Podcast appearances and mentions of Richard Fleischer

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Vuelve Arnold Schwarzenegger a las estanterías de nuestro videoclub, nuevamente en una película de espada y brujería basada en Red Sonja de Roy Thomas y Barry Windsor-Smith, aunque, esta vez no como Conan el bárbaro, pero casi. Le acompañan de nuevo Dino De Laurentiis, Richard Fleischer y Sandahl Bergman más Brigitte Nielsen, Ennio Morricone y Paul L. Smith. Presentan Carlos Cubo e Ismael Rubio. Edición Ismael Rubio. Síguenos, Comparte, Comenta y dale al LIKE, ¡¡Gracias!! ➡️ Únete gratis a nuestro grupo de Telegram https://t.me/tiemposdevideoclub ➡️ Camisetas, Tazas y Merchandising https://latostadora.com/shop/TDV ➡️ Invitándonos a un café en https://ko-fi.com/tiemposdevideoclub ➡️ Visita nuestras RRSS https://allmylinks.com/tdvideoclub ➡️ Contáctanos en tiemposdevideoclub@hotmail.com ¡¡Visita y comparte nuestro nuevo Videoclub con todos nuestros programas a la carta!! https://es.pinterest.com/tiemposdevideoclub/videoclub/ Escucha este episodio completo y accede a todo el contenido exclusivo de Tiempos de Videoclub. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/1476931

Max war da. Wir sprachen über einen Film von Richard Fleischer. War eher so mittel. Oder darunter. Red Sonja war nicht nur der letzte Teil der Conan-Reihe (mehr oder weniger, es ist kompliziert), sondern auch ein Film, in den Arnie mehr oder weniger reingetrickst wurde und den er noch heute hasst. Es wird viel geritten, es gibt Haustier-Spinnen, seeeeehr viele Kerzen,Skelettbrücken und eine geile Gedren!

Wie soll man Kids heutzutage eigentlich die Popularität des Barbaren-Fantasyfilms der frühen 80er Jahre vermitteln? Während andere Genre-Standards wie Western oder Zombiefilme immer wieder (mehr oder weniger) erfolgreiche Comebacks feiern, sind Schwerter schwingende Muskelmänner und leicht bekleidete Amazonen im Kino seit Jahrzehnten so unpopulär wie Kaugummi unterm Schuh. Grund genug für uns, immer mal wieder eine Keule, äh, Lanze für in die Jahre gekommene Barbarenfilme zu brechen. Ob der hochsympathische Beastmaster – Der Befreier (1982) von Don Coscarelli und das grimmige Sequel Conan der Zerstörer (1984) von Richard Fleischer mit uns good ole Arnie unseren Zuspruch überhaupt benötigen, müsst ihr natürlich entscheiden. Wir hatten jedenfalls einen Sack voll Spaß. Lasst das Grunzen, Schreien und Heulen beginnen!

Is there an artist lurking inside the quintessential Hollywood journeyman? Will welcomes special guest Ethan Vestby (of Bleeding Edge) to discuss Richard Fleischer, including such films as CHILD OF DIVORCE (1946), THE NARROW MARGIN (1952), DOCTOR DOLITTLE (1967), THE BOSTON STRANGLER (1968), and MANDINGO (1975). Check out Ethan's screening series Bleeding Edge - https://www.instagram.com/bleeding.edge.movies/ Join the Patreon now for an exclusive episode every week, access to our entire Patreon Episode back catalogue, your name read out on the next episode, and the friendly Discord chat: patreon.com/theimportantcinemaclub Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Follow the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ Check out Justin's other podcasts, THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast), THE VERY FINE COMIC BOOK PODCAST (www.theveryfinecomicbookpodcast.com) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie), as Will's MICHAEL AND US (@michael-and-us).

Lee and his friends Nick and Greg take on an epic task in this episode. They cover the film that propelled Arnold Schwarzenegger to superstardom, "Conan the Barbarian" (1982), directed by John Milius. Then they move on to talk about its sequel, "Conan the Destroyer" (1984), directed by Richard Fleischer. Finally they talk about the bastard red-headed step sister, also directed by Fleischer, "Red Sonja" (1985), starring Brigitte Nielsen. The guests also talk briefly about what they've watched recently. Don't you want to solve the riddle of steel? If you do not listen, THEN THE HELL WITH YOU! "Conan the Barbarian" IMDB  "Conan the Destroyer" IMDB  "Red Sonja" IMDB  Nick's Beer Review channel on YouTube.  Lee's latest guest spot on the Grindbin Podcast.  Featured Music: "Prologue/Anvil of Crom", "Theology/Civilization", "Approach To Shadizaar", "Main Titles/Riders of Taramis" by Basil Poledouris; "Sorcery" by Ennio Morricone; & "Battle of the Mounds" by Basil Poledouris.

Gay homosexuals Nick and Joseph discuss Ashanti - a 1979 film directed by Richard Fleischer and starring Michael Caine, Peter Ustinov, Kabir Bedi, Beverly Johnson, Omar Sharif, Rex Harrison, and William Holden.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Additional topics include: -Lee Daniels' The Deliverance -Joaquin Phoenix in Venice talking about the Todd Haynes film -McDonald's curbside delivery -The death of Jean Charles Tacchella Join us on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/FishJellyFilmReviews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046 Find merch here: https://fishjellyfilmreviews.myspreadshop.com/all Venmo @fishjelly Visit their website at www.fishjellyfilms.com Find their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767 Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms) Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/ Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson --- Support this podcast: https://podcasters.spotify.com/pod/show/fish-jelly/support

For the first half of the 1960s, Akira Kurosawa was arguably at the peak of his career, making masterpiece after masterpiece at a rate that was sure to surpass the heights of his ‘50s glories. But then, after making the most beloved film of his career, he hit a wall. There would be several more great films to come, but for a while there it seemed like the career of one of cinema's most widely celebrated masters had come to an end. In this episode, Bart and Jenna discuss what happened to Kurosawa's second half of the decade, but mostly they relish the opportunity to finally cross off some ‘60s cinema heavy-hitters from their list. From the banging drums of Yojimbo, to the harrowing screams of Red Beard, with some striking and atypical gendai-geki thrillers along the way, the episode is packed with must-see films. Listen as Jenna admires Kurosawa's artistry but occasionally struggles with his pacing, while Bart rapturously discovers that some old favorites are even better than he remembered.The following films are discussed:• The Bad Sleep Well (1960) 悪い奴ほどよく眠る / Warui yatsu hodo yoku nemuru Directed by Akira Kurosawa Starring Toshiro Mifune, Masayuki Mori, Kyoko Kagawa • Yojimbo (1961) 用心棒 / Yôjinbô Directed by Akira Kurosawa Starring Toshiro Mifune, Tatsuya Nakadai, Yoko Tsukasa • Sanjuro (1962) 椿三十郎 / Tsubaki Sanjûrô Directed by Akira Kurosawa Starring Toshiro Mifune, Tatsuya Nakadai, Keiju Kobayashi • High and Low (1963) 天国と地獄 / Tengoku to jigoku Directed by Akira Kurosawa Starring Toshiro Mifune, Tatsuya Nakadai, Kyōko Kagawa • Red Beard (1965) 赤ひげ / Akahige Directed by Akira Kurosawa Starring Toshiro Mifune, Yūzō Kayama, Reiko Dan • Tora! Tora! Tora! (1970) トラ・トラ・トラ！ Directed by Richard Fleischer, Toshio Masuda & Kinji Fukasaku Starring So Yamamura, Martin Balsam, Tatsuya Mihashi

In this suspenseful episode of Drive-In Double Feature Podcast, Nathan and Ryan delve into the harrowing world of "See No Evil" (1971). Directed by Richard Fleischer and starring Mia Farrow, this thriller follows a recently blinded woman who unknowingly returns home to a house where her family has been murdered. As she navigates the darkness, the killer may still be lurking within. The hosts explore the film's intense atmosphere, Mia Farrow's gripping performance, and the film's ability to maintain suspense with its chilling premise. Tune in as they uncover what makes "See No Evil" a standout psychological thriller from the early 70s.

"Soleil Vert" le podcast, fait avec des vrais morceaux de Francis Veber, Philippe Setbon et Jean Veber. 2 ème podcast sur le chef d'oeuvre de Richard Fleischer de 1973, avec Charlton Heston et Edward G. Robinson, mais celui-là est plus réussi et a un meilleur son. SVP likez, partagez, commentez, followez et abonnez-vous partout. Likez et souscrivez à la chaine abracadaPod sur YouTube avec la fantastique vidéo "Soleil Vert" de Romain Lehnhoff maintenant disponible. Son Katia Lazareva.

Welcome back folks! In this dose of madness we discuss successes and fails of online shopping at Temu and the blistering noir Compulsion! Compulsion is a 1959 American crime drama film directed by Richard Fleischer. The film is based on the 1956 novel of the same name by Meyer Levin, which in turn was a fictionalized account of the Leopold and Loeb murder trial. It was the first film produced by Richard D. Zanuck. Although the principal roles are played by Dean Stockwell and Bradford Dillman, top billing went to Orson Welles. --- Send in a voice message: https://podcasters.spotify.com/pod/show/speakeasy-noircast/message

This week, the boys are catching up on some older titles! Jay binges The Leftovers and reviews Doomed! The Untold Story of Roger Corman's The Fantastic Four, Jacob attends a screening of Django with Franco Nero and some of his favorite recent SOV movies, while Correia visits a Troll in Colorado and raves about Richard Fleischer's 10 Rillington Place. Then the boys get into the main topic: The Razzies. Meant to be a satirical opposite to the Oscars, do the Razzies succeed in calling out the film industry or are they just a lazy exercise for trolls to punch down? Can it be doing both? Join the debate on an ALL NEW EPISODE OF EYE ON HORROR! Follow us on the socials: @EyeOnHorror or check out https://linktr.ee/EyeOnHorrorGet more horror movie news at: https://ihorror.com

Hoy viajamos con el cineasta Fernando Franco, montador de Robot dreams, nominada al Oscar a la mejor película de animación, que prepara su cuarto largometraje: Subsuelo. Y recordamos Soylent Green de Richard Fleischer, que se estrenó en España hace 50 años, el 18 de febrero de 1974.Escuchar audio

The lads make their annual pilgrimage to Pearl Harbor and watch a lot of people read documents as they plunge into the intense historical accuracy and coma-inducing pace of 1970s docudrama: Tora! Tora! Tora! Topics include the unique Japanese/American co-production, the difficulties in making a narrative about Pearl Harbor, and what it means to have the dubious honor of being the best piece of media ever made about the day that will live in infamy. Want more TWOAPW? Get access to our full back catalogue of premium/bonus episodes and add your name to the masthead of our website by subscribing for $5/month at Patreon.com/worstofall! Media Referenced in this Episode: Tora! Tora! Tora! Dir. Richard Fleischer, Toshio Masuda, Kinji Fukasaku. 20th Century Fox. 1970. Available on Amazon // AppleTV TWOAPW theme by Brendan Dalton: Patreon // brendan-dalton.com // brendandalton.bandcamp.com Commercial: “A Settling Sound”

Your Film Freaks put their feet up on their private eye desk, slip a gat in their pocket, and light a Chesterfield, see? Mark Jordan Legan and Phoef Sutton discuss six of their favorite crime noirs—some well known and some rather obscure—the films cover the time period of 1940 through 1959. Everyone from Peter Lorre to Ida Lupino to Robert Ryan to Lucille Ball show up in these tough, fast-talking flicks where bad guys and dangerous dames stay back in the shadows and plan their next moves. Directors like Henry Hathaway, Richard Fleischer, Nicholas Ray, and even producer John Houseman are discussed. Like always, lots of fun, fascinating audio clips are played throughout this episode. Come join us or take a slap across the mouth or a one-way ride to the river, get me? This episode is sponsored by: Libro.fm (FILMFREAKSFOREVER) | 2 audiobooks for the price of 1 when you start your membership The Writer's Bone Podcast Network

The city was draped in Noirvember's shroud, and Not a Bomb was the beacon in this murky storm. In sauntered Sophia from the Moviestruck podcast, a siren with a penchant for unraveling tales buried in shadows. Deception, detectives as sharp as whiskey, dames with allure as lethal as a bullet, thugs with a dime-a-dozen sneer, and the haunting symphony of trains set the stage for our rendezvous.We were all set for a tango in the darkness, dissecting two classics that echoed through time, a clash of eras bathed in secrets. '90s Narrow Margin and its '52 predecessor, The Narrow Margin, each holding court in their own epoch. The former—a flop, a silver screen misfire, while the latter—a darling of the Academy, embraced universally by critics.But here's the kicker, dear listeners: will our novice sleuths echo the choir of critics or dance to a newer tune? Will they find solace in the nostalgic embrace of '52 or dare to crave the thrill of something fresher?Take a seat, for this discourse will have your nerves as taut as a piano wire. The air was thick with anticipation, charged with the essence of unraveling mysteries, secrets, and the palpable taste of suspense. Not a Bomb was ready to detonate the truth behind these cinematic enigmas, and Sophia was our guiding light through the labyrinth of twists and turns. Buckle up, for this discussion was set to be a ride along the edges of your seat, a thrill that Noirvember couldn't contain.Narrow Margin is directed by Peter Hyams and stars Gene Hackman, Anne Archer, James B. Sikking, J.T. Walsh and M. Emmet Walsh. The Narrow Margin is directed by Richard Fleischer and stars Charles McGraw, Marie Windsor and Jacqueline White.Make sure to check out Sophia over at the Moviestruck Podcast and drop her a review! We bet you will love episode 63!!!!If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com or Contact Us - here. Also, if you like what you hear, leave a review on Apple Podcast.Cast: Brad, Troy, Sophia

In this episode of the Good Day for a Movie Podcast, we review 1973's Soylent Green starring Charlton Heston. This movie was directed by Richard Fleischer. GD4AM: 81/100 IMDb: 7.0/10 Metacritic: 66/100 Letterboxd: 3.5/10 RT: 70% A nightmarish futuristic fantasy about the controlling power of big corporations and an innocent cop who stumbles on the truth. This movie is currently streaming on Max. NEXT MOVIE REVIEW: Winter's Bone (2010), which is currently streaming on Max.

It's 1954 and we're covering our second Jules Verne adaptation of the year... '20,000 Leagues Under the Sea'. It stars Kirk Douglas and James Mason, is directed by Richard Fleischer, and is produced by Walt Disney himself. It was the most expensive Hollywood film to date when it came out and proved to studios that pumping millions into movies is a very safe business model that won't cause studios to go bankrupt in the late 60s (or the present day). Also, it's got a giant squid in it!Join our Patreon for TWO bonus episodes each month! https://www.patreon.com/oldiebutagoodiepodFollow the show!Instagram: https://www.instagram.com/oldiebutagoodiepod/Facebook: https://fb.me/oldiebutagoodiepodYoutube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGAPodcast Platforms: https://linktr.ee/oldiebutagoodiepodGot feedback? Send us an email at oldiebutagoodiepod@gmail.comFollow the hosts!Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/- Twitter: https://twitter.com/sandrofalce- Letterboxd: https://letterboxd.com/SandroFalce/- Twitch: https://www.twitch.tv/SandroFeltChair- Aussie Nerds Talk Stuff podcast: https://anchor.fm/aussienerdstalkstuffZach Adams - Instagram: https://www.instagram.com/zach4dams/- Twitter: https://twitter.com/ZackoCaveWizard- Letterboxd: https://letterboxd.com/zach4damsOldie But A Goodie's theme tune is written and produced by Josh Cake. Check out his work here: https://www.joshcake.com/Check out other shows from our network 'That's Not Canon'! https://thatsnotcanon.com/ Hosted on Acast. See acast.com/privacy for more information.

Richard Fleischer's adaptation of Jules Vernes' landmark novel was a watershed moment in film history, marking a shift in Disney that would play out for decades to come. In episode 280, Luke & James venture beneath the waves again to discuss Ned Land as a troubling American ideal, Captain Nemo cooking up some truth, the surprising message overlapping with Oppenheimer, the history of Disney live-action adventure films, and the Hollywood legend that was Kirk Douglas. The end by voting on which was better: the book or the movie! Ink to Film Purchase Twenty Thousand Leagues Under the Sea or any of the other source books or guest novels at Ink to Film's bookshop: www.bookshop.org/shop/inktofilm Ink to Film's Twitter, Facebook, Instagram, Bluesky (@inktofilm) Home Base: inktofilm.com Intro Music: https://youtu.be/OOcKiROA2UE Luke Elliott Website: www.lukeelliottauthor.com Twitter: https://twitter.com/luminousluke IG: https://www.instagram.com/lpelliott/ Threads: https://www.threads.net/@lpelliott Bluesky: https://bsky.app/profile/luminousluke.bsky.social James Bailey Twitter: https://twitter.com/Jame_Bail IG: https://www.instagram.com/jamebail/

C'est un chiffre aussi symbolique que vertigineux. Le cap des 8 milliards d'êtres humains a été franchi autour du mardi 15 novembre, selon les modélisations de l'ONU. D'ici à 2100, la planète devrait accueillir deux milliards de personnes supplémentaires… Avant un probable déclin. Ces projections sont-elles fiables ? Quel est l'impact de cette croissance démographique sur le climat ? Doit-on faire moins d'enfants ? Dans cet épisode, Delphine Roucaute, journaliste au service « Planète » du Monde, apporte des réponses à ces questions.Un épisode de Dorali Mensah initialement diffusé le 15 novembre 2022. Réalisation : Florentin Baume. Présentation et rédaction en chef : Morgane Tual. Dans cet épisode, plusieurs extraits : du podcast Chaleur humaine, des « Actualités françaises » du 15 juillet 1959, du film Soleil Vert de Richard Fleischer, de la bande-annonce du film Seven Sisters de Tommy Wirkola.

 With the sugary Fruit Loops of Summer movie fare already upon us, this week on Fabulous Film & Friends we are going to fortify our intellectual palate with some meaty, heavy-duty late 60's early/70's sci fi and compare Franklin Schaffner's 1968 masterpiece Planet of The Apes, starring Charlton Heston, Roddy McDowell, Kim Hunter, Maurice Evans, Linda Harrison and James Whitmore with Richard Fleischer's 1973 downbeat detective story Soylent Green  also starring Mr. Heston, along with Edward G. Robinson, Leigh Taylor-Young, Brock Peters, Chuck Connors and Dick Van Patten in a role he was born to play as a  weaselly usher in a walk in euthanasia center.  Joining me as we venture down this dark path of 70's dystopia are series regulars David Johnson D.M.D, Roseanne Caputi, author, producer and NY resident George Young and the mighty Gordon Alex Robertson. But before we take the first bite: the synopses. Planet of the Apes centers around George Taylor, an astronaut on a deep space voyage whose mission entails returning to Earth 2000 years after the launch of the spacecraft. The vessel crash lands on what seems to be a far off planet inhabited by by dumb and mute humans who are ruled by intelligent but brutal talking apes. Taylor is captured by the apes and shot in the throat making him unable to talk, but when his larynx heals, he lets out the immortal line, “Get your paws off of me you damned dirty ape!” What follows is a tug of war over the perceived intelligence and fading dominance of mankind, leading Taylor to discover the shocking truth of his predicament on the planet.  Soylent Green takes place in what was once the future, the year 2022 where in a poisoned world with very little food and clean water, much of the overpopulated humanity living in squalid apartments and packed shoulder to shoulder, sleeping on stairwells, feeds on a government issued allegedly plankton-based food product called Soylent Green. Scuffling and sweaty Detective Robert Thorn is assigned a murder case where a wealthy power master named William Simonson was assassinated. Thorn follows a trail of murderous clues that lead him to the discovery of the exact nature Soylent Green itself. 

Voyage to the Bottom of the Sea featured a very big submarine. This episode features a very tiny submarine, traveling inside the human body on a FANTASTIC VOYAGE.

durée : 00:49:59 - Les Nuits de France Culture - par : Albane Penaranda - En 2011, Laure Adler recevait Kiyoshi Kurosawa dans "Hors-champs" et il y était bien évidemment question de fantômes. L'horreur, le fantastique, le surnaturel, c'est la soupe primordiale du cinéma de Kiyoshi Kurosawa. En bon représentant de "L'école super 8", une génération de cinéastes venant après celle de La Nouvelle Vague du cinéma japonais, Kiyoshi Kurosawa s'est nourri des films de séries B, de ceux la tradition "Kaidan" du cinéma japonais, et des films de genre américains de Richard Fleischer, Don Siegel, Sam Peckinpah, Tobe Hooper ou John Carpenter. L'horreur, le fantastique, le surnaturel, c'est la soupe primordiale du cinéma de Kiyoshi Kurosawa, qui depuis Cure, Charisma, Kaïro, Jellyfish et Vers l'autre rive s'est taillé une réputation internationale. Interrogé sur les revenants qui peuplent ses films, Kiyoshi Kurosawa déclarait récemment : " S'il y a souvent des fantômes dans mes films, c'est d'une part parce qu'ils sont une représentation aisément compréhensible de la mort, et d'autre part parce qu'ils permettent de rendre le passé visible dans le présent. Toutefois, la vraie raison de mon attachement aux fantômes est la suivante : j'ai du mal à croire que les morts soient totalement dénués de substance et n'aient aucune relation avec nous autres vivants. (...) L'idée que l'esprit est réduit à néant dès lors que le corps disparaît me semble bien trop simpliste ". Retrouvez l'ensemble de la Nuit : "1960 et après, Nouvelle Vague et multiples visages du cinéma au Japon" Production : Laure Adler Réalisation : Brigitte Bouvier et Didier Lagarde Hors champs - Kiyoshi Kurosawa 1ère diffusion : 27/04/2011

Selon une étude menée par des chercheurs de l'université de Leeds, 31% des émissions de CO2 des aliments consommés au quotidien proviendraient de la viande. A cela s'ajoute le fait que l'élevage occupe aujourd'hui une place très importante : en France 60% de la surface agricole est dédiée à l'élevage. Et de fait, l'impératif écologique nous conduit désormais à imaginer un monde, ou du moins une France, où l'on consommerait moins de viande. Dans ce contexte, des alternatives sont apparues. Il y a bien entendu les alternatives végétales, qui imitent ou non la viande - mais il y a aussi des alternatives qui se développent, comme ce que l'on appelle “la viande cellulaire”. Mais, qu'est-ce que cette viande cellulaire ou cultivée ? Est-ce une technique d'avenir quand on sait que la consommation de viande continue d'augmenter dans le monde ? Pour répondre à ces questions, Fanny Giansetto reçoit Jean-François Hocquette, ingénieur agronome, directeur de recherche à l'INRAE depuis 2004, et Spécialiste en sciences du muscle et technologies des viandes. Il est également membre de l'Académie de la viande depuis 2010, Président de la commission bovine de l'European federation of animal science (EAAP) depuis 2018 et Président de l'Association française de zootechnie (AFZ) depuis 2021. Sa recommandation ? Le film Soleil Vert, réalisé par Richard Fleischer en 1973 *** Pour nous soutenir: - Abonnez-vous à notre podcast ; - Donnez votre avis via des étoiles et des commentaires sur votre plateforme d'écoute préférée ; - Parlez d'Écotable et de son podcast autour de vous ; - Allez manger dans nos restaurants vertueux et délicieux ! *** Écotable est une entreprise dont la mission est d'accompagner les acteurs du secteur de la restauration dans leur transition écologique. Elle propose aux restaurateurs une palette d'outils sur la plateforme https://impact.ecotable.fr/. Écotable possède également un label qui identifie les restaurants écoresponsables dans toute la France sur le site https://ecotable.fr/.

Heroes of their time. For all time. A woman and a podcast that became a legend - 80's Revisited! 80srevisited@gmail.com to talk with us, and leave a review for us! Thank you for listening 80s Revisited, hosted by Trey Harris. Produced by Jesse Seidule.

Join us this week as we cover Jean-Pierre Melville's film about a hitman (and his pet bird) who is on the run from the law and the mob. Then we discuss Jim Jarmusch's remake about a hitman (and his pet birds) who adheres to the code of the Hagakure. Next Week's Films: Alan Crosland's The Jazz Singer (1927) & Richard Fleischer's The Jazz Singer (1980) Cover by Jake Dean Outro Music: Jelly Roll Morton - Buddy Bolden's Blues --- Support this podcast: https://podcasters.spotify.com/pod/show/podcast-43/support

Leaving a mediocre-to-bad erotic thriller behind them, Andrew and Dave turn their attention to Compulsion, the 1959 drama inspired by the Leopold and Loeb murder murder case and starring Bradford Dillman, Dean Stockwell, Diane Varsi, Martin Milner, and Orson Welles! Just how closely does the film stick to the true life events (even when it is changing all the names)? Welles shows up how late in the film? And just how did director Richard Fleischer get from this to making Red Sonja and Conan the Destroyer? Tune in and find out!Next Episode: The most controversial Batman film you've never heard of!All music by Andrew Kannegiesser. Editing by Dave Babbitt

Directed by Richard Fleischer, Red Sonja is the epic sword and sorcery film based on the character, Red Sonja of Rogatino, created by Robert E. Howard, who also inspired the comic book character of the same name. Luke and Nathan return to the Hyborian Age of 1985 to discuss this box-office bomb. Power-hungry Queen Gedren (Sandahl Bergman) captures the priestesses guarding the Talisman, a mystical orb that created and can destroy the world. But one of the priestesses escapes and seeks out her warrior sister, Red Sonja (Brigitte Nielsen), to warn her about Gedren's plan for world domination. Lord Kalidor (Arnold Schwarzenegger), the Talisman's keeper, insists on helping Sonja, and though she scorns the assistance of any man, she soon gains respect for Kalidor's fighting prowess.

Roger & Quentin pull off one last job in The Last Run! On our very first bootleg tape of the show, George C. Scott returns to the screen as a former mob getaway driver who returns to his old life to see if he still has it.  All he has to do is complete one last job. Quentin and Roger discuss the legendary director who planned to make the film before Richard Fleischer was brought on and find out what makes this crime film work. Next up, the West goes wacko in Rustlers' Rhapsody! Rex O'Herlihan (played by Tom Berenger) is a fast-drawing, silver-spurred singing cowboy, who slowly becomes aware that every town he rides into is the same as the last. For this ode to kiddie matinees, Quentin shares vivid stories of the genre from theaters long shuttered and both hosts praise the gorgeous cinematography and affectionate parody of the film. Finally, The Jet Benny Show is the oddest film we've covered on the podcast so far. Shot on Super 8, you'll have to tune in to discover what this Jack Benny-themed spoof is all about… Learn more about this week's films, get Video Archives merch and more at videoarchivespodcast.com. Follow us on Twitter @videoarchives, and on Instagram @videoarchivespod. You can also write us a question by sending a letter to The Video Archives Podcast, c/o Earwolf Media, PO Box 66, 5551 Hollywood Blvd, Los Angeles, CA, 90028.

The year was 1973 and John Nelson was born into this world.  That's right!  Nelson is turning 50!  To celebrate, he's selected a film from the same year as his birth: Soylent Green.  Will this infamous Charlton Heston sci fi parable  taste stale or delicious?  And does this film co-star Ernest Borgnine or Edward G. Robinson?  Listen and find out!

Frame Fatale es un podcast de películas ¿no canónicas? conducido por Sebastián De Caro, Santiago Calori y Axel Kuschevatzky. En el septuagésimo cuarto episodio nos ocupamos de El tren de la muerte (The Narrow Margin, 1952) de Richard Fleischer. Podés comentar este episodio o agregar una pregunta que nada que ver usando el hashtag #FrameFatale en Twitter. Quizás sea una pegada total suscribirte en donde sea que escuches tus podcasts y tener la primicia algo que, de todas maneras, y ya explicamos varias veces, es lo menos importante.

Sherlock Holmes in The Lady in Green (1945). Directed by Roy William Neill. Starring Basil Rathbone, Nigel Bruce, Hillary Brooke, Eve Amber, and Henry Daniell. Soylent Green (1973). Directed by Richard Fleischer. Starring Charlton Heston, Edward G. Robinson, Joseph Cotten, Leigh Taylor-Young, Brock Peters, and Chuck Connor. The Green Knight (2021). Directed by David Lowery. Starring Dev Patel, Alicia Vikander, Barry Keoghan, Sean Harris, Kate Dickie, Joel Edgerton, Sarita Chowdrey, adn Ralph Ineson. Please review us over on Apple Podcasts. Got comments or suggestions for new episodes? Email: sddpod@gmail.com. Seek us out via Twitter and Instagram @ sddfilmpodcast Support our Patreon for $3 a month and get access to our exclusive show, Sudden Double Deep Cuts where we talk about our favourite movie soundtracks, scores and theme songs. We also have t-shirts available via our TeePublic store!

The Hold Up is pleased to welcome Bob Longino, many years film critic and father of John Longino, to the podcast as our special guest.  This month we're watching 1958's The Vikings, starring Kirk Douglas, Tony Curtis, Ernest Borgnine, and Janet Leigh.  Will this star studded epic of violence and lust make it to Valhalla?  Or will it drown in the tide?  Listen and find out!

Welcome to our first episode of the new year, which is also our first episode of Season 5. Thank you for continuing to join us on this amazing journey. On today's episode, we head back to Christmas of 1980, when pop music superstar Neil Diamond would be making his feature acting debut in a new version of The Jazz Singer. ----more---- EPISODE TRANSCRIPT From Los Angeles, California, the entertainment capital of the world, this is The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   It's 2023, which means we are starting our fifth season. And for our first episode of this new season, we're going back to the end of 1980, to take a look back at what was supposed to be the launch of a new phase in the career of one of music's biggest stars. That musical star was Neil Diamond, and this would end up becoming his one and only attempt to act in a motion picture.   We're talking about The Jazz Singer.   As I have said time and time again, I don't really have a plan for this show. I talk about the movies and subjects I talk about often on a whim. I'll hear about something and I'll be reminded of something, and a few days later, I've got an episode researched, written, recorded, edited and out there in the world. As I was working on the previous episode, about The War of the Roses just before my trip to Thailand, I saw a video of Neil Diamond singing Sweet Caroline on opening night of A Beautiful Noise, a new Broadway musical about the life and music of Mr. Diamond. I hadn't noticed Diamond had stopped performing live five years earlier due to a diagnosis of Parkinson's, and it was very touching to watch a thousand people joyously singing along with the man.   But as I was watching that video, I was reminded of The Jazz Singer, a movie we previously covered very lightly three years ago as part of our episode on the distribution company Associated Film Distribution. I was reminded that I haven't seen the movie in over forty years, even though I remember rather enjoying it when it opened in theatres in December 1980. I think I saw it four or five times over the course of a month, and I even went out and bought the soundtrack album, which I easily listened to a hundred times before the start of summer.   But we're getting ahead of ourselves yet again.   The Jazz Singer began its life in 1917, when Samson Raphaelson, a twenty-three year old undergraduate at the University of Illinois, attended a performance of Robinson Crusoe, Jr., in Champaign, IL. The star of that show was thirty-year-old Al Jolson, a Russian-born Jew who had been a popular performer on Broadway stages for fifteen years by this point, regularly performing in blackface. After graduation, Raphaelson would become an advertising executive in New York City, but on the side, he would write stories. One short story, called “The Day of Atonement,” would be a thinly fictionalized account of Al Jolson's life. It would be published in Everybody's Magazine in January 1922.   At the encouragement of his secretary at the advertising firm, Raphaelson would adapted his story into a play, which would be produced on Broadway in September 1925 with a new title…   The Jazz Singer.   Ironically, for a Broadway show based on the early life of Al Jolson, Jolson was not a part of the production. The part of Jake Rabinowitz, the son of a cantor who finds success on Broadway with the Anglicized named Jack Robin, would be played by George Jessel. The play would be a minor hit, running for 303 performances on Broadway before closing in June 1926, and Warner Brothers would buy the movie rights the same week the show closed. George Jessel would be signed to play his stage role in the movie version. The film was scheduled to go into production in May 1927.   There are a number of reasons why Jessel would not end up making the movie. After the success of two Warner movies in 1926 using Vitaphone, a sound-on-disc system that could play music synchronized to a motion picture, Warner Brothers reconcieved The Jazz Singer as a sound movie, but not just a movie with music synchronized to the images on screen, but a “talkie,” where, for the first time for a motion picture, actual dialogue and vocal songs would be synchronized to the pictures on screen. When he learned about this development, Jessel demanded more money.    The Warner Brothers refused.   Then Jessel had some concerns about the solvency of the studio. These would be valid concerns, as Harry Warner, the eldest of the four eponymous brothers who ran the studio, had sold nearly $4m worth of his personal stock to keep the company afloat just a few months earlier.   But what ended up driving Jessel away was a major change screenwriter Alfred A. Cohen made when adapting the original story and the play into the screenplay. Instead of leaving the theatre and becoming a cantor like his father, as it was written for the stage, the movie would end with Jack Robin performing on Broadway in blackface while his mom cheers him on from one of the box seats.   With Jessel off the project, Warner would naturally turn to… Eddie Cantor. Like Al Jolson, Eddie Cantor was a Jew of Russian descent, although, unlike Jolson, he had been born in New York City. Like Jolson, he had been a star on Broadway for years, regularly performing in and writing songs for Florenz Ziegfeld' annual Follies shows. And like Jolson, Cantor would regularly appear on stage in blackface. But Cantor, a friend of Jessel's, instead offered to help the studio get Jessel back on the movie. The studio instead went to their third choice…   Al Jolson.   You know. The guy whose life inspired the darn story to begin with.   Many years later, film historian Robert Carringer would note that, in 1927, George Jessel was a vaudeville comedian with one successful play and one modestly successful movie to his credit, while Jolson was one of the biggest stars in America. In fact, when The Vitaphone Company was trying to convince American studios to try their sound-on-disc system for movies, they would hire Jolson in the fall of 1926 for a ten minute test film. It would be the success of the short film, titled A Plantation Act and featuring Jolson in blackface singing three songs, that would convince Warners to take a chance with The Jazz Singer as the first quote unquote talkie film.   I'll have a link to A Plantation Act on our website, The80sMoviePodcast.com, if you're interested in seeing it.   Al Jolson signed on to play the character inspired by himself for $75,000 in May 1927, the equivalent to $1.28m today. Filming would be pushed back to June 1927, in part due to Jolson still being on tour with another show until the end of the month. Warners would begin production on the film in New York City in late June, starting with second unit shots of the Lower East Side and The Winter Garden Theatre on Broadway, shooting as much as they could until Jolson arrived on set on July 11th.   Now, while the film has been regularly touted for nearly a century now as the first talking motion picture, the truth is, there's very little verbal dialogue in the film. The vast majority of dialogue in the movie was still handled with the traditional silent movie use of caption cards, and the very few scenes featuring what would be synchronized dialogue were saved for the end of production, due to the complexity of how those scenes would be captured. But the film would finish shooting in mid-September.   The $422k movie would have its world premiere at the Warner Brothers theatre in New York City not three weeks later, on October 6th, 1927, where the film would become a sensation. Sadly, none of the Warner Brothers would attend the premiere, as Sam Warner, the strongest advocate for Vitaphone at the studio, had died of pneumonia the night before the premiere, and his remaining brothers stayed in Los Angeles for the funeral. The reviews were outstanding, and the film would bring more than $2.5m in rental fees back to the studio.   At the first Academy Awards, held in May 1929 to honor the films released between August 1927 and July 1928, The Jazz Singer was deemed ineligible for the two highest awards, Outstanding Production, now known as Best Picture, and Unique and Artistic Production, which would only be awarded this one time, on the grounds that it would have been unfair to a sound picture compete against all the other silent films. Ironically, by the time the second Academy Awards were handed out, in April 1930, silent films would practically be a thing of the past. The success of The Jazz Singer had been that much a tectonic shift in the industry. The film would receive one Oscar nomination, for Alfred Cohn's screenplay adaptation, while the Warner Brothers would be given a special award for producing The Jazz Singer, the “pioneer outstanding talking picture which has revolutionized the industry,” as the inscription on the award read.   There would be a remake of The Jazz Singer produced in 1952, starring Danny Thomas as Korean War veteran who, thankfully, leaves the blackface in the past, and a one-hour television adaptation of the story in 1959, starring Jerry Lewis. And if that sounds strange to you, Jerry Lewis, at the height of his post-Lewis and Martin success, playing a man torn between his desire to be a successful performer and his shattered relationship with his cantor father… well, you can see it for yourself, if you desire, on the page for this episode on our website. It is as strange as it sounds.   At this point, we're going to fast forward a number of years in our story.   In the 1970s, Neil Diamond became one of the biggest musical stars in America. While he wanted to be a singer, Diamond would get his first big success in music in the 1960s as a songwriter, including writing two songs that would become big hits for The Monkees: I'm a Believer and A Little Bit Me, A Little Bit You.   And really quickly, let me throw out a weird coincidence here… Bob Rafelson, the creator of The Monkees who would go on to produce and/or direct such films as Easy Rider and Five Easy Pieces, was the nephew of Samson Raphaelson, the man who wrote the original story on which The Jazz Singer is based.   Anyway, after finding success as a songwriter, Diamond would become a major singing star with hits like Girl, You'll Be a Woman Soon, Sweet Caroline, and Song Sung Blue. And in another weird coincidence, by 1972, Neil Diamond would become the first performer since Al Jolson to stage a one-man show at the Winter Garden Theatre on Broadway.   By 1976, Neil Diamond is hosting specials on television, and one person who would see one of Diamond's television specials was a guy named Jerry Leider, an executive at Warner Brothers in charge of foreign feature production. Leider sees something in Diamond that just night be suited for the movies, not unlike Elvis Presley or Barbra Streisand, who in 1976 just happens to be the star of a remake of A Star Is Born for Warner Brothers that is cleaning up at the box office and at records stores nationwide. Leider is so convinced Neil Diamond has that X Factor, that unquantifiable thing that turns mere mortals into superstars, that Leider quits his job at Warners to start his own movie production company, wrestling the story rights to The Jazz Singer from Warner Brothers and United Artists, both of whom claimed ownership of the story, so he can make his own version with Diamond as the star.   So, naturally, a former Warners Brothers executive wanting to remake one of the most iconic movies in the Warner Brothers library is going to set it up at Warner Brothers, right?   Nope!   In the fall of 1977, Leider makes a deal with MGM to make the movie. Diamond signs on to play the lead, even before a script is written, and screenwriter Stephen H. Foreman is brought in to update the vaudeville-based original story into the modern day while incorporating Diamond's strengths as a songwriter to inform the story. But just before the film was set to shoot in September 1978, MGM would drop the movie, as some executives were worried the film would be perceived as being, and I am quoting Mr. Foreman here, “too Jewish.”   American Film Distribution, the American distribution arm of British production companies ITC and EMI, would pick the film up in turnaround, and set a May 1979 production start date. Sidney J. Furie, the Canadian filmmaker who had directed Diana Ross in Lady Sings the Blues, would be hired to direct, and Jacqueline Bisset was pursued to play the lead female role, but her agent priced their client out of the running. Deborah Raffin would be cast instead. And to help bring the kids in, the producers would sign Sir Laurence Olivier to play Diamond's father, Cantor Rabinovitch. Sir Larry would get a cool million dollars for ten weeks of work.   There would, as always is with the case of making movies, be setbacks that would further delay the start of production. First, Diamond would hurt his back at the end of 1978, and needed to go in for surgery in early January 1979. Although Diamond had already written and recorded all the music that was going to be used in the movie, AFD considered replacing Diamond with Barry Manilow, who had also never starred in a movie before, but they would stick with their original star.   After nearly a year of rest, Diamond was ready to begin, and cameras would roll on the $10m production on January 7th, 1980. And, as always is with the case of making movies, there would be more setbacks as soon as production began. Diamond, uniquely aware of just how little training he had as an actor, struggled to find his place on set, especially when working with an actor of Sir Laurence Olivier's stature. Director Furie, who was never satisfied with the screenplay, ordered writer Foreman to come up with new scenes that would help lessen the burden Diamond was placing on himself and the production. The writer would balk at almost every single suggestion, and eventually walked off the film.   Herbert Baker, an old school screenwriter who had worked on several of the Dean Martin and Jerry Lewis movies, was brought in to punch up the script, but he would end up completely rewriting the film, even though the movie had been in production for a few weeks. Baker and Furie would spend every moment the director wasn't actively working on set reworking the story, changing the Deborah Raffin character so much she would leave the production. Her friend Lucie Arnaz, the daughter of Desi Arnaz and Lucille Ball, would take over the role, after Cher, Liza Minnelli and Donna Summer were considered.   Sensing an out of control production, Sir Lew Grade, the British media titan owner of AFD, decided a change was needed. He would shut the production down on March 3rd, 1980, and fire director Furie. While Baker continued to work on the script, Sir Grade would find a new director in Richard Fleischer, the journeyman filmmaker whose credits in the 1950s and 1960s included such films as 20,000 Leagues Under the Sea, Compulsion, Fantastic Voyage and Doctor Doolittle, but had fallen out of favor with most studios after a string of flops. In fact, this would be the second film in a year where Fleischer was hired to replace another director during the middle of production, having replaced Richard C. Sarafian on the action-adventure film Ashanti in 1979.   With Fleischer aboard, production on The Jazz Singer would resume in late March, and there was an immediate noticeable difference on set. Where Furie and many members of the crew would regularly defer to Diamond due to his stature as an entertainer, letting the singer spiral out of control if things weren't working right, Fleischer would calm the actor down and help work him back into the scene. Except for one scene, set in a recording studio, where Diamond's character needed to explode into anger. After a few takes that didn't go as well as he hoped, Diamond went into the recording booth where his movie band was stationed while Fleischer was resetting the shot, when the director noticed Diamond working himself into a rage. The director called “action,” and Diamond nailed the take as needed. When the director asked Diamond how he got to that moment, the singer said he was frustrated with himself that he wasn't hitting the scene right, and asked the band to play something that would make him angry. The band obliged.    What did they play?   A Barry Manilow song.   Despite the recasting of the leading female role, a change of director and a number of rewrites by two different writers during the production, the film was able to finish shooting at the end of April with only $3m added to the budget.   Associated Film would set a December 19th, 1980 release date for the film, while Capitol Records, owned at the time by EMI, would release the first single from the soundtrack, a soft-rock ballad called Love on the Rocks, in October, with the full soundtrack album arriving in stores a month later.   As expected for a new Neil Diamond song, Love on the Rocks was an immediate hit, climbing the charts all the way to #2 on the Billboard Hot 100.   Several days before the film opened in 241 theatres on December 19th, there was a huge, star-studded premiere at the Plitt Century Plaza Cinemas in Los Angeles. Peter Falk, Harvey Korman, Ed McMahon, Gregory Peck, Cesar Romero and Jon Voight were just a handful of the Hollywood community who came out to attend what was one of the biggest Hollywood premieres in years. That would seem to project a confidence in the movie from the distributor's standpoint.   Or so you'd think.   But as it turned out, The Jazz Singer was one of three movies Associated Film would release that day. Along with The Jazz Singer, they would release the British mystery film The Mirror Crack'd starring Angela Lansbury and Elizabeth Taylor, and the Richard Donner drama Inside Moves. Of the three movies, The Jazz Singer would gross the most that weekend, pulling in a modest $1.167m, versus The Mirror Crack'd's $608k from 340 screens, and Inside Moves's $201k from 67 screens.   But compared to Clint Eastwood's Any Which Way You Can, the Richard Pryor/Gene Wilder comedy Stir Crazy, and Dolly Parton/Lily Tomlin/Jane Fonda comedy 9 to 5, it wasn't the best opening they could hope for.   But the film would continue to play… well, if not exceptional, at least it would hold on to its intended audience for a while. Sensing the film needed some help, Capitol Records released a second single from the soundtrack, another power ballad called Hello Again, in January 1981, which would become yet another top ten hit for Diamond. A third single, the pro-immigration power-pop song America, would arrive in April 1981 and go to number eight on the charts, but by then, the film was out of theatres with a respectable $27.12m in tickets sold.   Contemporary reviews of the film were rather negative, especially towards Diamond as an actor. Roger Ebert noted in his review that there were so many things wrong in the film that the review was threatening to become a list of cinematic atrocities. His review buddy Gene Siskel did praise Lucie Arnaz's performance, while pointing out how out of touch the new story was with the immigrant story told by the original film. Many critics would also point out the cringe-worthy homage to the original film, where Diamond unnecessarily performs in blackface, as well as Olivier's overacting.   I recently watched the film for the first time since 1981, and it's not a great movie by any measurable metric. Diamond isn't as bad an actor as the reviews make him out to be, especially considering he's essentially playing an altered version of himself, a successful pop singer, and Lucie Arnaz is fairly good. The single best performance in the film comes from Caitlin Adams, playing Jess's wife Rivka, who, for me, is the emotional center of the film. And yes, Olivier really goes all-in on the scenery chewing. At times, it's truly painful to watch this great actor spin out of control.   There would be a few awards nominations for the film, including acting nominations for Diamond and Arnaz at the 1981 Golden Globes, and a Grammy nomination for Best Soundtrack Album, but most of its quote unquote awards would come from the atrocious Golden Raspberry organization, which would name Diamond the Worst Actor of the year and Olivier the Worst Supporting Actor during its first quote unquote ceremony, which was held in some guy's living room.   Ironically but not so surprisingly, while the film would be vaguely profitable for its producers, it would be the soundtrack to the movie that would bring in the lion's share of the profits. On top of three hit singles, the soundtrack album would sell more than five million copies just in the United States in 1980 and 1981, and would also go platinum in Canada, South Africa, and the United Kingdom. While he would earn less than half a million dollars from the film, Diamond's cut of the soundtrack would net him a dollar per unit sold, earning him more than ten times his salary as an actor.   And although I fancied myself a punk and new wave kid at the end of 1980, I bought the soundtrack to The Jazz Singer, ostensibly as a gift for my mom, who loved Neil Diamond, but I easily wore out the grooves of the album listening to it over and over again. Of the ten new songs he wrote for the soundtrack, there's a good two or three additional tracks that weren't released as singles, including a short little ragtime-inspired ditty called On the Robert E. Lee, but America is the one song from the soundtrack I am still drawn to today. It's a weirdly uplifting song with its rhythmic “today” chants that end the song that just makes me feel good despite its inherent cheesiness.   After The Jazz Singer, Neil Diamond would only appear as himself in a film. Lucie Arnaz would never quite have much of a career after the film, although she would work quote regularly in television during the 80s and 90s, including a short stint as the star of The Lucie Arnaz Show, which lasted six episodes in 1985 before being cancelled. Laurence Olivier would continue to play supporting roles in a series of not so great motion pictures and television movies and miniseries for several more years, until his passing in 1989. And director Richard Fleischer would make several bad movies, including Red Sonja and Million Dollar Mystery, until he retired from filmmaking in 1987.   As we noted in our February 2020 episode about AFD, the act of releasing three movies on the same day was a last, desperate move in order to pump some much needed capital into the company. And while The Jazz Singer would bring some money in, that wasn't enough to cover the losses from the other two movies released the same day, or several other underperforming films released earlier in the year such as the infamous Village People movie Can't Stop the Music and Raise the Titanic. Sir Lew Grade would close AFD down in early 1981, and sell several movies that were completed, in production or in pre-production to Universal Studios. Ironically, those movies might have saved the company had they been able to hang on a little longer, as they included such films as The Dark Crystal, Frances, On Golden Pond, Sophie's Choice and Tender Mercies.   Thank you for joining us. We'll talk again soon, when Episode 99 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Neil Diamond and The Jazz Singer.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

C'est un chiffre aussi symbolique que vertigineux. Le cap des 8 milliards d'êtres humains a été franchi autour du mardi 15 novembre, selon les modélisations de l'ONU. D'ici à 2100, la planète devrait accueillir deux milliards de personnes supplémentaires… Avant un probable déclin. Ces projections sont-elles fiables ? Quel est l'impact de cette croissance démographique sur le climat ? Doit-on faire moins d'enfants ? Dans cet épisode, Delphine Roucaute, journaliste au service « Planète » du Monde, apporte des réponses à ces questions.Un épisode de Dorali Mensah. Réalisation : Florentin Baume. Présentation et rédaction en chef : Morgane Tual. Dans cet épisode, plusieurs extraits : du podcast Chaleur humaine, des « Actualités françaises » du 15 juillet 1959, du film Soleil Vert de Richard Fleischer, de la bande-annonce du film Seven Sisters de Tommy Wirkola.

CHRISTMAS WITH CONAN continues! Right on the tail of 1982's CONAN THE BARBARIAN, Raffaella De Laurentiis produced 1984's CONAN THE DESTROYER. New villain. New sidekicks. New director. New tone. Same Conan?

MyFitnessFeelingz returns to the show to talk about the FTX/Sam Bankman-Fried scandal, Tom Brady, Richard Fleischer's Soylent Green (1973), and much more Follow MyFitnessFeelingz on Twitter https://twitter.com/fitnessfeelingz For Premium Rare Candy Episodes and written content, become a subscriber of the Rare Candy Substack https://rarecandy.substack.com/ Follow All Things Rare Candy https://linktr.ee/RareCandy

C'est un chiffre aussi symbolique que vertigineux. Le cap des 8 milliards d'êtres humains a été franchi autour du mardi 15 novembre, selon les modélisations de l'ONU. D'ici à 2100, la planète devrait accueillir deux milliards de personnes supplémentaires… Avant un probable déclin. Ces projections sont-elles fiables ? Quel est l'impact de cette croissance démographique sur le climat ? Doit-on faire moins d'enfants ? Dans cet épisode, Delphine Roucaute, journaliste au service « Planète » du Monde, apporte des réponses à ces questions.Un épisode de Dorali Mensah. Réalisation : Florentin Baume. Présentation et rédaction en chef : Morgane Tual. Dans cet épisode, plusieurs extraits : du podcast Chaleur humaine, des « Actualités françaises » du 15 juillet 1959, du film Soleil Vert de Richard Fleischer, de la bande-annonce du film Seven Sisters de Tommy Wirkola.

On this episode, we discuss the much-talked-about Indian historical/action epic 'RRR' from director S. S. Rajamouli. Set in the time of the British Raj, and based on two real-life revolutionaries, this was the most expensive Indian film ever made. FInd out whether we thought that budget, and the social media hype, translates into a good film. Bill reviews a handful of short horror films from this year's Dead Northern Film Festival - 'Woodland Cemetery' (Niels Bourgonje), 'The Baby Monitor' (Frank Appio), and 'Sucker' (Alix Austin). Continuing with horror, Sam climbs aboard the 'Horror Express' (1972), a creepy overlooked film from Eugenio Martin starring Christopher Lee and Peter Cushing. Michael rounds off the episode by revisiting Richard Fleischer's 1973 sci-fi 'Soylent Green' starring Charlton Heston - a dystopian vision of a world in 2022.

THE LAST DETAIL (1973) 4k UHD SHOUT FACTORY (Shout Select) directed by Hal Ashby. Starring Jack Nicholson, Otis Young and Randy Quaid. written by Robert Towne. HEARTBREAKERS (1984) Blu-ray from Fun City Editions directed by: Bobby Roth starring: Peter Coyote, Nick Mancuso, Carole Laure, Kathryn Harrold, Carol Wayne MR. MAJESTYK (1974) Blu-ray from Kino Lorber directed by Richard Fleischer written by Elmore Leonard Starring Charles Bronson, Al Lettieri, Linda Cristal MUSIC Main theme: Music: Dar Golan Youtube https://www.youtube.com/channel/UCb7E... The Last Detail “True to the Flag” by United States Marine Band Heartbreakers “Survive the Montage” by RKVC Mr. Majestyk “Cattle' by Telecasted LINKS - Website: https://www.returnofthedisc.com/-Instagram: https://www.instagram.com/returnofthedisc/-TikTok : https://www.tiktok.com/@returnofthedisc- Spotify: https://open.spotify.com/show/1suNpWBGZHWDBW8bRZ3qe3-Apple Podcast: https://podcasts.apple.com/us/podcast/polipictures/id1487564839 For more FULL EPISODES: https://www.youtube.com/playlist?list=PLbPWwWv1OQDvX7TBMfee_QS-S3mugB2WF

Spooky season is upon us and the gang of Not A Bomb is excited to take the podcast into the third dimension! This week, the guys welcome Jose and Justin from Watch/Skip+ to discuss 1983's supernatural horror film - Amityville 3-D AKA Amityville III: The Demon. Get ready for a little history on “The Amityville Horror,” an informative discussion on 3-D films, Troy going on about some lady named Candy Clark, putting stuff in Brad's face, and college admissions fraud. Once again, this podcast is all over the place!Timestamps: Intro - (0:47), 5 Buring Questions - (7:35), Amityville Series Discussion - (14:00), The “true” Story - (19:50), 3-D Movie Discussion - (36:45), Box Office Results and Critical Response - (43:10), Behind the Camera - (46:58), In Front of the Camera - (53:55), Production, Development and Trivia - (63:24), Break - (65:20), Amityville 3-D Discussion - (67:40), Is it a Bomb? - (117:47) and Outro - (125:45)Amityville 3-D is directed by Richard Fleischer and stars Tony Roberts, Tess Harper, Robert, and Candy Clark.If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com. Also, if you like what you hear, leave a review on Apple Podcast.If you want to hear more of Watch/Skip+, make sure you subscribe to here - Watch/Skip+ • A podcast on Anchor.Cast: Brad, Troy, Jose, Justin

For the 11th of our TMR Movie Roundtables we welcome back our good friends Mark Campbell, Frank Johnson and Antony Rotunno for a four-way discussion on the 1973 eco-dystopian thriller movie Soylent Green, starring Charlton Heston, Leigh Taylor-Young and Edward G Robinson, directed by Richard Fleischer. By 2022, the processes of industrialisation and consumerism have depleted the world's natural respources and led to extreme global warming, overpopulation and severe food shortages. To meet demand, the Soylent Corporation—a massive, government-connected enterprise supplying countless millions—has developed subsistence foodstuffs in the form of highly processed wafers known as Soylent Red and Soylent Yellow. But now, the inhabitants of New York City (numbering around 40,000,000) can look forward to a new product: Soylent Green, a highly nutritious wafer ostensibly made from plankton. But not all is as it seems, as detective Richard Thorn (Charlton Heston) and his researcher Sol Roth (Edward G Robinson) discover as they investigate the assassination of an influential board member of the Corporation. Soylent Green, it turns out, isn't quite as advertised. "Soylent Green is ******!" (Just in case you haven't seen it yet). Joins us as we discuss the film's production and storyline and consider some of its messages in relation to the real world of 2022. [For show notes please visit https://themindrenewed.com]

For the 11th of our TMR Movie Roundtables we welcome back our good friends Mark Campbell, Frank Johnson and Antony Rotunno for a four-way discussion on the 1973 eco-dystopian thriller movie Soylent Green, starring Charlton Heston, Leigh Taylor-Young and Edward G Robinson, directed by Richard Fleischer. By 2022, the processes of industrialisation and consumerism have depleted the world's natural respources and led to extreme global warming, overpopulation and severe food shortages. To meet demand, the Soylent Corporation—a massive, government-connected enterprise supplying countless millions—has developed subsistence foodstuffs in the form of highly processed wafers known as Soylent Red and Soylent Yellow. But now, the inhabitants of New York City (numbering around 40,000,000) can look forward to a new product: Soylent Green, a highly nutritious wafer ostensibly made from plankton. But not all is as it seems, as detective Richard Thorn (Charlton Heston) and his researcher Sol Roth (Edward G Robinson) discover as they investigate the assassination of an influential board member of the Corporation. Soylent Green, it turns out, isn't quite as advertised. "Soylent Green is ******!" (Just in case you haven't seen it yet). Joins us as we discuss the film's production and storyline and consider some of its messages in relation to the real world of 2022. [For show notes please visit https://themindrenewed.com]

Jenny discusses a brilliant 1971 British film based on the real crimes of serial killer John Reginald Christie. The movie was directed by Richard Fleischer and stars Richard Attenborough and John Hurt. Find this movie and more at the 13 O’Clock Amazon Storefront! Audio version: Vidoe version: Please support us on Patreon! Don't forget to subscribe … Continue reading Flickers Of Fear – Jenny’s Horror Movie Reviews: 10 Rillington Place (1971)

Following up on our Mr. Majestyk episode, Eric interviews Bruce Fleischer and Max Reid. Bruce is the son of the director of Mr. Majestyk, Richard Fleischer (and grandson of Max Fleischer!), and Max Reid was on set as an AFI intern. On top of that, they're brothers-in-law! They have amazing stories from Richard Fleischer's career, their interactions with Charles Bronson, and so much more! --- Send in a voice message: https://podcasters.spotify.com/pod/show/twicb/message

On this week's episode, the gang travels back to the early 1970s to chat about a total foodie film set in 2022, Soylent Green! How fantastic is Edward G. Robinson in this movie? Who let Heston wear that hat the whole time? Could we get a few more scenes with that arcade machine? And what's going in that gross stew that Robinson cooks up? PLUS: Did Heston's character come of age during the early-aughts' NYC indie music revival? Soylent Green stars Charlton Heston, Edward G. Robinson, Joseph Cotton, Leigh Taylor-Young, Chuck Connors, and Brock Peters; directed by Richard Fleischer. Check out the WHM Merch Store -- featuring new WHAT IF Donna?, Mortal Kombat & Bean Dinner designs! Advertise on We Hate Movies via Gumball.fm    Unlock Exclusive Content!: http://www.patreon.com/wehatemovies See omnystudio.com/listener for privacy information.

This episode, we take a look back at the short-lived production and distribution company American Cinema Releasing, pioneers of two ways of finding financing for independent films and releasing them into theatres, and the company responsible for making Chuck Norris a star. ----more---- Movies discussed on this episode include: Beatlemania (1981, Joseph Manduke) Charlie Chan and the Curse of the Dragon Queen (1981, Clive Donner) Cheaper to Keep Her (1981, Ken Annakin) Dirt (1979, Eric Karson) The Entity (1983, Sidney J. Furie) Fade to Black (1980, Vernon Zimmerman) A Force of One (1979, Paul Aaron) Force: Five (1981, Robert Clouse) Good Guys Wear Black (1978, Ted Post) High Risk (1981, Stewart Raffill) I, the Jury (1982, Richard T. Heffron) The Late, Great Planet Earth (1978, Robert Amram and Rolf Forsberg) The Octagon (1980, Eric Karson) Silent Scream (1979, Denny Harris) Tough Enough (1983, Richard Fleischer)

We enter the gritty world of… Charles McGraw’s voice, in this 1952 noir directed by Richard Fleischer. You may know him from 20,000 Leagues under the Sea and (spoiler alert) Soylent Green is people! In The Narrow Margin, a cop must protect a woman scheduled to testify against a killer. Much of the action takes place on a cross-country train, in which the visual margins are indeed narrow. Host Shelly Brisbin with David J. Loehr and Nathan Alderman.

We enter the gritty world of… Charles McGraw’s voice, in this 1952 noir directed by Richard Fleischer. You may know him from 20,000 Leagues under the Sea and (spoiler alert) Soylent Green is people! In The Narrow Margin, a cop must protect a woman scheduled to testify against a killer. Much of the action takes place on a cross-country train, in which the visual margins are indeed narrow. Shelly Brisbin with David J. Loehr and Nathan Alderman.

Barabbas (1961) / The Beast of War (1988) This week the chosen ones lead us down dangerous paths as we chase tanks with Kevin Reynolds and the Mujahideen and get tossed into the gladiator arena in Richard Fleischer's biblical epic

Gay homosexuals Nick and Joseph discuss the 1975 film Mandingo directed by Richard Fleischer. Additional topics include: Rupaul's Drag Race UK, Canada's Drag Race, Britney Spears, AFI Fest, the deaths of Dean Stockwell and Conronji Calhoun, Sr., and too many films to mention. Check them out on YouTube: https://www.youtube.com/channel/UChVV6ezEYnPv9XaLZtUlZdw Nick's IG: ragingbells Joseph's IG: joroyolo --- Support this podcast: https://anchor.fm/fish-jelly/support