Podcasts about rambo iii

Participants: John Steppling (writer of “Rambo III”), Max Parry, Hiroyuki Hamada, and Dennis Riches. Topics covered: Phase 2 of the American war against Europe, documentary film “No Other Land”, Adorno on “adults acting like the adults they never became,” why our present leaders don't even rise to the level of mediocrity (rhetorical question), celebrity activists who fall silent or fall for dubious causes, politicians as effigies for global financial interests, writing “Rambo III” in 1988. Music track “Goodbye Pork Pie Hat” by Charles Mingus (public domain).

You know what movie is awesome? Rambo III. So it would make sense that an Italian-produced ripoff would be just as awesome. You'd be wrong, and so were we, as we watched Strike Commando from Italian smut-peddler and occasional action film director, Bruno Mattei. Join us as we discuss the similarities between the two films, Reb Brown's charisma, and praise the final act's gratuitous use of exploding bodies. Find us on Bluesky, Instagram, and Threads @TCTAMPod and on TikTok @theycalledthisamovie.Our theme music was written and performed by Dave Katusa. He can be found on Instagram @dkat_productions.

Send us a textTrav and Steve re-join forces, capture their own synergy, and discuss games that have misleading titles. Shout out to the Polykiller, Potomax, and the runner-up, Cubicaqua!Games this episodeAvowedLike a Dragon: Pirate Yakuza in HawaiiBlood TypersHyper Dyne Side ArmsPandora's TowerEnslaved: Odyssey to the WestTecmo BowlBoxxleBatographyA Symmetrical EscapeBlazing LazersMaken XCitizen Sleeper 2Who Framed Roger RabbitFinal Fight (arcade)Alien CrushRambo IIIAlleywayTommy Lasorda BaseballFind more shows at polymedianetwork.com, BlueSky: Trav, Steve, Polykill, Polymedia twitch.tv/blinkoom, Send us an email polykillpodcast@gmail.com, Check out our patreon at Patreon.com/polykill How to be a Polykiller: Beat a game, take a screenshot, post it on BlueSky or Polymedia Discord, use #justbeatit, write a review and be sure to include @Polykill. Beat the most, become Polykiller. Beat any, have your Skeet potentially read on the show! Check out the Bonus Beats episodes on Patreon for more beat-skeet coverage!

Once credited as the most expensive movie ever made, Rambo III is now mainly remembered for some uncomfortable political history, but does it hold up as just an enjoyably straightforward action flick? Well, author / humorist / "Effin' Birds" creator Aaron Reynolds is here to plead the film's case.   Note: there are some mild audio glitches in the second half of the episode. I duly apologize for this, and I blame those effin' birds. Thanks for listening to Overhated! There are 100+ more episodes at patreon.com/scottEweinberg. Subscribe to hear them all now! Check out the list of episodes here: bit.ly/3WZiLFk. Subscribe wherever you get your podcasts: Apple Podcasts, Spotify, etc.    Overhated is now proudly sponsored by those Effin' Birds.com, the award-winning comic strip by Aaron Reynolds. 

Never too much games! In this quest, Max the Dutch Gamer and Peter "Retrogamepapa" discuss how they approach collecting. Is it still really about the games themselves? When is their collection ever going to be complete? Both knights seem to have different priorities in regards to this also. Besides this main topic Peter and Max also talk about recent stuff they've been playing and watching.Stuff discussed: Fallout TV series, Skies of Arcadia, Rambo III (movie), Sand Land (and Akira Toriyama in general), I Am Setsuna. During collecting games topic: Castlevania, rare games (Forbidden Kingdom), N64 games, too many stuff to mention and sum up.

Notte prima degli esami è un film italiano del 2006 diretto da Fausto Brizzi. Esordio di Brizzi alla regia cinematografica, è interpretato da Nicolas Vaporidis, Giorgio Faletti e Cristiana Capotondi. Il film offre un'accurata ricostruzione della cultura giovanile degli anni Ottanta attraverso l'inserimento di molteplici riferimenti, in particolare musicali. Alcuni di essi sono pressoché contemporanei all'anno in cui è ambientato il film, il 1989, altri più vecchi: sono presenti o citate le canzoni Lamette (del 1982), The Wild Boys (del 1984), Save a Prayer (del 1982), The Final Countdown (del 1986), Cosa resterà degli anni '80 (del 1989), Self Control (del 1984) e Gioca Jouer (del 1981, che comunque conservava ancora una certa popolarità alla fine di quel decennio, tanto che nel 1989 ci fu anche una cover cantata da Fiorello). Sono presenti anche riferimenti al muro di Berlino, che venne abbattuto proprio nell'autunno del 1989, all'Inter dei record dell'allenatore Giovanni Trapattoni che vinse lo scudetto quell'anno, alla Nazionale di calcio che vinse i mondiali del 1982, al pilota automobilistico Niki Lauda ed al film Rambo III (del 1988). Lo stesso titolo del film è un riferimento all'omonima canzone di Antonello Venditti del 1984, che fa parte della colonna sonora della pellicola. Altro riferimento alla canzone del cantautore romano è il fatto che, sia nel film che nel testo del brano, la ragazza amata dal protagonista si chiama Claudia. Con la collaborazione di Lucia Pareti (Curiosità), Fernanda Cherubini (Cast), Mariangela Ungaro (Musica), Giulio Tiezzi (Critica), Bruna Iacopino - @senzarumore (Copertine)

Émission cascades, puissance du mythe et colonies.  Sur un fil, on cherche l'éternel. Qui est là ? Regardez bien le ciel. Regardez-nous dans les yeux, offrez-nous un tout petit peu. Tombe, tombe, la vie c'est toujours "tombe". Bombe, bombe, la vie c'est toujours "bombe".Disponible itou on da tube :Au programme cette semaine :* The Fall, de Tarsem a été restauré et est disponible sur MUBI. Idéal pour revenir sur ce film rare, étrange et hypnotique sur la force des histoires et des images.* Sous un soleil bleu, de Daniel Mann. Revisite des lieux du tournage de Rambo III et dans le désert du Néguev, loué à Hollywood par l'armée d'occupation, disponible sur la plateforme d'Arte.______PUBLIC SERVICE ANNOUNCEMENT:  Le Film du Dimanche Soir,  le 20 octobre le jour du vin et de Rozier !______Coups de cœur:THOMAS: Rosa Blanca (B. Traven) + revoir The Big Sleep (Howard Hawks)THIBAUT: Begotten (E. Elias Merhige)Margaux: Un long dimanche de fiançailles (Sébastien Japrisot)PLAYLISTPrégénérique / Extrait Les Nuls - RamboLudwig Von Beethoven - Symphony No 7 In A Major Mvt 2 (dir: Herbert Von Karajan)Extrait / Rambo IIILa Souris Déglinguée / Rebelle Afghan

It's Septdumber month! Our podcast covers a lot of movies that people may consider dumb, but this month, WE DID IT ON PURPOSE! If you're looking for Rambo First Blood Part 2, that was episode 930. We also reference 952: Oscar and 1024: Rocky. The next dumb topic will be The Stupids (1996).

Thank you for checking out Rock Musical Month. Coming up is Septdumber, where the topics are slightly dumber than usual, and way more September. First film will be Rambo III (1988). Looking for more content? We are continuously backfilling our library with classics such as our radio play of Alfred Hitchcock's The 39 Steps (250 - 253) and Music Videos that Remind Us of Thor (754 - 759). If you want to check out the full list of topics covered, it can be found here, and we'd love to take requests for re-upload.

Welcome! We're taking a break this week, getting ready for our big presidential series. That's 7 movies that run the gamut--from comedies to action to intense drama. It's going to be loads of fun. In the meantime, let's check out a quick look back at our legendary Summer of Chaos. In this episode, we had a lively discussion of Rambo III. It's a dippy, overblown, guilty pleasure action epic. Enjoy!

This week we are talking "Rambo III". This is the Rambo sequel that jumps the shark with Rambo delivering one-liners and having a sense of humor, which is far from the original. This sequel gave us no subtitles, showed us how horrible Troutman was, some great action, a tank vs a plane, and more. Watch the unedited review at sequelsonly.com/Rambo3 The next sequel we are discussing is "The Trial of the Incredible Hulk." For It, I chatted with Actor Mark Acheson. Mark talked about growing up in Canada and how the acting bug bit him, his voice-over work, his memorable mail room scene in "Elf", and a ton more. Follow us on all social media @sequelsonly and our website is sequelsonly.com Review, rate, and share us with your friends, enemies, neighbors, exes, and even that annoying supermarket clerk!

WE fly higher and praise the Trautmeister. WE also pitch a new martial art and learn about Wes's love of sport.   Quiz: Rocky Review (35:47) Rambo III   Facebook:@WEAintSeenIt Ethan: @ethangoose.bsky.social; letterboxd: egeese Wesley: @weswee.bsky.social; letterboxd: babyweswee

The largest slave uprising in the 18th century British Caribbean was also a node of the global conflict called the Seven Year's War, though it isn't usually thought of that way. In the first few days of the quarantine and our current geopolitical and epidemiological shitshow, John and Elizabeth spoke with Vincent Brown, who recently published Tacky's Revolt: The Story of an Atlantic Slave War (Harvard UP, 2019), centered on a group of enslaved West Africans, known under the term “Coromantees” who were the chief protagonists in this war. Tracing the vectors of this war within the Caribbean, the North Atlantic, and West Africa, Vince shows us how these particular enslaved Africans, who are caught in the gears of one of human history's most dehumanizing institutions, constrained by repressive institutions, social-inscribed categories of differences and brutal force, operate tactically within and across space in complex and cosmopolitan ways. Vince locates his interest in warfare (as an object of study) in emergence of new world order and disorder through the Gulf Wars. His attention to routes and mobilities he credits to an epidemiological turn of mind–perhaps inherited from his father Willie Brown, a medical microbiologist now retired from UCSD. The idea of the vector shaped his first book as well. Vince's “cartographic narrative” “A Slave Revolt in Jamaica: 1760-1761” and the film he produced with director Llewellyn Smith, Herskovits at the Heart of Blackness (which traces African studies and anthropology's understanding of cultural movements from between Africa and the Americas) also explore these burning questions. Along the way, Vince discusses C.L.R. James' notion of conflict, war and global connectedness in The Black Jacobins and the ways that categories of social difference both are constituted by global capital (reminding us of our conversation on caste, class and whiteness with Ajantha Subramanian) and those bumper stickers from the early 1980s in which the Taliban were the good guys. Mentioned in this episode: Rambo III (1988) The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, written by himself (1789) Aphra Behn, Oroonoko (1688) Catherine Hall, Civilising Subjects: Metropole and Colony in the English Imagination, 1830-1867 (2002) C. L. R. James, The Black Jacobins: Toussaint L'Ouverture and the San Domingo Revolution (1938) John Thornton, Africa and Africans in the making of the Atlantic World-1400-1800 (1992) Derrick ‘Black X' Robinson on his advocacy to make Tacky a national hero in Jamaica Black X walks barefoot across Jamaica to make Tacky a national hero  Recallable Books: Marlon James, The Book of Night Women (2009) John Tutino, Making a New World (2011) Angel Palerm, The First Economic World-System (1980) Listen and Read Here: 34 The Caribbean and Vectors of Warfare: Vincent Brown Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

The largest slave uprising in the 18th century British Caribbean was also a node of the global conflict called the Seven Year's War, though it isn't usually thought of that way. In the first few days of the quarantine and our current geopolitical and epidemiological shitshow, John and Elizabeth spoke with Vincent Brown, who recently published Tacky's Revolt: The Story of an Atlantic Slave War (Harvard UP, 2019), centered on a group of enslaved West Africans, known under the term “Coromantees” who were the chief protagonists in this war. Tracing the vectors of this war within the Caribbean, the North Atlantic, and West Africa, Vince shows us how these particular enslaved Africans, who are caught in the gears of one of human history's most dehumanizing institutions, constrained by repressive institutions, social-inscribed categories of differences and brutal force, operate tactically within and across space in complex and cosmopolitan ways. Vince locates his interest in warfare (as an object of study) in emergence of new world order and disorder through the Gulf Wars. His attention to routes and mobilities he credits to an epidemiological turn of mind–perhaps inherited from his father Willie Brown, a medical microbiologist now retired from UCSD. The idea of the vector shaped his first book as well. Vince's “cartographic narrative” “A Slave Revolt in Jamaica: 1760-1761” and the film he produced with director Llewellyn Smith, Herskovits at the Heart of Blackness (which traces African studies and anthropology's understanding of cultural movements from between Africa and the Americas) also explore these burning questions. Along the way, Vince discusses C.L.R. James' notion of conflict, war and global connectedness in The Black Jacobins and the ways that categories of social difference both are constituted by global capital (reminding us of our conversation on caste, class and whiteness with Ajantha Subramanian) and those bumper stickers from the early 1980s in which the Taliban were the good guys. Mentioned in this episode: Rambo III (1988) The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, written by himself (1789) Aphra Behn, Oroonoko (1688) Catherine Hall, Civilising Subjects: Metropole and Colony in the English Imagination, 1830-1867 (2002) C. L. R. James, The Black Jacobins: Toussaint L'Ouverture and the San Domingo Revolution (1938) John Thornton, Africa and Africans in the making of the Atlantic World-1400-1800 (1992) Derrick ‘Black X' Robinson on his advocacy to make Tacky a national hero in Jamaica Black X walks barefoot across Jamaica to make Tacky a national hero  Recallable Books: Marlon James, The Book of Night Women (2009) John Tutino, Making a New World (2011) Angel Palerm, The First Economic World-System (1980) Listen and Read Here: 34 The Caribbean and Vectors of Warfare: Vincent Brown Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The largest slave uprising in the 18th century British Caribbean was also a node of the global conflict called the Seven Year's War, though it isn't usually thought of that way. In the first few days of the quarantine and our current geopolitical and epidemiological shitshow, John and Elizabeth spoke with Vincent Brown, who recently published Tacky's Revolt: The Story of an Atlantic Slave War (Harvard UP, 2019), centered on a group of enslaved West Africans, known under the term “Coromantees” who were the chief protagonists in this war. Tracing the vectors of this war within the Caribbean, the North Atlantic, and West Africa, Vince shows us how these particular enslaved Africans, who are caught in the gears of one of human history's most dehumanizing institutions, constrained by repressive institutions, social-inscribed categories of differences and brutal force, operate tactically within and across space in complex and cosmopolitan ways. Vince locates his interest in warfare (as an object of study) in emergence of new world order and disorder through the Gulf Wars. His attention to routes and mobilities he credits to an epidemiological turn of mind–perhaps inherited from his father Willie Brown, a medical microbiologist now retired from UCSD. The idea of the vector shaped his first book as well. Vince's “cartographic narrative” “A Slave Revolt in Jamaica: 1760-1761” and the film he produced with director Llewellyn Smith, Herskovits at the Heart of Blackness (which traces African studies and anthropology's understanding of cultural movements from between Africa and the Americas) also explore these burning questions. Along the way, Vince discusses C.L.R. James' notion of conflict, war and global connectedness in The Black Jacobins and the ways that categories of social difference both are constituted by global capital (reminding us of our conversation on caste, class and whiteness with Ajantha Subramanian) and those bumper stickers from the early 1980s in which the Taliban were the good guys. Mentioned in this episode: Rambo III (1988) The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, written by himself (1789) Aphra Behn, Oroonoko (1688) Catherine Hall, Civilising Subjects: Metropole and Colony in the English Imagination, 1830-1867 (2002) C. L. R. James, The Black Jacobins: Toussaint L'Ouverture and the San Domingo Revolution (1938) John Thornton, Africa and Africans in the making of the Atlantic World-1400-1800 (1992) Derrick ‘Black X' Robinson on his advocacy to make Tacky a national hero in Jamaica Black X walks barefoot across Jamaica to make Tacky a national hero  Recallable Books: Marlon James, The Book of Night Women (2009) John Tutino, Making a New World (2011) Angel Palerm, The First Economic World-System (1980) Listen and Read Here: 34 The Caribbean and Vectors of Warfare: Vincent Brown Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The largest slave uprising in the 18th century British Caribbean was also a node of the global conflict called the Seven Year's War, though it isn't usually thought of that way. In the first few days of the quarantine and our current geopolitical and epidemiological shitshow, John and Elizabeth spoke with Vincent Brown, who recently published Tacky's Revolt: The Story of an Atlantic Slave War (Harvard UP, 2019), centered on a group of enslaved West Africans, known under the term “Coromantees” who were the chief protagonists in this war. Tracing the vectors of this war within the Caribbean, the North Atlantic, and West Africa, Vince shows us how these particular enslaved Africans, who are caught in the gears of one of human history's most dehumanizing institutions, constrained by repressive institutions, social-inscribed categories of differences and brutal force, operate tactically within and across space in complex and cosmopolitan ways. Vince locates his interest in warfare (as an object of study) in emergence of new world order and disorder through the Gulf Wars. His attention to routes and mobilities he credits to an epidemiological turn of mind–perhaps inherited from his father Willie Brown, a medical microbiologist now retired from UCSD. The idea of the vector shaped his first book as well. Vince's “cartographic narrative” “A Slave Revolt in Jamaica: 1760-1761” and the film he produced with director Llewellyn Smith, Herskovits at the Heart of Blackness (which traces African studies and anthropology's understanding of cultural movements from between Africa and the Americas) also explore these burning questions. Along the way, Vince discusses C.L.R. James' notion of conflict, war and global connectedness in The Black Jacobins and the ways that categories of social difference both are constituted by global capital (reminding us of our conversation on caste, class and whiteness with Ajantha Subramanian) and those bumper stickers from the early 1980s in which the Taliban were the good guys. Mentioned in this episode: Rambo III (1988) The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, written by himself (1789) Aphra Behn, Oroonoko (1688) Catherine Hall, Civilising Subjects: Metropole and Colony in the English Imagination, 1830-1867 (2002) C. L. R. James, The Black Jacobins: Toussaint L'Ouverture and the San Domingo Revolution (1938) John Thornton, Africa and Africans in the making of the Atlantic World-1400-1800 (1992) Derrick ‘Black X' Robinson on his advocacy to make Tacky a national hero in Jamaica Black X walks barefoot across Jamaica to make Tacky a national hero  Recallable Books: Marlon James, The Book of Night Women (2009) John Tutino, Making a New World (2011) Angel Palerm, The First Economic World-System (1980) Listen and Read Here: 34 The Caribbean and Vectors of Warfare: Vincent Brown Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

The largest slave uprising in the 18th century British Caribbean was also a node of the global conflict called the Seven Year's War, though it isn't usually thought of that way. In the first few days of the quarantine and our current geopolitical and epidemiological shitshow, John and Elizabeth spoke with Vincent Brown, who recently published Tacky's Revolt: The Story of an Atlantic Slave War (Harvard UP, 2019), centered on a group of enslaved West Africans, known under the term “Coromantees” who were the chief protagonists in this war. Tracing the vectors of this war within the Caribbean, the North Atlantic, and West Africa, Vince shows us how these particular enslaved Africans, who are caught in the gears of one of human history's most dehumanizing institutions, constrained by repressive institutions, social-inscribed categories of differences and brutal force, operate tactically within and across space in complex and cosmopolitan ways. Vince locates his interest in warfare (as an object of study) in emergence of new world order and disorder through the Gulf Wars. His attention to routes and mobilities he credits to an epidemiological turn of mind–perhaps inherited from his father Willie Brown, a medical microbiologist now retired from UCSD. The idea of the vector shaped his first book as well. Vince's “cartographic narrative” “A Slave Revolt in Jamaica: 1760-1761” and the film he produced with director Llewellyn Smith, Herskovits at the Heart of Blackness (which traces African studies and anthropology's understanding of cultural movements from between Africa and the Americas) also explore these burning questions. Along the way, Vince discusses C.L.R. James' notion of conflict, war and global connectedness in The Black Jacobins and the ways that categories of social difference both are constituted by global capital (reminding us of our conversation on caste, class and whiteness with Ajantha Subramanian) and those bumper stickers from the early 1980s in which the Taliban were the good guys. Mentioned in this episode: Rambo III (1988) The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, written by himself (1789) Aphra Behn, Oroonoko (1688) Catherine Hall, Civilising Subjects: Metropole and Colony in the English Imagination, 1830-1867 (2002) C. L. R. James, The Black Jacobins: Toussaint L'Ouverture and the San Domingo Revolution (1938) John Thornton, Africa and Africans in the making of the Atlantic World-1400-1800 (1992) Derrick ‘Black X' Robinson on his advocacy to make Tacky a national hero in Jamaica Black X walks barefoot across Jamaica to make Tacky a national hero  Recallable Books: Marlon James, The Book of Night Women (2009) John Tutino, Making a New World (2011) Angel Palerm, The First Economic World-System (1980) Listen and Read Here: 34 The Caribbean and Vectors of Warfare: Vincent Brown Learn more about your ad choices. Visit megaphone.fm/adchoices

The largest slave uprising in the 18th century British Caribbean was also a node of the global conflict called the Seven Year's War, though it isn't usually thought of that way. In the first few days of the quarantine and our current geopolitical and epidemiological shitshow, John and Elizabeth spoke with Vincent Brown, who recently published Tacky's Revolt: The Story of an Atlantic Slave War (Harvard UP, 2019), centered on a group of enslaved West Africans, known under the term “Coromantees” who were the chief protagonists in this war. Tracing the vectors of this war within the Caribbean, the North Atlantic, and West Africa, Vince shows us how these particular enslaved Africans, who are caught in the gears of one of human history's most dehumanizing institutions, constrained by repressive institutions, social-inscribed categories of differences and brutal force, operate tactically within and across space in complex and cosmopolitan ways. Vince locates his interest in warfare (as an object of study) in emergence of new world order and disorder through the Gulf Wars. His attention to routes and mobilities he credits to an epidemiological turn of mind–perhaps inherited from his father Willie Brown, a medical microbiologist now retired from UCSD. The idea of the vector shaped his first book as well. Vince's “cartographic narrative” “A Slave Revolt in Jamaica: 1760-1761” and the film he produced with director Llewellyn Smith, Herskovits at the Heart of Blackness (which traces African studies and anthropology's understanding of cultural movements from between Africa and the Americas) also explore these burning questions. Along the way, Vince discusses C.L.R. James' notion of conflict, war and global connectedness in The Black Jacobins and the ways that categories of social difference both are constituted by global capital (reminding us of our conversation on caste, class and whiteness with Ajantha Subramanian) and those bumper stickers from the early 1980s in which the Taliban were the good guys. Mentioned in this episode: Rambo III (1988) The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, written by himself (1789) Aphra Behn, Oroonoko (1688) Catherine Hall, Civilising Subjects: Metropole and Colony in the English Imagination, 1830-1867 (2002) C. L. R. James, The Black Jacobins: Toussaint L'Ouverture and the San Domingo Revolution (1938) John Thornton, Africa and Africans in the making of the Atlantic World-1400-1800 (1992) Derrick ‘Black X' Robinson on his advocacy to make Tacky a national hero in Jamaica Black X walks barefoot across Jamaica to make Tacky a national hero  Recallable Books: Marlon James, The Book of Night Women (2009) John Tutino, Making a New World (2011) Angel Palerm, The First Economic World-System (1980) Listen and Read Here: 34 The Caribbean and Vectors of Warfare: Vincent Brown Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/caribbean-studies

The largest slave uprising in the 18th century British Caribbean was also a node of the global conflict called the Seven Year's War, though it isn't usually thought of that way. In the first few days of the quarantine and our current geopolitical and epidemiological shitshow, John and Elizabeth spoke with Vincent Brown, who recently published Tacky's Revolt: The Story of an Atlantic Slave War (Harvard UP, 2019), centered on a group of enslaved West Africans, known under the term “Coromantees” who were the chief protagonists in this war. Tracing the vectors of this war within the Caribbean, the North Atlantic, and West Africa, Vince shows us how these particular enslaved Africans, who are caught in the gears of one of human history's most dehumanizing institutions, constrained by repressive institutions, social-inscribed categories of differences and brutal force, operate tactically within and across space in complex and cosmopolitan ways. Vince locates his interest in warfare (as an object of study) in emergence of new world order and disorder through the Gulf Wars. His attention to routes and mobilities he credits to an epidemiological turn of mind–perhaps inherited from his father Willie Brown, a medical microbiologist now retired from UCSD. The idea of the vector shaped his first book as well. Vince's “cartographic narrative” “A Slave Revolt in Jamaica: 1760-1761” and the film he produced with director Llewellyn Smith, Herskovits at the Heart of Blackness (which traces African studies and anthropology's understanding of cultural movements from between Africa and the Americas) also explore these burning questions. Along the way, Vince discusses C.L.R. James' notion of conflict, war and global connectedness in The Black Jacobins and the ways that categories of social difference both are constituted by global capital (reminding us of our conversation on caste, class and whiteness with Ajantha Subramanian) and those bumper stickers from the early 1980s in which the Taliban were the good guys. Mentioned in this episode: Rambo III (1988) The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, written by himself (1789) Aphra Behn, Oroonoko (1688) Catherine Hall, Civilising Subjects: Metropole and Colony in the English Imagination, 1830-1867 (2002) C. L. R. James, The Black Jacobins: Toussaint L'Ouverture and the San Domingo Revolution (1938) John Thornton, Africa and Africans in the making of the Atlantic World-1400-1800 (1992) Derrick ‘Black X' Robinson on his advocacy to make Tacky a national hero in Jamaica Black X walks barefoot across Jamaica to make Tacky a national hero  Recallable Books: Marlon James, The Book of Night Women (2009) John Tutino, Making a New World (2011) Angel Palerm, The First Economic World-System (1980) Listen and Read Here: 34 The Caribbean and Vectors of Warfare: Vincent Brown Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

The largest slave uprising in the 18th century British Caribbean was also a node of the global conflict called the Seven Year's War, though it isn't usually thought of that way. In the first few days of the quarantine and our current geopolitical and epidemiological shitshow, John and Elizabeth spoke with Vincent Brown, who recently published Tacky's Revolt: The Story of an Atlantic Slave War (Harvard UP, 2019), centered on a group of enslaved West Africans, known under the term “Coromantees” who were the chief protagonists in this war. Tracing the vectors of this war within the Caribbean, the North Atlantic, and West Africa, Vince shows us how these particular enslaved Africans, who are caught in the gears of one of human history's most dehumanizing institutions, constrained by repressive institutions, social-inscribed categories of differences and brutal force, operate tactically within and across space in complex and cosmopolitan ways. Vince locates his interest in warfare (as an object of study) in emergence of new world order and disorder through the Gulf Wars. His attention to routes and mobilities he credits to an epidemiological turn of mind–perhaps inherited from his father Willie Brown, a medical microbiologist now retired from UCSD. The idea of the vector shaped his first book as well. Vince's “cartographic narrative” “A Slave Revolt in Jamaica: 1760-1761” and the film he produced with director Llewellyn Smith, Herskovits at the Heart of Blackness (which traces African studies and anthropology's understanding of cultural movements from between Africa and the Americas) also explore these burning questions. Along the way, Vince discusses C.L.R. James' notion of conflict, war and global connectedness in The Black Jacobins and the ways that categories of social difference both are constituted by global capital (reminding us of our conversation on caste, class and whiteness with Ajantha Subramanian) and those bumper stickers from the early 1980s in which the Taliban were the good guys. Mentioned in this episode: Rambo III (1988) The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, written by himself (1789) Aphra Behn, Oroonoko (1688) Catherine Hall, Civilising Subjects: Metropole and Colony in the English Imagination, 1830-1867 (2002) C. L. R. James, The Black Jacobins: Toussaint L'Ouverture and the San Domingo Revolution (1938) John Thornton, Africa and Africans in the making of the Atlantic World-1400-1800 (1992) Derrick ‘Black X' Robinson on his advocacy to make Tacky a national hero in Jamaica Black X walks barefoot across Jamaica to make Tacky a national hero  Recallable Books: Marlon James, The Book of Night Women (2009) John Tutino, Making a New World (2011) Angel Palerm, The First Economic World-System (1980) Listen and Read Here: 34 The Caribbean and Vectors of Warfare: Vincent Brown Learn more about your ad choices. Visit megaphone.fm/adchoices

The largest slave uprising in the 18th century British Caribbean was also a node of the global conflict called the Seven Year's War, though it isn't usually thought of that way. In the first few days of the quarantine and our current geopolitical and epidemiological shitshow, John and Elizabeth spoke with Vincent Brown, who recently published Tacky's Revolt: The Story of an Atlantic Slave War (Harvard UP, 2019), centered on a group of enslaved West Africans, known under the term “Coromantees” who were the chief protagonists in this war. Tracing the vectors of this war within the Caribbean, the North Atlantic, and West Africa, Vince shows us how these particular enslaved Africans, who are caught in the gears of one of human history's most dehumanizing institutions, constrained by repressive institutions, social-inscribed categories of differences and brutal force, operate tactically within and across space in complex and cosmopolitan ways. Vince locates his interest in warfare (as an object of study) in emergence of new world order and disorder through the Gulf Wars. His attention to routes and mobilities he credits to an epidemiological turn of mind–perhaps inherited from his father Willie Brown, a medical microbiologist now retired from UCSD. The idea of the vector shaped his first book as well. Vince's “cartographic narrative” “A Slave Revolt in Jamaica: 1760-1761” and the film he produced with director Llewellyn Smith, Herskovits at the Heart of Blackness (which traces African studies and anthropology's understanding of cultural movements from between Africa and the Americas) also explore these burning questions. Along the way, Vince discusses C.L.R. James' notion of conflict, war and global connectedness in The Black Jacobins and the ways that categories of social difference both are constituted by global capital (reminding us of our conversation on caste, class and whiteness with Ajantha Subramanian) and those bumper stickers from the early 1980s in which the Taliban were the good guys. Mentioned in this episode: Rambo III (1988) The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, written by himself (1789) Aphra Behn, Oroonoko (1688) Catherine Hall, Civilising Subjects: Metropole and Colony in the English Imagination, 1830-1867 (2002) C. L. R. James, The Black Jacobins: Toussaint L'Ouverture and the San Domingo Revolution (1938) John Thornton, Africa and Africans in the making of the Atlantic World-1400-1800 (1992) Derrick ‘Black X' Robinson on his advocacy to make Tacky a national hero in Jamaica Black X walks barefoot across Jamaica to make Tacky a national hero  Recallable Books: Marlon James, The Book of Night Women (2009) John Tutino, Making a New World (2011) Angel Palerm, The First Economic World-System (1980) Listen and Read Here: 34 The Caribbean and Vectors of Warfare: Vincent Brown Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Bill rambles with Fahim Anwar about Boeing, Seattle, and Rambo III. (00:00)- Thursday Afternoon Podcast  (57:18) - Thursday Afternoon Throwback Thursday Afternoon Interlude: Mitch Murder - Shores of Orion Fahim Anwar - House Money  https://www.youtube.com/watch?v=lbQczAcZb_0

Opening Day in Houston! (2:55) NY Yankees play lucha libre in Mexico; (4:38) Shohei Ohtani conspiracy theories; (6:06) Did Ohtani bet on Buzkashi (from Rambo III)? (6:55) Father Christmas AKA Don Mattingly gets in touch with his masculinity and the Toronto Blue Jays; (9:52) and Special Guest Wendy, owner of Whiskers Sitter Cat Sitting Service, talks Arizona Diamonbacks, Chicago Cubs, and Cats. Drink: Mastic Tears Classic Liqueur (Mastiha Spirit) from Eva Greek Distillation Company in Lesvos, Greece Wendy's Website:https://meowtel.com/cat-sitters/AZ/gilbert/whiskers-sitters-cat-sitting-service Last Call Baseball Instagram: Last Call Baseball Last Call Baseball Twitter: @LastCall4040 Intro and Outro Music: DeCarlo Podcast Logo Artist Instagram: regan_vasconcellos

The teef be lookin' to steal somethin' sweet, mon cher. A soft kiss or golden portrait. Nothin' compare to your beauty 'do. You be the sweetest 'ting Gambit ever see.  Perhaps you discuss with Gambit over candle light? And silk sheets... Next week: Rambo III

Welcome to the S5 FINALE OF Mobile TRASH! Get ready for 7 episodes 7 Retro Game Reviews!! #Nes #SNES #GBA

Chris and Taylor go back to the action packed 80s to review the original Rambo First Blood Trilogy, a series of action films featuring John J. Rambo. The three films consist of First Blood (1982), Rambo: First Blood Part II (1985), and Rambo III (1988) Rambo is a United States Army Special Forces veteran played by Sylvester Stallone, whose Vietnam War experience traumatized him but also gave him superior military skills, which he has used to fight corrupt police officers, enemy troops and drug cartels. First Blood is an adaptation of the 1972 novel First Blood by David Morrell. Follow us on:Instagram: https://www.instagram.com/thepotentialpodcast/Facebook: https://www.facebook.com/thepotentialpodcastTwitter: https://twitter.com/thepotentialpodSupport us on Patreon:patreon.com/thepotentialpodcastThanks to our sponsor: BetterHelp BetterHelp: Get 10% off your first month of therapy with BetterHelp by going to https://betterhelp.com/potential ★ Support this podcast on Patreon ★

On this edition of Parallax Views, Noah Kulwin joins us to discuss the fourth season of his and Brendan James's highly lauded podcast series Blowback. In previous seasons Noah and Brendan have covered the Iraq War, the Cuban Revolution, and the Korean War. For season four they're tackling the mammoth topic of Afghanistan from the era of the Cold War to the U.S.'s invasion of the country after the September 11th, 2001 terrorist attacks and eventual withdrawal 20 years later. In the course of our conversation will discuss the covert intelligence network known as the Safari Club and the scandalous Bank of Credit and Commerce International (BCCI), Afghan warlords, the mujahedeen and D.C. foreign policy heavyweight Zbigniew Brezinski, Rambo III, the metaphor of the ouroboros (snake eats its own tail) in Blowback Season 4, the influence of Hideo Kojima's acclaimed video game series Metal Gear Solid on Blowback season 4, Clinton/Bush-era Counterterrorism Czard Richard Clarke's curious comments about 9/11, Peter Dale Scott's The Road to 9/11, conspiracy theories and parapolitics, Steve Coll's Ghost Wars, sources used for Blowback season 4, the deep state, torture programs, al Qaeda, jihadism and intel agencies, Seymour Hersh, the double agent Ali Mohammad, and much, much more!

⏭️ In this rewind to 1988, the year of RAMBO III, Mike and Stacy get lost in Rambo Forest discussing several fun details and tid bits. Both share stories from their lives and what they were up to at the time.

Brendan & Noah a.k.a. The Blowback Boys stop by to discuss their new podcast season, covering 40+ years of covert crimes and international disorder flowing through Afghanistan. We discuss the emergence of political Islam, the Soviet invasion of Afghanistan, the Safari Club, BCCI, Charlie Wilson's War, Rambo III and much more. Find all things Blowback & subscribe here: https://blowback.show/ Find Ben Clarkson's amazing animated trailer, discussed in this episode, here: https://www.youtube.com/watch?v=Fb0r5aWGkCI NYC: Will & Hesse will be hosting a special Movie Mindset 35mm print screening of Howard Hawks' RIO BRAVO on Saturday, September 2nd at the Roxy Theater! Tix here: https://www.roxycinemanewyork.com/screenings/rio-bravo/

ACTION AUGUST Rambo III [1988]: Movie Review - Episode 241 No matter how much Rambo tries to get out, they keep finding ways to drag him back in. This week Rambo is off on a desert adventure in Afghanistan. Sounds like fun doesn't it? #RamboIII #SylvesterStallone #MovieReview --- Send in a voice message: https://podcasters.spotify.com/pod/show/rockvideo/message Support this podcast: https://podcasters.spotify.com/pod/show/rockvideo/support

Episode 120 of the Hey You Guys Podcast is here, and this week, Liam and Rob look back at the second best Rambo movie? Or is that the 4th best? It's hard to say, and after discussing it for more than 90s minutes, they're still not sure. An unfiltered slice of brilliant 80s bravado or an overblown mess of a movie and a complete vanity project? Truth is, it's probably a bit of both. Listen in as we discuss, what at the time of release, was the most expensive movie of all time, 1988's, Rambo III. 

Our Summer of Chaos continues with Rambo III!

Chris gets a cough button, Coury thinks he looks like everyone else, Chris used his time sick in bed with COVID to watch Rambo III and beat Quackshot on the Genesis, the battery in the PlayStation Vita is the GOAT, but the game library is not, Hot Shots Golf is probably the greatest golf franchise of all time, the Switch joycons are not conducive to playing Doom, modern gaming involves too much paperwork, the guys discuss Tim Rogers' Action Button show, a good memory can be a curse, Coury got to be a guest lecturer at an elementary school, Chris values his wife's love of potatoes, the guys talk about the importance of shared hobbies between spouses, Coury is the low man on the totem pole in his own home, and of course, Does it Slap or Should We Yeet It? Follow the show on Twitter and Instagram @HeresMyPodcast or send in a question to heresmypodcast@gmail.com #heresmypodcast #HMQFY

Join host Ryan and co-host Dominick Tartamella of the Movie Thoughts Podcast  as they FINISH the Rambo III  journey!    YouTube https://youtu.be/fgcBzz6w86Q If blocked on YouTube https://bit.ly/3HbmkCb Join the FB group https://bit.ly/3in5DXz Join the Twitter https://bit.ly/344oSBU Join the Discord https://discord.gg/aQyx9y9ZZd Join the Patreon https://bit.ly/3jJb7wH email: ramboseriespodcast@gmail.com Twitch https://www.twitch.tv/the_rambo_n_rocky_podcast

Join host Ryan and co-host Dominick Tartamella of the Movie Thoughts Podcast  as they FINISH the Rambo III  journey!       Join the FB group https://bit.ly/3in5DXzJoin the Twitter https://bit.ly/344oSBUJoin the Discord https://discord.gg/aQyx9y9ZZdJoin the Patreon https://bit.ly/3jJb7wHemail: ramboseriespodcast@gmail.com Twitch https://www.twitch.tv/the_rambo_n_rocky_podcast

Clint and Ken dive into the latest round of Whatchoo Watchin 'Bout (4:55) before resurrecting - perhaps briefly - The Mandalorian Minute (20:20). After a special Mailbag Defense of Rambo III (36:30), the boys review Avatar: The Way of Water (43:55), the new Children of the Corn & the original Children of the Corn (1:07:30), and Mr. Harrigan's Phone (1:24:25). Finally a spin of ye olde CineTron-3000 (1:36:40) leaves Ken excited.

Join host Ryan and co-host Dominick Tartamella of the Movie Thoughts Podcast  as they continue the Rambo III  journey!    YouTube https://youtu.be/lHKc-ZUltA4 If blocked on YouTube https://bit.ly/3zLl98k Join the FB group https://bit.ly/3in5DXz Join the Twitter https://bit.ly/344oSBU Join the Discord https://discord.gg/aQyx9y9ZZd Join the Patreon https://bit.ly/3jJb7wH email: ramboseriespodcast@gmail.com Twitch https://www.twitch.tv/the_rambo_n_rocky_podcast

Join host Ryan and co-host Dominick Tartamella of the Movie Thoughts Podcast  as they continue the Rambo III  journey!      Join the FB group https://bit.ly/3in5DXzJoin the Twitter https://bit.ly/344oSBUJoin the Discord https://discord.gg/aQyx9y9ZZdJoin the Patreon https://bit.ly/3jJb7wHemail: ramboseriespodcast@gmail.com Twitch https://www.twitch.tv/the_rambo_n_rocky_podcast

We conclude this year's exciting March-ial Arts Madness run with writer/director/producer Sheldon Lettich (Bloodsport, Lionheart, Double Impact, Only the Strong), who blew us away with his stories about serving our country as a US Marine in Vietnam, being "the man behind Jean-Claude Van Damme", and his new biography, Sheldon Lettich: From Vietnam to Van Damme, written by Corey Danna (click the link to purchase). Sheldon has had a hand in countless films from the 80's and 90's, including Russkies, Rambo III, The Order, Perfect Target, The Last Patrol with Dolph Lundgren, and Only the Strong with Mark Dacascos. You will also hear about how he saved the film, Cyborg. We go deep! We discuss his first short film, "Firefight" (1986), which helped launch the careers of future notables, Brian Thompson, brothers Phillip and Simon Rhee, and the real Frank Dux (who Bloodsport is based on). The film has been remastered and can be watched for free over on Viking Samurai's YouTube channel. And speaking of Frank Dux, while it is now common knowledge that he was a fraud and most of Bloodsport was a lie, you will definitely want to hear Sheldon's take on the real Frank. Sheldon also announces that a Special Edition Blu-ray of Bloodsport is coming out soon! And to hear our patrons amazing questions for Sheldon, check out our exclusive Patreon segment, "$2, 6 Questions". www.patreon.com/twodollarlatefee Order t-shirts and stickers mentioned in previous episodes from Preserved Dragons here! Use code twodollarlatefee for 20% off! --- Dig our show? Please consider supporting us on Patreon for tons of bonus content and appreciation: www.patreon.com/twodollarlatefee Please follow/subscribe and rate us on Spotify and Apple Podcasts! Apple Podcasts: podcasts.apple.com/us/podcast/two-dollar-late-fee Spotify: open.spotify.com/show/ Instagram: @twodollarlatefee Subscribe to our YouTube Check out Jim Walker's intro/outro music on Bandcamp: jvamusic1.bandcamp.com Facebook: facebook.com/Two-Dollar-Late-Fee-Podcast Merch: https://www.teepublic.com/user/two-dollar-late-fee IMDB: https://www.imdb.com Two Dollar Late Fee is a part of the nutritious Geekscape Network Every episode is produced, edited, and coddled by Zak Shaffer (@zakshaffer) & Dustin Rubin (@dustinrubinvo) Learn more about your ad choices. Visit megaphone.fm/adchoices

Join host ⁠Ryan⁠ and guest co-host ⁠Matthew Cherno⁠v of the ⁠James Bond Radio Podcas⁠t and the ⁠How The West Was 'Cast Podcast ⁠as they continue the ⁠Rambo III⁠  journey!       Join the FB group ⁠https://bit.ly/3in5DXz⁠ Join the Twitter ⁠https://bit.ly/344oSBU⁠ Join the Discord ⁠https://discord.gg/aQyx9y9ZZd⁠ Join the Patreon ⁠https://bit.ly/3jJb7wH⁠ email: ramboseriespodcast@gmail.com

Join host Ryan and guest co-host Matthew Chernov of the James Bond Radio Podcast and the How The West Was 'Cast Podcast as they continue the Rambo III  journey!      Join the FB group https://bit.ly/3in5DXzJoin the Twitter https://bit.ly/344oSBUJoin the Discord https://discord.gg/aQyx9y9ZZdJoin the Patreon https://bit.ly/3jJb7wHemail: ramboseriespodcast@gmail.com

Join host Ryan and guest co-host Dominick Tartamella of the Movie Thoughts Podcast  as they continue the Rambo III  journey!       Join the FB group https://bit.ly/3in5DXz Join the Twitter https://bit.ly/344oSBU Join the Discord https://discord.gg/aQyx9y9ZZd Join the Patreon https://bit.ly/3jJb7wH email: ramboseriespodcast@gmail.com

Join host Ryan and guest co-host Dominick Tartamella of the Movie Thoughts Podcast as they continue the Rambo III journey! Join the FB group https://bit.ly/3in5DXz Join the Twitter https://bit.ly/344oSBU Join the Discord https://discord.gg/aQyx9y9ZZd Join the Patreon https://bit.ly/3jJb7wH email: ramboseriespodcast@gmail.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.

David Stump brings over 25 years of experience as a Producer, Director, Director of Photography, Visual Effects Director of Photography, Visual Effects Supervisor and Effects Cameraman. He has extensive experience in high definition film and video photography, content creation, CGI and visual effects production. He has won an Emmy Award and an Academy Award for Scientific and Technical Acheivement. He is a full member of the American Society of Cinematographers, where he currently serves as Chair of the Camera Subcommittee of the ASC Technical Committee. He was also the founder of camera and equipment company Motion Control Rental Services.He has photographed and supervised VFX work for every major studio and many independent production studios on feature film projects including James Bond 22 – A Quantum of Solace, Into the Blue, The Game of Their Lives, Garfield, X-Men 2, Sizzling Kung Fu Mice, Panic Room, The Bourne Identity, The One, Men of Honor, Pluto Nash, Hollow Man, X-Men, Navy Diver, Deep Blue Sea, Stuart Little, Soldier, Blade, U.S. Marshals, The Sphere, Contact, Batman & Robin, Mars Attacks!, Star Trek First Contact, Executive Decision, Mortal Kombat, Batman Forever, A Walk in the Clouds, Stargate, Clear and Present Danger, Exit to Eden, The Shadow, The Quick and the Dead, Wes Craven's Nightmare on Elm Street Part VII, Time Cop, Tall Tale, Double Dragon, Hot Shots! Part Deux, Ghost in the Machine, Dark Encounter, Free Willy, Toys, Batman Returns, Night Train, The Skateboard Kid, Doppelganger, Alien 3, Army of Darkness, Bill & Ted's Bogus Journey, Flight of the Intruder, Ghost Dad, Solar Crisis, Gremlins II, Karate Kid III, Rambo III, Beetlejuice, My Stepmother is an Alien, Adventures In Babysitting, Stand By Me, Runaway Train, Black Moon Rising, Ice Pirates, Jaws 3-D, The Man Who Wasn't There, Top Secret, The Last Dragon, and many others.Television projects completed include Storm of the Century, The Shining, Science Fiction Channel, The Tower, Space Rangers, Darkman, Beverly Hills 90210, Grand, Miracle Landing, Quantum Leap, Something Is Out There, The Christmas Star, Poor Little Rich Girl, Murder By The Book, Oceans of Fire, The Day After, Greatest American Hero, Condor, Hollywood Fever, Adventure Kids, Sidekicks, Completely Off The Wall, Crackers and others. His first and second unit Director of Photography credits include; Spring Break '83, Killer Pad, The Bronx Is Burning, The Trident, What Love Is, Southland Tales, Red Riding Hood, Daddy's Boys and The Black Gate. He has also completed numerous broadcast, commercials and industrial projects for leading companies, major brand names and various leading advertising agencies. He is a member of the Producer's Guild of America (PGA), the International Alliance of Theatrical Stage Employees (IATSE), Visual Effects Society (VES), the Society of Operating Cameramen (SOC), the Academy of Motion Picture Arts and Sciences (AMPAS), and the Academy of Television Arts & Sciences (ATAS).

Join host Ryan and guest co-host Sicco of the Hugging the Cactus: A Mel Gibson Podcsat as they continue the Rambo III  journey!   Join the FB group https://bit.ly/3in5DXz Join the Twitter https://bit.ly/344oSBU Join the Discord https://discord.gg/aQyx9y9ZZd Join the Patreon https://bit.ly/3jJb7wH email: ramboseriespodcast@gmail.com

Happy New Year to all listeners out there and welcome to the first new episode of 2023! In this inaugural episode of the new year, I am accompanied by popular soundtrack album producer and editor Neil S. Bulk, in what has become a perennial, (hopefully) entertaining and often “inside baseball” type of discussion. Neil and I recap his standout projects from the prior year, 2022, for the venerable soundtrack record labels La La Land Records, Quartet Records and Varese Sarabande. As always, I appreciate when Neil can spend time to relay the details and experiences on these albums!   Below are the films and composers represented here, with time index for helpful reference:   FIRST BLOOD (1982), RAMBO: FIRST BLOOD PART II (1985), RAMBO III (1988) (Jerry Goldsmith) - 00:00:00 MARY, QUEEN OF SCOTS (1971) (John Barry) - 00:15:39 CHAPLIN (1992) (John Barry) - 00:19:10 DR SEUSS' HOW THE GRINCH STOLE CHRISTMAS (2000) (James Horner) - 00:26:09 TOMORROW NEVER DIES (1997) (David Arnold) - 00:33:43 THE GODFATHER (1972) (Nino Rota) - 00:44:54 PRESUMED INNOCENT (1990) (John Williams) - 00:55:00 DEATH BECOMES HER (1992) (Alan Silvestri) - 1:01:02 L.A. CONFIDENTIAL (1997) (Jerry Goldsmith) - 1:08:09 THE BURBS (1989) (Jerry Goldsmith) - 1:15:50   Stay safe out there, take care of yourself and each other!    Albums discussed now available at: https://lalalandrecords.com/ https://www.quartetrecords.com/ https://www.varesesarabande.com/   Connect with the podcast on Facebook and Twitter: www.facebook.com/ascoretosettle https://twitter.com/score2settlepod   Email the show at ascoretosettlepodcast@gmail.com   

Join host Ryan and guest co-hosts Sean and Brad of the Eh & B Podcast as they continue the Rambo III  journey!     Join the FB group https://bit.ly/3in5DXz Join the Twitter https://bit.ly/344oSBU Join the Discord https://discord.gg/aQyx9y9ZZd Join the Patreon https://bit.ly/3jJb7wH email: ramboseriespodcast@gmail.com

Join host Ryan and guest co-host Dan of the YouTube show RetroSpectors as they continue the Rambo III  journey!     YouTube: https://bit.ly/3ZEvWge Join the FB group https://bit.ly/3in5DXz Join the Twitter https://bit.ly/344oSBU Join the Discord https://discord.gg/aQyx9y9ZZd Join the Patreon https://bit.ly/3jJb7wH email: ramboseriespodcast@gmail.com

Join host Ryan and guest co-host  Nikki of the Beat The Cult Podcast as they begin the Rambo III journey!     Join the FB group https://bit.ly/3in5DXz Join the Twitter https://bit.ly/344oSBU Join the Discord https://discord.gg/aQyx9y9ZZd Join the Patreon https://bit.ly/3jJb7wH email: ramboseriespodcast@gmail.com