email me at bandsaboutmovies@gmail.com. Donate to our ⁠⁠⁠ko-fi page⁠⁠.

This week we're kicking off the Spooky season a little early with the 1986 techno horror film Chopping Mall. Co-written and directed by Jim Wynorski and produced by Julie Corman, it focuses on three high-tech security robots turning maniacal and killing teenage employees inside a shopping mall after dark. The film stars Kelli Maroney, Tony O'Dell, John Terlesky, Russell Todd, Paul Bartel, Mary Woronov, and Barbara Crampton. Come join us!!! Website : http://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod                            

On this episode of BARTEL ME SOMETHING GOOD (the world's finest Paul Bartel-themed podcast) we're finishing up the directorial career of Paul Bartel with some television odds & sods! First up are two episodes of the TV show CLUELESS, based on the popular 1995 film starring Alicia Silverstone. This 1996 series is a cut above the sitcoms of the time and brought along a surprising amount of the film's cast, and not only has Paul Bartel behind the camera.. but in front of it as well, playing a crusty old principal in one of the episodes! Then we talk about an interesting rarity; an episode of the British alternative comedy anthology series THE COMIC STRIP PRESENTS directed and co-written by Paul Bartel called DEMONELLA, starring a whole slew of familiar faces in the realm of UK comedy, including Adrian Edmonson, Jennifer Saunders, Robbie Coltrane and a beardless Paul Bartel playing Oscar Wilde! Listen and enjoy! The post Episode 235 – Bartel Me Something Good – The Comic Strip Presents: Demonella (1993) & Clueless Episodes (1996) first appeared on Cinema Smorgasbord.

We're back with more Death Race! And when I say more Death Race, I mean we basically watched the same movie two weeks in a row. Join us here in the future Appalachian Desert for this ostensible sequel to Paul Bartel's Death Race 2000, which is really basically a remake with the addition of clever place names. We do get to talk about some pretty interesting stuff regarding gender and race though. So that's something. Please rate, review, and tell your fiends. And be sure to subscribe so you don't miss future installments. Join us on Patreon at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/thefrankencast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @thefrankencast or send us a letter at thefrankencast@gmail.com. We'd love to hear from you! Your Horror Hosts: Anthony Bowman (he/him) & Eric Velazquez (he/him). Cover painting by Amanda Keller (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@KellerIllustrations on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠).

Fascism is scary AF but it's always been ripe for satire, so as counter programming to this week's RNC, we're pairing strains with two sendups of strutting authoritarians with THE ANTIFA EPISODE, aka the F--K FASCISM EPISODE. Hitler was named chancellor of Germany in January 1933, and the Marx Brothers spoofed the shit out of him by the end of the year with DUCK SOUP, which is widely considered to be their greatest work. Groucho is Roofus T. Firefly, who is installed on the throne of of Freedonia by wealthy widow Mrs. Teasdale (Margaret Hamilton). The plot hardly matters though, as it's all about the classic mirror gag, Harpo taking an oversized pair of scissors to everything he can lay his hands on, and the stellar word play between Chico and Groucho. Directed by Leo McCarey (AN AFFAIR TO REMEMBER) with a surprising amount of musical numbers. FREEDONIA! FREEDONIA! Then we pay tribute to Roger Corman with DEATH RACE 2000, his cult hit about a future fascist America where David Carradine, Mary Woronov, and Sylvester Stallone compete in a coast-to-coast race where they score points by running over hapless pedestrians in their rad muscle cars. Bob saw this at the Redwood City Drive In when he was 7-years-old and it's safe to say that the satire went waaaay over his head back then. Also featuring Martin Kove (KOBRA KAI) and Wendy Dio (wife of Ronnie James), and directed by the great Paul Bartel. Bob also tells you what he really thought of Kevin Costner's HORIZON, beardless Cory reveals the terrible new Paramount logo, Philena blames everything on people born in 1999, and Bob wonders what the hell is wrong with Generation X. Plus, it's FREEE SLURPEE DAY! Hosts: Bob Calhoun, Cory Sklar, Philena Franklin Greg Franklin is on assignment Special Guest Star: Holzfeuer, courtesy of ArnoCorps, the Greatest Band of All Time Trailer audio courtesy of Archive dot org "Sound Off Alert March" by the US Marine Band and "69 Bronco" by DJ Williams courtesy of YouTube Audio Library Sound effects via freesound.org Marching 3.wav by WebbFilmsUK -- https://freesound.org/s/200322/ -- License: Attribution 4.0 190318 pounding banging wood door close distant, mono, KMR82i.flac by TRP -- https://freesound.org/s/573808/ -- License: Creative Commons 0 Be back here on August 12th when Odie Henderson, author of “Black Caesars and Foxy Cleopatras: A History of Blaxploitation Cinema," joins OMFYS for BLACULA (1972) and DARK TOWN STRUTTERS (1975) Web: www.oldmoviesforyoungstoners.com Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com

Tonight its a celebration of punk music, Paul Bartel and stripper stories.

Welcome to the far dystopian future, all the way in the Year 2000! Join us for the horror comedy car race movie you've all been waiting for. We'll obviously be cheering for American Hero Frankenstein! (But also for the Resistance. This is a pro-Resistance Frankenstein podcast, if you didn't know.) Please rate, review, and tell your fiends. And be sure to subscribe so you don't miss future installments. Join us on Patreon at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/thefrankencast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @thefrankencast or send us a letter at thefrankencast@gmail.com. We'd love to hear from you! Your Horror Hosts: Anthony Bowman (he/him) & Eric Velazquez (he/him). Cover painting by Amanda Keller (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@KellerIllustrations on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠).

On this episode of BARTEL ME SOMETHING GOOD (the world's finest Paul Bartel-themed podcast) we're tackling Paul Bartel's final directorial feature, the sadly abused (and semi-unavailable) bunker comedy SHELF LIFE from 1993! Born out of a stage-play by stars O-Lan Jones, Andrea Stein, and Jim Turner, Bartel turns it into a wildly visual phantasmagoria of rituals, re-enactments and hormonally confusing games, with a typically wicked sense of humor. Check it out! The post Episode 220 – Bartel Me Something Good – Shelf Life (1993) first appeared on Cinema Smorgasbord.

A black comedy about a sexually-repressed couple who fund their dream of opening a restaurant by posing as sex workers and robbing and murdering Los Angeles swingers. When a local thief worms his way into the scheme, everything goes haywire, jeopardizing their chance at the American Dream. Starring Paul Bartel, Mary Waronov, Robert Beltran, Susan Saiger, Buck Henry, Ed Begley Jr., John Paragon, and Edie McClurg. Written by Paul Bartel and Richard Blackburn. Directed by Paul Bartel.

It's time to party, maniacs! This week finds us talking about the slasher whodunit Killer Party from 1986, and bringing us this flick are Zane Hershberger and Sable Griedel from Silver Springs Films. They're joining us to promote the Blu-Ray release of their new anthology Cryptids, which also stars Joe Bob Briggs. Tune in as we celebrate Zane's birthday and talk other topics such as our new movie idea for the late Paul Bartel, the definitely real X-rated Mrs. Henshaw cut of the film, and bitter beer face. Drop that Caramello and check out our Patreon! This month we counted down our top five 1990s comedies. For as little as $2 a month you can get in on the action as well with bonus episodes, Discord privileges, livestreams, exclusive merchandise and more! Want to hear about more fare from 1986? Check out our previous episodes on Terrorvision (episode 21), Night Of The Creeps (episode 52), Spookies (episode 62), Maximum Overdrive (episode 73), Critters (episode 86), Texas Chainsaw Massacre 2 (episode 99), Neon Maniacs (episode 156), Witchboard (episode 194), Deadly Friend (episode 255), and Troll (episode 280).

This episode Nez takes on other drivers in a deadly coast to coast race in the 1975 Paul Bartel classic sci-fi/action film DEATH RACE 2000. In the year 2000, America is a totalitarian regime on the brink of collapse. The most popular sport in this dystopia is the Transcontinental Road Race, where teams earn points for logging the fastest time and for mowing over the most innocent pedestrians in the process. This year's competitors include Frankenstein (David Carradine), who is rumored to be more machine than man, and the tough-as-nails "Machine Gun" Joe Viterbo (Sylvester Stallone). Some have a plan to stop the race.   Hit up E Society on Facebook. https://www.facebook.com/ESocietyPodcast/ Check out our ESP Spotify For Podcasters feed: https://podcasters.spotify.com/pod/show/esoc E Society YouTube: https://www.youtube.com/channel/UCliC6x_a7p3kTV_0LC4S10A E Society and Mac-Nez t-shirts Tee Public: http://tee.pub/lic/9ko9r4p5uvE X: @esocietypod @macnezpod @TheoZissou Instagram: @esocietypod @thezissou @macnezpod Nez and Taylor Blu-ray IG pages: @bluraynez @blurayterror TikTok: @esocietypod  

I am joined by the bane of my podcasting existence John Hudson and the much nicer Bobby Hazzard to heap praise upon EATING RAOUL (1982).  This is the film I've always though of as ground zero for Paul Bartel appreciation and more than forty years later I think it still holds up as the perfect introduction to his comedic sensibilities. If you laugh your way through this film, chances are good that you will love his other movies as well. Even the ones that don't involves running over little old ladies to win a cross-country race or cannibalism.  We jump into the discussion by detailing our history with Bartel's work and what each of us find so appealing about his screen persona. All three of us bring some tales of the production history to the table with the start and stop nature of the filming process leading to information about locations and casting. We do eventually get to a synopsis of the plot and spoil most of the funnier moments so be aware that you should probably watch the movie before listening to us giggle our way though the many deaths by frying pan. Our peanut gallery has returned for this episode taking the time to laugh with and at us during the show. Long time podcast fans will recognize Beth and Steph from previous episodes but we also get some very funny contributions from Laura as well. Luckily, she keeps John in line and I will take any help I can get corralling the monkey-mad Mr. Hudson. Strap in for this one, folks and stay out of the hot tub!   The show can be reached at thebloodypit@gmail.com where we'll be thrilled to hear from you. You can also find the show on our Facebook page and wherever odder podcasts are downloaded. Thank you for listening. 

This is more like it! Bartel Me Something Good returns with Paul Bartel's end-of-the-80s satirical sex comedy triumph SCENES FROM THE CLASS STRUGGLE IN BEVERLY HILLS, featuring an all-star cast witnessing - and participating in - all sorts of bad taste fun. Jacqueline Bisset, Mary Woronov, Ray Sharkey, Robert Beltran, Ed Begley Jr., Wallace Shawn and Bartel himself chew up the scenery - and some wonderful dialogue from writer Bruce Wagner - while indulging in the best and worst of Reagan-era debauchery. CHECK IT OUT!  The post Episode 207 – Bartel Me Something Good – Scenes From The Class Struggle in Beverly Hills (1989) first appeared on Cinema Smorgasbord.

Nashville's pre-eminent film critic, curator & connoisseur Jason Shawhan returns for EATING RAOUL. We talk Paul Bartel, Mary Woronov, The Roger Corman Expanded Universe, Robert Beltran, swingers, wine-snobs, bad musical theater, the lurking terror of The Beach Boys, SCENES FROM THE CLASS STRUGGLE IN BEVERLY HILLS and much more. Join the Craig & Friends Patreon For more Jason Shawhan: ⁠⁠https://x.com/jshawhan?s=21&t=2TXy7cSLOHZN-Ef4khov0A⁠⁠ ⁠⁠http://rebirthoftheflesh.blogspot.com/⁠⁠ Jason & Sam Inglis host FEARLESS PRETENDER- The Only Podcast That Provides Extensive Analysis of Every-Single Film & Television Show Featuring Jennifer Jason-Leigh. Hear my guest spot on the episode devoted to the bizarro Rodney Dangerfield classic EASY MONEY

  Your JFS boys are back with another banger of an episode! First, we wonder what was on TV at the same time as Twin Peaks and watch a compilation of the intros from all the debuting TV shows of the 1990 season. How does Twin Peaks stack up? I accidentally edited out all the pauses so if you watch the video along with us as an audio commentary, then it won't match up completely. Whoops! Sorry! However, if you're not watching along, then this is preferable to you! You're welcome! After that, we get into a review of "Hi, Mom!" a 1970 black comedy by Brian De Palma, the GOAT. Robert De Niro plays an aspiring pornographer just home from Vietnam. He gets involved with some urban radicals and meets Paul Bartel, Jennifer Salt and Gerrit Graham along the way. All this plus Junk Mails and next week's movie is revealed! Also, join the Patreon if you want more Twin Peaks chat! Direct Donloyd.

A group of amorous couples decide to stay overnight at the local mall, at the same time that the mall's new robot security force is on duty. Things... don't go well. Sean joins us again to talk about Chopping Mall, in our penultimate episode of the 2023 edition of our 13 Days of Halloween series.

On this episode of BARTEL ME SOMETHING GOOD we're off to the races with the Tim Conway-penned and Mike Nichols-produced gambling comedy THE LONGSHOT, starring Conway, Harvey Korman, Jack Weston and Ted Waas! A passion project for Tim Conway (and a work-for-hire gig for Paul Bartel) it's.. a bit of an odd duck, but it DOES have a theme song rapped by Conway AND Ice-T! Enjoy!  The post Episode 191 – Bartel Me Something Good – The Longshot (1986) first appeared on Cinema Smorgasbord.

This episode Doc and GQ celebrate the 1986 killer robot classic, Chopping Mall! This is one of those absolute classic 80's horror films that both hosts go back to time and time again. Directed by longtime genre staple, Jim Wynorski, and starring Kelli Maroney, Barbara Crampton, Suzee Slater, and Tony O'Dell. Featuring cameos by Paul Bartel, Mary Woronov, and the legendary Dick Miller. Two Good Scares: Hide and Go Shriek (Doc) and Westworld (GQ) email@soundsscarypodcast.com www.soundsscarypodcast.com Sounds Scary Instagram

Yee-haw! We're going back to the wild west on this episode of Bartel Me Something good with Paul Bartel's 1984 comedy western LUST IN THE DUST starring Tab Hunter, Lainie Kazan and the legendary Divine! Originally envisioned as a John Waters project, Bartel ruffled against making a Waters-style film and instead brings his own wild and unpredictable sensibility (while still not skimping on the bad taste). It has musical numbers, butt tattoos, Cesar Romero, death via oral sex and so much more. Check it out, jerks!  The post Episode 181 – Bartel Me Something Good – Lust in the Dust (1984) first appeared on Cinema Smorgasbord.

Get ready for racing and fighting, Shaolin-style! Okay, maybe there's not really any Shaolin action, but CANNONBALL (1976) stars KUNG FU's very own DAVID CARRADINE! Beating the 1981 CANNONBALL RUN to theaters by 5 years, Carradine's vehicle (pun intended) trades the comedy focus for a more serious look at the world of illegal road trips! Not only is Carradine along for the ride, but so is cult icon MARY WORONOV in this flick penned and directed by DEATH RACE 2000 legend PAUL BARTEL! Oh, and SYLVESTER STALLONE, MARTIN SCORSESE and JOE DANTE are tucked in there, too (yes, it's a ROGER CORMAN production!)We "HIT THE ROAD!" on this week's episode of CULT and CLASSIC Films Podcast! Listen wherever you get your podcasts and at https://cultandclassicfilms.com/!Last Week: "TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY" (2006)Host: NATE WYCKOFFPanelist: MANDY LONGLEY & CORINNE PORTER

Justin Decloux and Mark Hanson discuss THE MOST NOTABLE BLU-RAYS AND DVDS OF THE WEEK from Bay Street Video, a brick n' brick-and-mortar video store in Toronto, Canada. ELECTION & ELECTION 2 (Chameleon) THE SARAGOSSA MANUSCRIPT (Yellow Veil) ATTACK OF THE DEMONS (Dark Star) PRIVATE PARTS (1972) (Shout) ***BLIND BUY*** COUNSELLOR AT LAW (Kino) MY MAN GODFREY (1957) (Kino) KAMIKAZE (Kino) MAKING MR. RIGHT (Kino) UPTIGHT (Imprint) STARGATE (Via Vision) WOLF CREEK (Via Vision) WEIRD: THE AL YANKOVIC STORY (Umbrella)

This week, Film Seizure charges into the apocalyptic future of the year 2000 for the Paul Bartel-directed and Roger Corman-produced classic Death Race 2000! Episodes release on Wednesday at www.filmseizure.com "Beyond My Years" by Matt LaBarber LaBarber The Album Available at https://mattlabarber.bandcamp.com/album/labarber-the-album Copyright 2020 Like what we do? Buy us a coffee! www.ko-fi.com/filmseizure Follow us on Facebook: www.facebook.com/filmseizure/ Follow us on Mastodon: https://universeodon.com/@filmseizure Follow us on Twitter: twitter.com/FilmSeizure Follow us on Instagram: www.instagram.com/filmseizure/ You can now find us on YouTube as well! The Film Seizure Channel can be found here: https://www.youtube.com/c/FilmSeizure

While streaming companies get tax write-offs for dropping content, physical media lives on and Peter Sobczynski joins Erik Childress to tell you what you can pick up this week. They include a classic of French cinema from Criterion, another Sammo Hung title, a recent Nicolas Cage film as well as a good Nicolas Cage film. A pair of 60s & 70s era horror films of questionable tastes are here for you. Finally, show your age and your varying love for each chapter of the adventure films starring Harrison Ford and Brendan Fraser. 0:00 - Intro 3:00 - Criterion (The Rules of the Game (4K)) 6:10 - Decal (Mafia Mamma) 9:35 - Universal (Renfield, The Mummy Ultimate Trilogy (4K)) 17:09 - Lions Gate (Lord of War (4K Steelbook)) 19:38 - Arrow Films (Warriors Two) 21:13 - Shout! Factory (Private Parts, The Strangler) 31:49 - Paramount (Indy 4K) 39:47 – New Blu-ray Announcements 44:30 - Outro

On this episode of YOU DON'T KNOW DICK (the world's finest Dick Miller-related podcast) we're joined by writer/editor Christine Makepeace to discuss John Mellencamp's cover of Van Morrison's "Wild Night" (/w Me'Shell Ndegeocello), music videos, mallrats, late stage capitalism and Jim Wynorski's CHOPPING MALL from 1986 featuring Kelli Maroney, Barbara Crampton, Paul Bartel, Mary Woronov, and - of course - Dick Miller! Robots go berserk, paint stores explode, in-jokes abound and a good time is had by all. Join us, won't you? The post Episode 169 – You Don't Know Dick – Chopping Mall (1986) (/w Christine Makepeace) first appeared on Cinema Smorgasbord.

Chopping Mall - 1986Director - Jim WynorskiWriters - Jim Wynorski, Steve MitchellMusic - Chuck CirinoProducer - Julie Corman; Executive Producer - Roger CormanStars:Kelli MaroneyTony O'DellRussell ToddKarrie EmersonBarbara CramptonNick SegalJohn TerleskySuzee SlaterWhere shopping can cost you an arm and a leg.

On this episode of Bartel Me Something good we're checking out Paul Bartel's inauspicious 1984 screwball comedy NOT FOR PUBLICATION, starring Nancy Allen, David Naughton and Laurence Luckinbill! Allen plays Lois Thornedyke, a tabloid reporter aiming to go clean, while simultaneously working for the mayor of New York (Luckinbill) who is - wait for it - trying to get rid of "porno papers", like the one she's working at! Naughton plays a hapless bird photographer she hires to help with both jobs. There's animal-themed musical numbers, (attempted) murder, and.. not much more. We also discuss a clip of Sandra Bernhard interviewing Paul Bartel on Reel Wild Cinema. CHECK IT OUT! 

On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Episode 235 - Death Race (2008)   What a shock, another Jason Statham movie?!  Well, Rob & Ben couldn't quite shake their desire to talk more about this underrated actor, and are using him as a tie-in to the new series they're covering!  Welcome to the Remakes Series, where Cinemoddities will be covering four movies that are remakes/reboots/reimaginings/requels/rebootprequels of films that they've talked about previously!  But how does Paul W.S. Anderson stack up to Paul Bartel?  Why is this series going to be a back door into Ben's director fan clubs?  What's the disparity between Prison Prison Prison and Prison?  Who exactly defecates on the sidewalk?  Listen in to find out!   Support the podcast and get access to many more episodes, including even more Jason Statham movies, by subscribing to the Cinemoddities patreon at www.patreon.com/Cinemoddities    Do you know who takes a poop on the sidewalk?  Let us know by harassing us at Cinemoddities@gmail.com   Thank you to An Insperiority Complex for providing our theme song!  Follow this link to hear more music from them: https://open.spotify.com/artist/4mPues3Rp2wCKYzXOTDNP9?si=7XONs7MQT4uzU5TqnY2tsQ 

On this episode of Bartel Me Something Good we've reached Paul Bartel's Criterion Collected classic EATING RAOUL featuring Mary Woronov, Robert Beltran and Paul Bartel himself as Paul Bland. A darkly comedic social satire (/w cannibalism), it remains a gem in the Bartel filmography, and we're delighted to be joined by EATING RAOUL's editor Alan Toomayan to discuss his work on Bartel's films, including LUST IN THE DUST and SCENES FROM THE CLASS STRUGGLE IN BEVERLY HILLS. Alan also regales us with stories of his early work with New World Pictures, the guerilla filmmaking that went into Eating Raoul's production, and his transition to becoming an editor of film trailers and featurettes. CHECK IT OUT! 

Tom and Jenny talk about the awesome and underrated 1982 black comedy about swingers, murder, and cannibalism. It was written and directed by Paul Bartel, who also stars, and features Mary Woronov and Robert Beltran as well. Audio version: Video version: https://youtube.com/live/ZmrU0EGapI8 Please support us on Patreon! Don't forget to subscribe to our YouTube channel, like us … Continue reading Movie Time LIVE: Eating Raoul (1982)

David Carradine POPS THE CLUTCH again in Paul Bartel's follow-up to Death Race 2000, which features a cross-country race full of oddballs competing for a huge cash prize. Featuring an awesome cast of recognizable faces (Mary Woronov! Gerrit Graham! Robert Carradine! DICK MILLER! Joe Dante!) and even more awesome cameos (Martin Scorsese eating KFC with Bartel and Sylvester Stallone), it's a sometimes shaky, but always entertaining, collection of comedy, musical numbers (?) and car stunts. Find out how it all came together on this brand new episode of BARTEL ME SOMETHING GOOD.

TW: child sexual abuse by a parent In "The Witch Who Came from the Sea" (1976), written by Robert Thom and directed by Matt Cimber, Molly (Millie Perkins) confronts her childhood trauma in unsettling and destructive ways. Through flashbacks and conversations with her sister, Cathy (Vanessa Brown), we learn that the sea captain father Molly idolizes was actually an abusive piece of shit. Unable to acknowledge the reality of her childhood, Molly creates a fictional world in her head that begins to splinter when her own violent impulses take form. Based on the poster and the film's video nasty status, I expected something titillating that favors style over substance. Instead, I got a character-driven meditation on the downsides of trying to compartmentalize abuse. Here are some things we mentioned during the episode and/or that we think you should check out: April Wolfe's article in Film Comment Louis Black's overview on writer Robert Thom in The Austin Chronicle Stories about the Boathouse restaurant on the Santa Monica Pier. Sadly, the spot is now a Bubba Gump Shrimp Co. Overview on Peggy Fleury AKA Doris on Corey Parker's blog. It includes several PDFs from print publications that can't be easily found elsewhere. Kim Newman's history of video nasties article in BFI Assorted fun facts that we didn't get to mention: Matt Cimber is the co-creator and director of the Gorgeous Ladies of Wrestling (GLOW) professional wrestling promotion and syndicated television series (the OG, not the Netflix show). Robert Thom wrote the scripts for four of the most significant and best of the drive-in exploitation movies: 1968's “Wild in the Streets” (Barry Shear), 1970's “Bloody Mama” (Roger Corman), 1975's “Death Race 2000” (Paul Bartel), and 1975's “Crazy Mama” (Jonathan Demme). Young Molly (Verkina Flower) and Molly's dad (George 'Buck' Flower) were played by real life father and daughter. George ‘Buck' Flower was also the casting director and known for playing a lot of drunk/homeless roles. He previously worked with Matt Cimber on “The Candy Tangerine Man” (1975) and had a cameo in almost every ‘80s John Carpenter movie. Verkina Flower went on to act in other drive-in exploitation films but then started working more steadily as a costume designer. Notably, she was a wardrobe supervisor for a few episodes of Nickelodeon's “All That” in the early aughts. The Boathouse restaurant was also featured in “Funny Girl” (1968), “They Shoot Horses, Don't They?” (1969), “The Sting” (1973), “Forrest Gump” (1994) and “The Majestic” (2001).

This week on MMM, Erin and Kyle review nudity, greedy white men and Operation Razor Teeth with the cult classic Piranha 1978. Thousands of military hybrid piranhas are accidentally released into a river used by a children's holiday camp, the race is on to get downstream before the flesh-eating fish do.Staring Heather Menzies, Bradford Dillman and Paul Bartel.

Sean tries to rack up as many points as he can mowing down pedestrians in the Death Race 2000 (1975), a satiric, dystopian futuristic racing movie produced by Roger Corman and directed by Paul Bartel (so you can be sure Mary Woronov is in the cast). Sylvester Stallone also co-stars as a team of racers who try to beat top scorer Frankenstein (David Carradine) in a trans-continental death race. Listen as we careen off the road into sidebars about bare-assed acting scenes, propaganda clones, Looney Tunes, and the practicality of "wetting it down" down on this week's exciting episode! Hosted on Acast. See acast.com/privacy for more information.

It's a journey for the ages this week, Junkies, as we explore the horrors of high school, college, and the workplace! Up first! It's Sean Cunningham's rarely discussed mid-80s rural Florida thriller The New Kids, (aka Striking Back) from 1985! It's that one where Lori Laughlin and the other kid beat the crap out of James Spader and those other dudes in a decrepit Santa Claus themed theme park. Remember? Next up! Everyone's favorite actors, Paul Bartel and Mary Woronov return to the screen with a Police Academy style send-up of the funeral home industry entitled Mortuary Academy (from 1988)! It's got a lot of puns, some on-screen rapping, and has been compared favorably to Hamburger the Motion Picture by at least one of the JFD hosts. Finally! Of course, it's 1997's Office Killer, from esteemed fine art photographer Cindy Sherman. How could we not review a movie where Carol Kane goes batso and attacks Molly Ringwald? All this plus Sean's surprise visitor, unwanted baseball chats, Easter candies and Easter regrets, medium skype factors, ruminations on an Armenian film classic, horror folks, the world's biggest Marvel zombie, why aren't they making Draculer for god's sake?, lighting as character, podcast jazz, cats pulling the plug, anti-work groups, nerd news and even more! Recorded live-to-tape on National John Parker Day, 2022!! Direct Donloyd HereGot a movie suggestion for the show, or better yet an opinion on next week's movies? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865). Add it to your telephone now! JOIN THE CONVERSATION!Also, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll move to a gas station in rural Florida for your love and support. With picks like these, you GOTTA #DonloydNow and listen in!

Cheryl moves into her estranged Aunt Martha's skid row hotel. One of the residents takes a special interest in her as she begins to suspect another girl was murdered. On this week's episode… Join the crew as we discuss shitty Aunts, bondage priests, inflatable dolls and the psychosexual, Private Parts (1972).   Show Notes: Housekeeping (3:45) Back of the Box/Recommendations (9:15) Spoiler Warning/Full Review (13:21) Rotten Tomatoes (70:50) Trivia (75:25) Cooter of the Week (79:22) What We've Been Watching (87:35) Hotline Scream (102:30)   Connect with us: Support us on Patreon Website Facebook Instagram Twitter YouTube Shop