Podcast appearances and mentions of Sam Peckinpah

This is probably the biggest and informative episode we have done and this is a first for us.Join Tony Michas, John Mathews and Ron Pettersson as they discuss their first Pre-Release Imprint Deep Dive discussion of the upcoming Imprint Films release, Killer: A Journal of Murder, and our special guest is the Writer and Director of the film, Tim Metcalfe.They discuss the origins of the film, how it was working with James Woods, working with executive producer Oliver Stone and the making of Killer: A Journal of Murder.They also go into deep discussion of his love for filmmaker Sam Peckinpah and we discuss the writing career of Tim's which include the films Bones, Revenge of the Nerds, Kalifornia, The Haunting in Connecticut and Fright Night Part II.Special Thanks to the team of Imprint Films and Via Vision Entertainment for this incredible opportunity and most of all thanks to Tim Metcalfe for his time and the entertaining and informative stories about the film business.

With this episode's double feature, we decided to pair two revisionist genre masterworks from opposite sides of the globe: Kihachi Okamoto's The Sword of Doom (1966) and Sam Peckinpah's The Wild Bunch (1969). Though separated by culture, setting, and weaponry, both films offer blistering end-of-an-era commentaries that dismantle the myths surrounding their respective genres. Join us as we examine doomed antiheroes, collapsing moral codes, and the violent reckonings that emerge when old worlds refuse to quietly fade away. Before crossing paths with nihilistic ronin and aging outlaws, our Blue Plate Special returns with a fresh helping of cinematic and otherwise timely discussion. We share some thoughts on the ongoing World Cup, unpack Quentin Tarantino's recent comments on the current state of Hollywood cinema, and offer reviews of several new releases, including Backrooms, I Love Boosters, and Disclosure Day. As always, please like, subscribe, rate, and review us on Apple Podcasts, Spotify, YouTube, and wherever else you listen! Got thoughts or questions? Email us at huffmanbrothersproductions@gmail.com. https://thebigwblog.wordpress.com/2026/06/01/__trashed/ https://thebigwblog.wordpress.com/2026/06/07/check-those-corners-parsing-out-kane-parsonss-backrooms/ https://thebigwblog.wordpress.com/2026/06/15/mundo-trasho-world-cup-2026-report-week-1-rip-the-script/

Mit Joe, Luke & TedNach dem Western-Epos von The Wild Bunch kommt von Peckinpah etwas ganz anderes.Comedy? Romantik? Kaum Gewalt? Wir besprechen: THE BALLAD OF CABLE HOGUE / ABGERECHNET WIRD ZUM SCHLUSS!Viel Spaß!PFG Main Feed: https://anchor.fm/planet-film-geekwww.planetfilmgeek.comfacebook.com/PlanetFilmGeekinstagram.com/planetfilmgeekplanetfilmgeek@gmail.comletterboxd.com/movieschmidtletterboxd.com/tadiciletterboxd.com/lukepfgletterboxd.com/ninjasteinPlakat zu "The Ballad of Cable Hogue" © 1970 Warner Bros. GmbHMusic by Kevin MacLeod"Rollin at 5""Rollin at 5 - electronic"www.incompetech.comLicensed under Creative Commons: By Attribution 3.0 creativecommons.org/licenses/by/3.0/

Mit Joe, Luke & TedNach dem Western-Epos von The Wild Bunch kommt von Peckinpah etwas ganz anderes.Comedy? Romantik? Kaum Gewalt? Wir besprechen: THE BALLAD OF CABLE HOGUE / ABGERECHNET WIRD ZUM SCHLUSS!Viel Spaß!Unser Feed nur für Directed by: https://anchor.fm/pfg-directed-bywww.planetfilmgeek.comfacebook.com/PlanetFilmGeekinstagram.com/planetfilmgeekplanetfilmgeek@gmail.comletterboxd.com/movieschmidtletterboxd.com/tadiciletterboxd.com/lukepfgletterboxd.com/ninjasteinPlakat zu "The Ballad of Cable Hogue" © 1970 Warner Bros. GmbHMusic by Kevin MacLeod"Rollin at 5""Rollin at 5 - electronic"www.incompetech.comLicensed under Creative Commons: By Attribution 3.0 creativecommons.org/licenses/by/3.0/

durée : 00:59:01 - Toute une vie - par : Michel Pomarède - Figure majeure du western crépusculaire, Sam Peckinpah dit "Bloody Sam", impose une esthétique choc où la violence, filmée au ralenti, devient ballet funèbre. Entre rage politique et visions lyriques, son cinéma dynamite les mythes américains et révèle une masculinité blessée, en marche vers sa fin. - réalisation : Charlotte Roux, Emmanuel Laurentin, Sandrine Chapron, Redouane Malek Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:59:01 - Toute une vie - par : Michel Pomarède - Figure majeure du western crépusculaire, Sam Peckinpah dit "Bloody Sam", impose une esthétique choc où la violence, filmée au ralenti, devient ballet funèbre. Entre rage politique et visions lyriques, son cinéma dynamite les mythes américains et révèle une masculinité blessée, en marche vers sa fin. - réalisation : Charlotte Roux

durée : 00:59:01 - Les documentaires de France Culture - par : Michel Pomarède - Figure majeure du western crépusculaire, Sam Peckinpah dit "Bloody Sam", impose une esthétique choc où la violence, filmée au ralenti, devient ballet funèbre. Entre rage politique et visions lyriques, son cinéma dynamite les mythes américains et révèle une masculinité blessée, en marche vers sa fin. - réalisation : Charlotte Roux, Emmanuel Laurentin, Sandrine Chapron, Redouane Malek Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Ucrania '43 es uno de los mejores juegos de la serie de operacionales de la Segunda Guerra Mundial de Mark Simonitch y, en nuestra opinión, una elección excelente de NAC Wargames para lanzar su versión en español, que añade contenido adicional con respecto a la 2a edición original de GMT. Este juego y esta edición en particular se merecían un tratamiento amplio en Territorio Grognard: actualización sobre la serie de operacionales de Simonitch, análisis del juego y de las novedades de la edición de NAC, introducción histórica jugosa y reseña de una película relacionada con el frente ruso en aquellos momentos. Las extensas sesiones de grabación nos dieron material para más de 10 horas de podcast, así que al final decidimos partirlo en dos episodios. En esta primera parte contamos con Eligio R. Montero y Albert Galdor para la reseña de La Cruz de Hierro de Sam Peckinpah, con un James Coburn en estado de gracia. Y para hablar de qué hubo detrás de la decisión editorial y del proceso de traducción y desarrollo de la edición en español, entrevistamos a dos de los responsables de NAC Wargames: José Garrido y Carlos Díaz. Partes: 00:00:00 Presentación. 00:10:00 Reseña de La Cruz de Hierro, primera parte. 01:40:00 Reseña de La Cruz de Hierro, segunda parte. 02:36:00 Entrevista a NAC Wargames. Tal y como se indica al final del episodio, los audios de terceros se incluyen bajos los acuerdos de ivoox con la SGAE.

This week we’re talking Texas penitentiaries, double crosses, slow-motion violence, Ali MacGraw, and Bloody Sam as we dig into Sam Peckinpah’s 1972 film ‘The Getaway.’ Plus we make a mixtape inspired by the film including songs by Christopher Cross, Willie Nelson, Chuck Berry, and more. Become an All Access member and get ad-free listening by visiting disgracelandpod.com.See omnystudio.com/listener for privacy information.

durée : 00:59:01 - Toute une vie - par : Michel Pomarède - Figure majeure du western crépusculaire, Sam Peckinpah dit "Bloody Sam", impose une esthétique choc où la violence, filmée au ralenti, devient ballet funèbre. Entre rage politique et visions lyriques, son cinéma dynamite les mythes américains et révèle une masculinité blessée, en marche vers sa fin. - réalisation : Charlotte Roux

Today Matt & Todd crack open the VHS clamshell and revisit the ultimate case of First Blood at home: 1985's The Park is Mine, starring Tommy Lee Jones;This is Matt & Todd's new venture into the original Parks & Rec[1]: an HBO‑produced 1985 Vietnam-vet-splotation film that plays like First Blood filtered through The A‑Team instead of Sam Peckinpah. Directed by Steven Hilliard Stern, The Park is Mine is fast‑paced, earnest, entertaining, and flawed. There's no question about the talent involved. Tommy Lee Jones brings a grounded intensity, Yaphet Kotto elevates every scene he's in, and the supporting cast delivers exactly the kind of genre‑movie charm you want from a mid‑80s HBO original.Starring:Tommy Lee JonesHelen ShaverEric Peterson — Whit Bissell WinnerLawrence DanePeter Dvorsky — Whit Bissell WinnerYaphet KottoThe violence dialed down and the message… well, also dialed down. What it lacks in blood and thematic clarity, it replaces with brief nudity, explosions, and solid performances. The premise is compelling, even if the film doesn't explore it deeply and seems to rely on your familiarity with other properties to fill in the emotional blanks. But here's the thing: nostalgia carries weight. This movie is etched into the halcyon days of early HBO—when NeverEnding Story, Beastmaster, and Commando looped endlessly and everything felt like it clicked. Maybe we do love us some Tommy Lee Jones and Yaphet Kotto as well, there's probably some bias here but it is fair to say this is more of a worthwhile tangent than a hidden gem.Thanks for coming with us.Footnotes:[1] Unsubstantiated internet rumor[2][2] That I made up.The Park Is Mine is based on a 1981 novel of the same name by Stephen Peters, who also wrote the screen play for 1998's Wild Things.

Mit Joe, Luke & TedSam Peckinpahs Karriere nimmt Fahrt auf – und wie. Nach dem Desaster von Major Dundee folgt ein Film, der die Westerngeschichte für immer verändern sollte. Brutale Schusswechsel, ein Haufen Verlierer auf der Flucht und Peckinpah ganz in seinem Element. Wir besprechen: THE WILD BUNCH / SIE KANNTEN KEIN GESETZ!Viel Spaß!PFG Main Feed: https://anchor.fm/planet-film-geekwww.planetfilmgeek.comfacebook.com/PlanetFilmGeekinstagram.com/planetfilmgeekplanetfilmgeek@gmail.comletterboxd.com/movieschmidtletterboxd.com/tadiciletterboxd.com/lukepfgletterboxd.com/ninjasteinPlakat zu "The Wild Bunch" © 1969 Warner Bros. GmbHMusic by Kevin MacLeod"Rollin at 5""Rollin at 5 - electronic"www.incompetech.comLicensed under Creative Commons: By Attribution 3.0 creativecommons.org/licenses/by/3.0/

Mit Joe, Luke & TedSam Peckinpahs Karriere nimmt Fahrt auf – und wie. Nach dem Desaster von Major Dundee folgt ein Film, der die Westerngeschichte für immer verändern sollte. Brutale Schusswechsel, ein Haufen Verlierer auf der Flucht und Peckinpah ganz in seinem Element. Wir besprechen: THE WILD BUNCH / SIE KANNTEN KEIN GESETZ!Viel Spaß!Unser Feed nur für Directed by: https://anchor.fm/pfg-directed-bywww.planetfilmgeek.comfacebook.com/PlanetFilmGeekinstagram.com/planetfilmgeekplanetfilmgeek@gmail.comletterboxd.com/movieschmidtletterboxd.com/tadiciletterboxd.com/lukepfgletterboxd.com/ninjasteinPlakat zu "The Wild Bunch" © 1969 Warner Bros. GmbHMusic by Kevin MacLeod"Rollin at 5""Rollin at 5 - electronic"www.incompetech.comLicensed under Creative Commons: By Attribution 3.0 creativecommons.org/licenses/by/3.0/

Movie of the Year: 1971Straw Dogs (feat. Erik from the Cradle to the Grave pod!)The Straw Dogs Podcast: Peckinpah's Most Dangerous FilmThe Straw Dogs podcast episode of Movie of the Year confronts one of 1971's most debated, disturbing, and relentlessly provocative films — Sam Peckinpah's psychological siege thriller starring Dustin Hoffman and Susan George. Ryan, Mike, and Greg are joined by Erik Hanson of the Cradle to the Grave podcast. Together, they examine the film's violence, its contested rape scene, and the gender dynamics at the heart of Peckinpah's vision. Consequently, no other episode this season demands more from its hosts — or from its audience.Moreover, the 1971 film Straw Dogs arrived in remarkable company. A Clockwork Orange, Dirty Harry, and The French Connection all hit theaters the same year — forming a cluster of films that fundamentally altered what Hollywood was willing to show. Furthermore, Straw Dogs distinguished itself from all of them. Filmed entirely in a Cornish village, it replaced the city's noise with something quieter and more suffocating. Ultimately, it is a film that has never stopped demanding conversation — and that is exactly what the Taste Buds deliver.About the FilmSam Peckinpah directed Straw Dogs (1971), starring Dustin Hoffman as David Sumner, a mild-mannered American mathematician who relocates with his English wife Amy (Susan George) to her rural hometown in Cornwall. David hires local men to repair their farmhouse. Almost immediately, however, the couple faces escalating harassment, intimidation, and violence from the villagers — including Amy's former boyfriend Charlie (Del Henney).Peckinpah and screenwriter David Zelag Goodman adapted the film from Gordon M. Williams's 1969 novel The Siege of Trencher's Farm. Peckinpah famously dismissed the source material. The film builds to a harrowing siege in which David, pushed past every limit, defends his home with escalating brutality. Additionally, the title derives from the Tao Te Ching, which describes straw dogs as ceremonial objects — used briefly, then discarded without feeling. The Criterion Collection edition includes a discussion of this symbolism in its supplemental materials.Released theatrically in the UK in November 1971, the film earned a nomination for the Academy Award for Best Original Score. It was later issued as a Criterion Collection release featuring new critical scholarship. The British Film Institute also maintains an entry on the film. The British Board of Film Classification banned it for home video release for years after its UK theatrical run.Guest Panelist: Erik HansonJoining the Taste Buds for this Sam Peckinpah film discussion is Erik Hanson, the creator and host of Cradle to the Grave — a horror movie podcast built around a distinctive structural premise. Starting with 1971, his own birth year, Erik ranks and discusses his Top 10 horror films from every year of his life, covering each in depth with rotating guests. The show has developed a devoted following for Erik's knowledgeable, laid-back, and genuinely funny approach to the genre.In addition to podcasting, Erik is the author of Death Machine, a debut horror novel set in 1987 Northern California that reimagines the Zodiac Killer returning to terrorize a group of kids. Based in Sacramento, California, Erik is also a musician. His work across fiction and podcasting reflects a lifelong relationship with horror that goes well beyond fandom and into genuine craft. Notably, the fact that Cradle to the Grave begins precisely with 1971 makes Erik an especially fitting guest for a deep dive into one of that year's most unsettling films. You can pick up Death Machine on Amazon.Peckinpah and Violence: A Director Pushed to the EdgeBy 1971, Sam Peckinpah had already established himself as Hollywood's most uncompromising chronicler of violence. The Wild Bunch (1969) had rewritten the grammar of the Western, deploying slow-motion carnage in a way that made violence impossible to process cleanly. Straw Dogs, however, moved in a very different direction. Furthermore, Warner Bros. had effectively exiled Peckinpah from Hollywood following a chaotic falling out, which is why he filmed this Straw Dogs 1971 production entirely in England, far from his natural terrain.The violence in Straw Dogs is not operatic like The Wild Bunch. Instead, it is domestic, intimate, and deeply uncomfortable. Peckinpah builds menace through accumulation — small humiliations, loaded glances, minor intrusions — before releasing it all in the siege. Additionally, the film implicates the audience in David's rampage by making it feel, at least in the moment, cathartic. That troubling catharsis is entirely the point. As a result, the Straw Dogs podcast discussion centers on Peckinpah's central question: whether violence is ever truly civilized, or whether it simply waits beneath the surface of every man who believes he is better than it. Roger Ebert, writing for the Chicago Sun-Times in 1971, gave the film two stars and called it a film committed to the pornography of violence while laying on moral outrage with a shovel — a dissent worth hearing even for those who disagree.The Rape Scene: Context, Controversy, and CriticismNo discussion of Straw Dogs is complete without addressing its most contested sequence. Charlie, her former boyfriend, first assaults Amy — then a second attacker follows. What makes the scene so difficult to analyze is the way Peckinpah films the first assault. Many critics interpreted Amy's shifting emotional response during the rape as suggesting consent or complicity. That reading fueled decades of fierce feminist criticism of the Sam Peckinpah film.Moreover, the British Board of Film Classification rejected the film for home video release for years, specifically over this content. The studio cut the scene for the US release to secure an R rating. Susan George has spoken in interviews about her complex relationship to the role and the sequence. Notably, film scholar Linda Williams frames the film within the longer history of misogynistic representation in cinema. Her analysis appears in the Criterion Collection release. She argues that Straw Dogs belongs in conversation with works that are technically significant but ethically compromised. Consequently, the scene is not a matter of simple condemnation or simple defense. It is the central wound around which the entire film's meaning turns, and the Taste Buds treat it accordingly.David, Amy, and Gender in Straw Dogs 1971At its core, Straw Dogs is a film about masculinity in crisis. David Sumner is an intellectual — passive, avoidant, and seemingly incapable of the physical authority the Cornish village treats as natural male behavior. The film, however, refuses to position his bookishness as a virtue. Dustin Hoffman understood his character as a man who unconsciously provokes the violence around him — a pacifist whose repressed aggression the siege finally unlocks.Amy occupies an equally impossible position. The film's gaze codes her as provocative — bare feet, no bra, conspicuous in the village — while simultaneously punishing her for that very visibility. Nevertheless, Susan George's performance introduces ambiguity and depth that the script does not always earn on its own. The dynamic between David and Amy is as much a source of tension as the men gathering outside. They seem genuinely ill-suited and miscommunicate constantly. Above all, Straw Dogs asks what gender roles cost everyone involved. Specifically, the film suggests that masculinity, however dormant, will ultimately assert itself through violence. That is Peckinpah's most unsettling argument — and one that the A Clockwork Orange episode of Movie of the Year covers from a very different angle.Career Retrospective: Dustin HoffmanBy the time the Straw Dogs podcast era film was released in 1971, Dustin Hoffman had already fundamentally changed what a movie star could look like. His breakthrough in The Graduate (1967) — neurotic, unhandsome, deeply searching — made him a voice for a generation that distrusted certainty. Midnight Cowboy (1969) proved he could disappear entirely into character, earning his first Academy Award nomination. Little Big Man (1970) demonstrated his ability to age through an entire life on screen. Straw Dogs, therefore, marks something different in his catalog: not charm or pathos, but something colder and harder to forgive.Hoffman's Career After...

For this new episode of CROPPED, Will Dennis and I have a fun conversation about 1972's THE GETAWAY. Directed by Sam Peckinpah, starring Steve McQueen and Ali MacGraw, and written by Jim Thompson and Walter Hill, we discussed what comic book creators could learn from Peckinpah's work in crafting something more than just a crime genre programmer.

After struggling to write a novel about the last days of Billy the Kid, travel writer and Mark Twain scholar Charles Neider found his inspiration by heading to the Monterey coast and creating his own version of the "the greatest gunman alive at the time of his death." Published in 1956, The Authentic Death of Hendry Jones is a fictionalized take on the mythologized outlaw, relocating the mesas of New Mexico to the beaches of Ensenada and Punta del diablo and providing a lyrical and haunting prose which ended up inspiring both Marlon Brando's One-Eyed Jacks and Sam Peckinpah's Pat Garrett and Billy the Kid. Despite its almost legendary reputation, Hendry Jones ended up falling into obscurity compared to other lauded 20th century Western novels. If anybody appreciates the influence of an underrated Western book, it's artist/historian David Lambert, who previously talked with us about Richard Brautigan's The Hawkline Monster and Crow Killer by Thorp and Bunker. Lambert returns to the podcast to celebrate the recent republishing of Neider's novel by digging deep into this rich psychological character study and its unique historical and geographical observations, as well as the shockingly faithful screenplay adaptation by Peckinpah and Brando's not-so-faithful screen version. David Lambert on X: x.com/DavidLambertArt David Lambert on bsky: @davidlambertart.bsky.social The Pink Smoke on X: x.com/thepinksmoke John Cribbs on X: x.com/thelastmachine

Send us Fan MailHe turned down a sure thing with Sam Peckinpah and said yes to a script with a strange title: Flashdance. That single choice reshaped Michael Nouri's acting career, and the way he tells it makes you feel how fragile “overnight success” really is.We talk with Michael about the long road behind the iconic roles: discovering theater in school, chasing work in New York, handling early on-camera fear, and learning how craft evolves when Hollywood keeps changing the rules. He shares what it was like to realize Flashdance had become a phenomenon, right down to the moment audiences stood up cheering and then poured out to buy the soundtrack. If you love filmmaking, film history, and the behind-the-scenes reality of casting, negotiation, and timing, this conversation delivers.Then we go deeper into the heart side of show business. Michael opens up about depression, the value of therapy and support systems, and how grief forces a recalibration after losing loved ones. At 80, he reflects on time speeding up, the fear of feeling irrelevant, and why a sense of purpose is non-negotiable. We also get one of my favorite Hollywood stories: how an eggplant parmesan sandwich led to Blake Edwards and Julie Andrews and a life-changing path to Victor Victoria on Broadway, plus what he's doing now in television and the memoir and charity book projects that keep his creative engine running.If this moved you, subscribe, share the episode with a friend, and leave a review so more artists and story lovers can find The Heart of Show Business.Let's keep this going!→ Instagram (daily insights + behind the scenes)→ Books & Author Page→ Work with Me → ShopGet Social with Michael Nouri Support the showThanks for listening! Follow us on X, Instagram and Facebook and on the podcast's official site www.theheartofshowbusiness.com

Mit Joe, Luke & TedWeiter geht's in Sam Peckinpahs turbulenter Karriere mit, wie soll es auch anders sein, einem weiteren Western.Tolle Landschaften, grimmige Typen und eine turbulente Entstehungsgeschichte. Wir besprechen: MAJOR DUNDEE / SIERRA CHARRIBA!Viel Spaß!PFG Main Feed: https://anchor.fm/planet-film-geekwww.planetfilmgeek.comfacebook.com/PlanetFilmGeekinstagram.com/planetfilmgeekplanetfilmgeek@gmail.comletterboxd.com/movieschmidtletterboxd.com/tadiciletterboxd.com/lukepfgletterboxd.com/ninjasteinPlakat zu "Major Dundee" © 1965 Columbia PicturesMusic by Kevin MacLeod"Rollin at 5""Rollin at 5 - electronic"www.incompetech.comLicensed under Creative Commons: By Attribution 3.0 creativecommons.org/licenses/by/3.0/

Mit Joe, Luke & TedWeiter geht's in Sam Peckinpahs turbulenter Karriere mit, wie soll es auch anders sein, einem weiteren Western.Tolle Landschaften, grimmige Typen und eine turbulente Entstehungsgeschichte. Wir besprechen: MAJOR DUNDEE / SIERRA CHARRIBA!Viel Spaß!Unser Feed nur für Directed by: https://anchor.fm/pfg-directed-bywww.planetfilmgeek.comfacebook.com/PlanetFilmGeekinstagram.com/planetfilmgeekplanetfilmgeek@gmail.comletterboxd.com/movieschmidtletterboxd.com/tadiciletterboxd.com/lukepfgletterboxd.com/ninjasteinPlakat zu "Major Dundee" © 1965 Columbia PicturesMusic by Kevin MacLeod"Rollin at 5""Rollin at 5 - electronic"www.incompetech.comLicensed under Creative Commons: By Attribution 3.0 creativecommons.org/licenses/by/3.0/

To continue the Spielberg themed week, we present to you a minisode on his three True Crime/Real-Life Biopics!     MOVIES DISCUSSED:  The Sugarland Express, Catch Me If You Can & The Terminal     TALKING POINTS:  *Why won't Hollywood let Tom Hanks play more profane roles? *Is Sugarland Express ALMOST a semi-Sam Peckinpah western envisioned by Spielberg? *Is Catch Me If You Can yet another film being rediscovered on streaming? And why is it still Leo's only unrecognizable role to date? *And why don't Christopher Walken and Spielberg work together more often?     MUSIC USED:  "The Tale of Viktor Navorski" (From The Terminal),  "The Float" (From Catch Me If You Can) & "Main Theme" (From The Sugarland Express) by John Williams     GUESTS: Chris Page, Oreo Brewer, Ken Bates, Daniel Ryan, Jon Mark, Dave & Liam (Watch It If You Can) & Mike Ensing      

Jim and Patrick cover a couple of controversial classics from legendary filmmakers Sam Peckinpah and Lucio Fulci. Rural settings, mysterious outsiders, and the best dummy in film history are featured. 

Mit Joe, Luke & TedNachdem der erste Peckinpah Film keiner unserer Favoriten war, machen wir nun weiter mit einem, der viele von Peckinpahs Elementen schon stark zur Schau stellt.Shootouts, grimmige Männer und betrügerische Absichten. Wir besprechen: RIDE THE HIGH COUNTRY / SACRAMENTO!Viel Spaß!PFG Main Feed: https://anchor.fm/planet-film-geekwww.planetfilmgeek.comfacebook.com/PlanetFilmGeekinstagram.com/planetfilmgeekplanetfilmgeek@gmail.comletterboxd.com/movieschmidtletterboxd.com/tadiciletterboxd.com/lukepfgletterboxd.com/ninjasteinPlakat zu "Ride the High Country" © 1962 MGMMusic by Kevin MacLeod"Rollin at 5""Rollin at 5 - electronic"www.incompetech.comLicensed under Creative Commons: By Attribution 3.0 creativecommons.org/licenses/by/3.0/

Mit Joe, Luke & TedNachdem der erste Peckinpah Film keiner unserer Favoriten war, machen wir nun weiter mit einem, der viele von Peckinpahs Elementen schon stark zur Schau stellt.Shootouts, grimmige Männer und betrügerische Absichten. Wir besprechen: RIDE THE HIGH COUNTRY / SACRAMENTO!Viel Spaß!Unser Feed nur für Directed by: https://anchor.fm/pfg-directed-bywww.planetfilmgeek.comfacebook.com/PlanetFilmGeekinstagram.com/planetfilmgeekplanetfilmgeek@gmail.comletterboxd.com/movieschmidtletterboxd.com/tadiciletterboxd.com/lukepfgletterboxd.com/ninjasteinPlakat zu "Ride the High Country" © 1962 MGMMusic by Kevin MacLeod"Rollin at 5""Rollin at 5 - electronic"www.incompetech.comLicensed under Creative Commons: By Attribution 3.0 creativecommons.org/licenses/by/3.0/

Rennie and I are back another episode or KILL OR BE KILLED, our exploration of the bleak, brutal movies of the 70' and 80's.  The seminal masterpiece PAT GARRETT AND BILLY THE KID, directed by Sam Peckinpah, in prime form, is our subject this time around.  There are a multitude of cuts available that have been released over the years so, for the record, we will be used the 1988 Turner Preview Cut for basis. This, 122 minute version is an attempt to combine the theatrical release and some “new” scenes that we edited out of the theatrical version and is widely considered closer to Sam Peckinpah's intent.     Intro:    “All the Dark Things” – Mike Hill Outro: “Knocking on Heaven's Door” – Bob Dylan

Bill speaks to author and film historian "42nd Street Pete" Chiarella about his various endeavors, from selling 8mm loops and managing Past Midnight Video to working security at horror conventions, hosting radio and YouTube shows, publishing magazines like Grindhouse Resurrection and writing books like A WHOLE BAG OF CRAZY. Topics include: Sid Haig, Something Weird Video, movie theatre riots, Sage Stallone and Grindhouse Releasing, Gary Klar, Screw Magazine, Sam Peckinpah, Pete's appearances in the documentaries UNCONVENTIONAL and 42nd STREET MEMORIES, Vanessa Del Rio, managing a drive-in in 1973, Lee Van Cleef, the changing nature of horror conventions, THE DEATH COLLECTOR, Gary Kent, snuff movies and giving to charities. Visit Pete Chiarella's website: https://www.42ndstreetpete.net/ Watch UnConventional: https://www.youtube.com/watch?v=XVC-QzMwW4k Watch 42nd Street Memories: The Rise and Fall of America's Most Notorious Street: https://tubitv.com/movies/616810/42nd-street-memories Watch The Strange And Terrible Saga Of New York City Liquidators,inc. https://www.youtube.com/watch?v=gaB0lpx7DqM Subscribe to the 42nd Street Pete YouTube channel: https://www.youtube.com/@42ndStPetesGrindhousePurgatory Listen to 42nd Street Pete on the Hellbent For Horror podcast: https://hellbentforhorror.com/podcast-episodes/2017/11/19/episode-060-slave-to-the-grindhouse-with-42nd-street-pete-chiarella Buy Blue Book #1 from Something Weird Video: https://somethingweird.com/products/bucky-beavers-blue-book-1 Buy DVDs and Blu-Rays from Alternative Cinema: https://alternativecinema.com/ Buy PIECES from Grindhouse Releasing: https://shop.grindhousereleasing.com/products/pieces-1983-2-blu-rays-cd-combo?_pos=1&_sid=7a16fbb9a&_ss=r

durée : 01:26:05 - Les Nuits de France Culture - par : Philippe Garbit - Dans "La horde sauvage", Sam Peckinpah actualise et repense les codes du western. Ce film d'action est marqué par sa personnalité, et ses choix de prise de vue et de montage qui intellectualisent la violence, en résonance avec l'époque troublée de sa sortie en 1969. Ciné-club revient sur ce film. - réalisation : Virginie Mourthé - invités : Gérard Camy Professeur et historien du cinéma; Philippe Rouyer Critique et historien de cinéma à la revue Positif; François Causse Co-directeur de la filmothèque du Quartier Latin; Denis Mellier

We are back for our FIFTH SEASON!!! Can you believe that we've been at this for five years now??? I know we can't, but we have 58 episodes where we've paired pot with 117 movies as evidence here. Our earliest film was Georges Méliès' "The Infernal Caudron" from 1903, and our most recent is "Hanky Panky" from 2023. That's getting up on three years old now? Does that count as vintage in tubi years? But enough of our unexpected achievements. We've got our 59th episode right here, and with Valentine's Day just around the corner, we're exploring human sexuality with a pair of films that Philena describes as "more gross than romantic." Everything about BOB & CAROL & TED & ALICE (1969) screams the 60s, from Robert Culp in love beads right down to a Burt Bacharach song closing it out, but our crew found it's definitely worth a look as so many people are trying out polyamory with the same level of awkward as our film's titular couple. Plus Robert Culp and Natalie Wood smoke weed like pros Definitely stay tuned for Philena's title for a queer remake that she should really get crackin' on writing! The film also stars Ryan Cannon and Elliot Gould. How is it that Gould is making his Old Movies for Young Stoners debut just now??? BOB & CAROL & TED & ALICE is streaming on the Criterion and Roku Channels. Since we featured one of Mexico's most spectacularly-bad films in our last episode with the baffling SANTA CLAUS (1959), Bob felt it was time we explored the Golden Age of Mexican Cinema (1930-1960) with VICTIMS OF SIN (1951), a prime example of the Rumberas genre, a unique combination of musical, noir and intense melodrama. In fact, the emotions may have burned a bit too hot for some of our hosts. Ninón Sevilla is a dancer at the Club Changoo in Mexico City whose life goes to hell after she rescues a baby from a trash can. Directed by the great Emilio Fernández who was the John Huston or Kurosawa of Mexico's Golden Age, but is best known to gringos for playing the Mexican warlord Mapache in Sam Peckinpah's THE WILD BUNCH (1969). Legend also has it that Fernández was the sculptor's model for the Oscar statuette when he was chilling with Dolores del Río in Hollywood after he was a part of a failed rebellion in Mexico and had to flee to the United States for a while. The contrast of light and shadows of Gabriel Figueroa's cinematography are the equal of anything seen in the best American noirs. VICTIMS OF SIN is now streaming on Criterion Channel. Cory, Bob and Greg begin the show by talking about the pending closures of The Bottom of the Hill and Thee Parkside, two San Francisco punk clubs that they have all played and see a lot of shows at. The conversation brings up the Canadian rock god Thor, which is always welcome. Bottom of the Hill closes at the end of 2026, so please check out a show or ten there while you still can. https://www.bottomofthehill.com/calendar.html And Philena was not one of the influencers invited to screenings of the "Wuthering Heights," which really seems like an oversight by the Warner Bros publicity team if you ask us. Hey movie PR people, contact us at oldmoviesforyoungstoners@gmail.com and invite Philena to your premieres! She's got the power! Join us in March for our CHILDHOOD TRAUMA episode with THE 5,000 FINGERS OF DR. T (1953) and THE BOY WITH GREEN HAIR (1948). Subscribe on your preferred podcast app so you don't miss it. Theme song: Chaki the Funk Wizard, used with permission. "Cha Cha Fontanez" by Jimmy Fontanez and "Scale the Wall" by Everet Almond courtesy of YouTube Audio Library. Trailer and archival audio courtesy of Archive.org. Web: www.oldmoviesforyoungstoners.com Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Contact: oldmoviesforyoungstoners@gmail.com

Recuperamos algunas películas de Woody Allen, que ha cumplido 90 años recientemente. Y, con Pablo de María, cuando se cumplen cien años del nacimiento de Sam Peckinpah, lo recordamos en el aniversario de su fallecimiento, un día como hoy, 28 de diciembre de 1984.Escuchar audio

fWotD Episode 3150: The Getaway (1972 film) Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Friday, 19 December 2025, is The Getaway (1972 film).The Getaway is a 1972 American action thriller film based on the 1958 novel by Jim Thompson. The film was directed by Sam Peckinpah and written by Walter Hill, and stars Steve McQueen, Ali MacGraw, Ben Johnson, Al Lettieri, and Sally Struthers. The plot follows imprisoned mastermind robber Carter "Doc" McCoy, whose wife Carol conspires for his release on the condition they rob a bank in Texas. A double-cross follows the crime, and the McCoys are forced to flee for Mexico with the police and criminals in hot pursuit.Peter Bogdanovich, whose The Last Picture Show impressed McQueen and producer David Foster, was originally hired as the director of The Getaway. Thompson came on board to write the screenplay, but creative differences ensued between him and McQueen, and Thompson was subsequently fired, along with Bogdanovich. Writing and directing duties eventually went to Hill and Peckinpah, respectively. Principal photography commenced February 7, 1972, on location in Texas. The film reunited McQueen and Peckinpah, who had worked together on the relatively unprofitable Junior Bonner, released the same year.The Getaway premiered December 19, 1972. Despite the negative reviews it received upon release, numerous retrospective critics have reevaluated the film positively. A box-office hit earning over $36 million, it was the eighth highest-grossing film of 1972, and one of the most financially successful productions of Peckinpah's and McQueen's careers. A film remake of the same name starring Alec Baldwin and Kim Basinger was released in 1994.This recording reflects the Wikipedia text as of 00:56 UTC on Friday, 19 December 2025.For the full current version of the article, see The Getaway (1972 film) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Matthew.

Horror! Medo! Desespero! Sofrimento! No episódio desta semana, o Podtrash mergulha na brutalidade seca e na poesia amarga de Sam Peckinpah em Tragam-me a Cabeça de Alfredo Garcia!Prepare-se para um road movie sujo, violento, regado a tequila, suor, desespero e promessas de recompensa que nunca acabam bem no universo do mestre do western da nova […]

EPISODE 644 - Marshall Fine - Journalist, Critic, Historian, Filmmaker, and Author of Hemlock LaneAbout the authorAfter a fifty-year career as an award-winning journalist, critic, and filmmaker, Minneapolis native Marshall Fine made the transition to writing fiction in 2024 with the Kindle best-selling novel, "The Autumn of Ruth Winters." Fine has written biographies of filmmakers John Cassavetes and Sam Peckinpah, directed documentaries about film critic Rex Reed and comedian Robert Klein, conducted the Playboy Interview with Howard Stern, and chaired the New York Film Critics Circle four times. The author currently lives in Ossining, New York. His second novel, "Hemlock Lane," will be published in November 2025.Book: Hemlock LaneIn this riveting story of family bonds and buried truths, a young woman's homecoming becomes a reckoning as four days together threaten to shatter the comfortable lies that have held her family together.In the summer of 1967, the Levitsky family convenes for a long weekend at their home in the suburbs―an idyllic holiday for the perfect family.But Nora has always known better.Growing up, she learned to tiptoe around her mother Lillian's explosive temper. Her father did the same. Nora's sole confidante was their housekeeper, Clara, and their bond has only strengthened through the years. In fact, it's all that's keeping Nora together for her homecoming. But under that lifetime of pressure, the facade is beginning to splinter.Over the next four days, everyone's secrets are at risk. None more so than what Nora really wants for her life, how Clara has helped her get it…and how they've orchestrated it all behind Lillian's back.As the family grapples with the complex ties that bind them, Nora discovers that facing the truth―however painful―might be the key to finally breaking free. This weekend, Nora's bravest act may be in knowing which bonds to cherish and which ones need to be gently set aside, making room for a future of her own choosing.https://www.marshallfine.com/https://amzn.to/4n9ZIEDSupport the show___https://livingthenextchapter.com/podcast produced by: https://truemediasolutions.ca/Coffee Refills are always appreciated, refill Dave's cup here, and thanks!https://buymeacoffee.com/truemediaca

Character-driven fiction, multi-perspective narrative, and historical fiction await in this episode of the True Fiction Project! I'm Reenita Hora, your host, sitting down with award-winning journalist and novelist Marshall Fine. We'll explore his new novel Hemlock Lane, releasing today, November 25, 2025! It's a women's fiction masterpiece told through a multi-perspective narrative over four days. Marshall shares his creative writing process, narrative structure techniques, and how film criticism and writing shaped his character development approach. Set in 1967, this book club fiction tackles second-wave feminism through family drama. Finally, Marshall reads an excerpt from Hemlock Lane which follows Nora Levitsky, a young woman on a quiet drive through upstate New York in the summer of 1967, at a roadside stop and with a handwritten note from her boyfriend which stirs unexpected emotions and the realization that she may be ready to imagine a future she once swore she'd never want.What You'll Learn in This Episode: ✅ How to structure character-driven fiction using a multi-perspective narrative approach that reveals secrets gradually over four days✅ Narrative structure techniques for writing historical fiction set in 1960s America while making themes resonate with contemporary readers✅ How film criticism and writing, biography writing, and documentary filmmaking experience can enhance your creative writing process and character development skills✅ Methods for crafting compelling women's fiction and book club fiction that explores second-wave feminism and family dynamics through literary character study✅ Hemlock Lane is releasing on November 25th and is available for pre-order here: https://www.amazon.com/Hemlock-Lane-Novel-Marshall-Fine-ebook/dp/B0F1Z37XX6Subscribe to Reenita's Storytelling Den on Substack for free at https://substack.com/@reenitahora and to her YouTube channel to watch the video version of this episode! https://www.youtube.com/@reenymalCheck out her website to stay up-to-date on events, book releases and more! https://reenita.com/TIMESTAMPS:  00:00 Introduction to Marshall Fine's character-driven fiction novel Hemlock Lane and his background in film criticism and writing, biography writing, and documentary filmmaking01:49 Marshall's restless creativity philosophy and his approach to the creative writing process while working on multi-perspective narrative projects08:33 Discussion of Hemlock Lane's narrative structure: four days told from different character perspectives, classified as women's fiction and book club fiction11:06 Exploring the character development of domineering mother and daughter dynamics in historical fiction writing set in 1967 with second-wave feminism themes16:59 Marshall reads an excerpt from Hemlock Lane, introducing Nora Levitsky, demonstrating literary character study and flashback narrative techniques in contemporary fictionKEY TAKEAWAYS: 

This week's episode seeks to consolidate previous discussions about intergenerational and inter-ideological solidarity in its examination of Sam Peckinpah's iconic 1969 revisionist Western, The Wild Bunch.We also briefly discuss:The Leopard (1963) d. Luchino ViscontiPredator: Badlands (2025) d. Dan TrachtenbergContact UsEmail: contact@jimmybernasconi.comInstagram: https://www.instagram.com/filmsfortoday/?hl=en

Born July 5, 1928 in Depoy, Ky. Warren Mercer Oates came to our screens in 1953 and began a career as one of the finest actors you might never have heard of.From his debut through 1982, Oates delivered unforgettable performances in films such as: The Wild Bunch, In the Heat of the Night, Return of the Seven, and Two-Lane Blacktop. He became a frequent collaborator with two of the most influential filmmakers of his era—Sam Peckinpah and Monte Hellman—featuring in some of their most iconic works throughout the 60s and 70s.Oates passed away in 1982 at the age of 53, leaving behind a legacy of gritty, soulful, and often overlooked brilliance.One of the finest actors in front of a camera has an ecclectic list of some fantastic performances that ought to be recognized by film fans at large.This isn't a comprehensive list, but it's a passionate one. Listen with Matt, Todd and their guest Logan in as we celebrate the work of an industry legend who remains underseen by far too many audiences.---------------Matt has over 100+ lists for movie suggestions on ⁠Letterboxd⁠You can reach out on Bluesky: @MovieMattSirois Terrible movies often find him, even under under the alias Marcus at ⁠⁠⁠⁠Movie Asylum of the Weird, Bad and Wonderful⁠.Follow who we follow:⁠⁠⁠⁠Once Upon a Geek⁠⁠⁠⁠ and  ⁠⁠⁠⁠The Fade Out Podcast⁠⁠

We journey out to Montana Territory in the latter half of the 19th century to break biscuits with John "Liver-Eating" Johnson, subject of the books Crow Killer by Raymond W. Thorp and Robert Bunker and Mountain Man by Vardis Fisher, both of which were subsequently adapted by John Milius for the Sydney Pollack film Jeremiah Johnson starring Robert Redford. All three detail Johnson's life as a hunter/trapper and his war with the Crow Indians after the killing of his wife, and while the accounts of foes stomped and scalps collected by the vengeful "Dapiek Absaroka" are outlandish at best, it makes for some fun Old West mythologizin'. And who better to discuss Old West mythologizin' than artist/historian/something of a myth himself David Lambert, who has graced the Pink Smoke with his expertise on such subjects as Cattle Drive Westerns, Sam Peckinpah and faux-Wyatt Earp movies. Here he brings light to some of the tall tales, the rampant mutilating and biscuit-baking of Crow Killer, the brilliant original Milius script for Jeremiah Johnson and the changes made for the movie. Waugh!! Hey! Look! It's our Patreon:www.patreon.com/thepinksmoke The Pink Smoke site:www.thepinksmoke.com David Lambert on X:x.com/DavidLambertArt David Lambert on bsky:@davidlambertart.bsky.social The Pink Smoke on X:x.com/thepinksmoke John Cribbs on X:x.com/thelastmachine

Warren Oates.  You either LOVE him or have no effing clue who he is.  Either way, you need to join me as we journey through his credits to determine his Hall of Fame eligibility.  Part 1 focuses on his early TV years as he guests on dozens of western TV shows like The Rifleman, The Westerner, Johnny Ringo, and Trackdown.  In only his fist few years of screen acting, Warren shares the screen with legends like James Coburn, Charlton Heston, and Robert Culp.  More importantly, he forges a friendship with Sam Peckinpah that will soon begin to pay major dividends.  Enjoy!

It is a light week for physical media but that does not mean there aren't some heavy hitters. Erik Childress and Peter Sobczynski are here to catch you up including a pair of grim anti-war films from Kon Ichikawa. There is a whole new batch of martial arts films from the Shaw Brothers. Peter Weir's dad-movie maritime epic gets an upgrade as does a great starring vehicle for David Dastmalchian. They talk about Sam Peckinpah's song-inspired Hal Needham film and the 40th anniversary of a John Cusack teen classic. Though few films will compare to the majesty of a masterpiece among masterpieces from Billy Wilder that belongs on every movie lover's shelf.3:45 - Criterion (Fires on the Plain 4K, The Burmese Harp 4K)10:23 – Shout Factory (Shaw Brothers Classics: Volume Seven)13:32 - Disney (Master and Commander: The Far Side of the World (4K Steelbook))23:55 - Paramount (Sunset Boulevard (4K), Better Off Dead (4K))51:06 - IFC (Late Night with the Devil (4K Steelbook))1:13:57 - Kino (Convoy (4K))1:13:57 – New Theatrical Title On Blu-ray (Friendship)1:15:09 - New Blu-ray AnnouncementsCLICK ON THE FILMS TO RENT OR PURCHASE AND HELP OUT THE MOVIE MADNESS PODCASTBe sure to check outChicago Screening Schedule - All the films coming to theaters and streamingPhysical Media Schedule - Click & Buy upcoming titles for your library.(Direct purchases help the Movie Madness podcast with a few pennies.)Erik's Linktree - Where you can follow Erik and his work anywhere and everywhere.The Movie Madness Podcast has been recognized by Million Podcasts as one of the Top 100 Best Movie Review Podcasts as well as in the Top 60 Film Festival Podcasts and Top 100 Cinephile Podcasts. MillionPodcasts is an intelligently curated, all-in-one podcast database for discovering and contacting podcast hosts and producers in your niche perfect for PR pitches and collaborations. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit erikthemovieman.substack.com

In the Cult Italian Movie category THE VISITOR (1979) stands out for many reasons. It is made up of equal parts science fiction, thriller and religious high strangeness shot through with touches of CARRIE and CLOSE ENCOUNTERS OF THE THIRD KIND. For years it was considered one of the least comprehensible movies ever made but with the restoration of the full running time in 2010 it is now only mildly incomprehensible. Indeed, with enough squinting and reading between the lines it is almost possible to find a narrative thread that only occasionally feels absurd. Ridiculous to the point of silliness THE VISITOR defies rational concepts and logical progression of story. Let some other movie have police investigations that go somewhere or examples of simple cause and effect in human reactions to inexplicable events. This film scoffs at such needless exercises. And don't get me started on the exploding basketball that everyone ignores!   Troy Guinn, Bob Sargent and I (Rod Barnett) are the three intrepid film nuts that stutter-step their way through this Euro-madness. We wrestle this monster to the ground, fight off seagull attacks, ponder the eternal battle between good and evil and marvel at the cast of Hollywood stars the producer conned into being in this thing. What other movie of this type can boast John Huston, Franco Nero (playing a blonde, blue-eyed Jesus), Glenn Ford, Mel Ferrer, Shelly Winters (playing Mary Poppins' cousin Mary Slappington), Lance Henricksen and an out-of-his-depth Sam Peckinpah? Is this the most bizarre film ever shot in Atlanta? Was the city's mayor bribed to indulge the film's production? How many times will we reference A Flock of Seagulls? Is the amazing prop that Troy dubs ‘Switch-Beak' silly or brilliant? I cannot promise answers but we will at least pose the questions. Lots and lots of questions.   If you have anything to say about THE VISITOR or any other film that we've covered thebloodypit@gmail.com is the place to send them. We thank you for listening and we'll be back soon. 

Sam Peckinpah's 1972 neo-western rodeo drama, JUNIOR BONNER, is our feature presentation this week. We talk about Steve McQueen preventing Joe Don Baker from whooping Sam Peckinpah's ass, how this recent viewing really has Hoch relating to the film, Sam using the movie as a palette cleanser follow up to Straw Dogs in 1971, and much more! We also pick our TOP 7 BEN JOHNSON MOVIES in this week's SILVER SCREEN 7! Join our Patreon ($2.99/month) here linktr.ee/brokenvcr to watch the episodes LIVE in video form day/weeks early. Find us on Instagram @thebrokenvcr and follow us on LetterBoxd! Become a regular here at THE BROKEN VCR!

In this episode, VDH and Jack look at fallout from the Iran strike, the nature of the Iranian diaspora, the emotional toll the transgender issue has on parents, the removal of dams in California, the legacy of Sam Peckinpah, and more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Scarecrow in a Garden of Cucumbers (1972) / Pat Garrett & Billy the Kid (1973) This week we're feeling restored as we move to NYC with Holly Woodlawn's lost and found star vehicle and say goodbye to the old West(ern) with Sam Peckinpah's contested cuts

This week I'm recommending four crime films from the 1970s and early 80s. Each one centers on a planned job, bank heists, robberies, break-ins, and none of them go smoothly. The tone across these films is lean, serious, and focused on the people involved more than the action. There's a lot of attention to detail, and they hold up well.Charley Varrick (1973) Directed by Don Siegel. Walter Matthau plays a bank robber who ends up in the crosshairs of something bigger than expected. Matthau had just done more comedic work at the time, so this role stood out. Joe Don Baker plays a contract killer hired to clean things up. Lalo Schifrin did the score, which is sharp and suits the pace. It was based on the novel The Looters by John Reese.The Anderson Tapes (1971)Directed by Sidney Lumet. Sean Connery is a thief planning to rob an entire apartment building. The film stands out for how it handles surveillance. Almost every major character is being watched by police, by private groups, by government agencies. This was Christopher Walken's first film. The music is by Quincy Jones, and it's more experimental than you'd expect.Thief (1981) Michael Mann's first feature film. James Caan plays a professional safecracker who wants to get out after one last job. Mann used real tools and brought in actual former thieves to advise on the technical side. The film has a cold, exact feel. The soundtrack is by Tangerine Dream. It's shot in Chicago and uses the city well without overdoing it.The Getaway (1972) Directed by Sam Peckinpah. Steve McQueen and Ali MacGraw star as a couple on the run after a robbery. The script was written by Walter Hill and based on a novel by Jim Thompson. The film was a big success when it came out and mixes action with slower moments of tension. McQueen did many of his own stunts. It's one of the more polished crime films of its time.Thanks for reading Video Store Podcast! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

Saddle up! This episode, we mosey into The Deadly Companions (1961)—Sam Peckinpah's first stab at directing, with Maureen O'Hara and Brian Keith along for the ride. Awkward romance, grumpy gunslingers, and questionable choices await! Promo: Bottom of the Stream (https://bottomofthestream.podbean.com/) Please click, follow, rate and review! https://linktr.ee/TSPandOE_Podcasts (The song "Memory Subtract" by seven7hwave used under […]

Oooh! We got a grimy one for ya today. We dive right into the dirt with famed auteur Sam Peckinpah's minor (but still fascinating) work: Bring Me the Head of Alfredo Garcia. Warren Oates leads a quirky cast populated by Mexican sex workers and suspiciously corporate hitmen in this tale of sexual jealousy, work, and morality and we just have a ball talking about it! Topics include: the hosts views on violent cinema, the strange life of “the world's most interesting man” and Peckinpah's friendship with Pauline Kael.

  Our adventures through the old west continue, with our look at Sam Peckinpah's 1973 classic Pat Garrett and Billy the Kid, starring James Coburn (from Waterhole #3). Plus, just about every other actor to ever ride a horse! (Katy Jurado, Chill Wills, Jason Robards, Slim Pickens, Jack Elam, Elisha Cook Jr, Bruce Dern, Harry Dean Stanton, Bob Dylan, and more) Also! We chat about our other favorite western movies. So #DonloydNow and enjoy this bite-sized Junk Food Supper. We got all this plus Parker's adventures in professional wrestling (in videogame form), sweat-filled hat-brims, dusty old bottles of sarsparilla, spike-filled cactus groves, tuneful ditties, sneezes, blank stares, gleeks and so much more!! Direct Donloyd Here Got a movie suggestion for the show, or better yet an opinion on next week's movies? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865). Add it to your telephone now! JOIN THE CONVERSATION! Also, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll unload shotguns at random mirrors for your love and support. With picks like these, you GOTTA #DonloydNow and listen in!

Luis Herrero habla de cine con Inocencio Arias, José Luis Garci, Luis Alberto de Cuenca y Eduardo Torres-Dulce.

Sam Peckinpah embodies the essence of what the Kill or Be Killed project is all about like no other filmmaker.  Bleak, nihilistic and brutal, Bring Me the Head of Alfredo Garcia is a relentless journey through the dark landscapes of Mexico following the grisly journey of a desperate man expertly portrayed by Warren Oates. From top to bottom excellent performances are logged in by Oates, Isela Vega, Robert Weber and Kris Kristofferson.   Intro: “All the Dark Things” – Mike Hill Outro: “Adelita” – Jerry Fielding 

GGACP continues the celebration of Women's History Month with this ENCORE of the first part of a two-part interview with Emmy-winning actress Sally Struthers. In this episode, Sally joins Gilbert and Frank for a laugh-filled conversation about the aloofness of Rudy Vallee, the eccentricities of Sam Peckinpah, the versatility of Bill Dana, the unexplainable existence of “The Phynx” and the recent 50th anniversary of “All in the Family.” Also, Jack Nicholson shops at Tiffany's, Steve McQueen romances Ali MacGraw, Rod Steiger gives Sally the heebie-jeebies and Bob Hope visits the “Planet of the Shapes.” PLUS: Jack Benny! Ned Glass! “Five Easy Pieces”! “The Tim Conway Comedy Hour”! The many faces of Sammy Davis Jr! And Sally remembers friends and co-stars Carroll O'Connor and Jean Stapleton! Learn more about your ad choices. Visit megaphone.fm/adchoices

Cinematic Karma - Stanley Kubrick's                     A Clockwork Orange  WatchThis fan and BuyMeACoffee contributor, Alan Lamberg, suggests this week's title, Stanley Kubrick's 1971 controversial (masterpiece - ?), A Clockwork Orange. In the late 60s and early 70s the cinematic landscape was changing and evolving into a very different creature. Arthur Penn's Bonnie & Clyde and Sam Peckinpah's The Wild Bunch would usher in a new era of cinematic violence. Stanley Kubrick would soon pick up the baton and create one of the most polarizing and controversial films ever made. From the novella by Anthony Burgess, Kubrick would create a dystopian England that would change the attitudes and expectations of film audiences. With a powerful and compelling performance by Malcolm McDowell, A Clockwork Orange has riveted audiences since its premiere in 1971. Fifty plus years later we have to ask ourselves if the film continues to offend and frighten as it did those many years ago. Mr. Chavez & I definitely have our opinions and are thrilled to lay it out for you the listener. Sit down, download, and enjoy a spirited discussion on the film, its role in cinematic history, and Kubrick's continuing power as a filmmaker. It's a fun time. As always, we can be reached at gondoramos@yahoo.com - Many Thanks.  For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.