Podcasts about sharky's machine

We continue Burt Reynolds Month with an entry into Reynold's rather large catalog of cop films that stands out since Reynolds himself directing it: Sharky's Machine. Starring Reynolds and a cavalcade of fantastic character actors, Reynolds plays the titular Sharky, a disgraced cop who stumbles upon a political conspiracy. With some strange choices, both style, and substance, it's more than just a cop film, for both the good and bad. Pulp Serenade's Cullen Gallager, screenwriter Richard Hatem, and The Projection Booth's Mike White join Chris to talk about the film, the cast, and its strange sense of style. You can follow Chris Stachiw at @Casualty_Chris and the Kulturecast @kulturecast. You can also subscribe to the Kulturecast on iTunes here. Also, don't forget to check out our official Facebook page for news, upcoming reviews, contests, and new content, along with our Patreon page.

Chris Lost, Found Jim, and Rick Rewound discuss the 1981, noir inspired police drama, "Sharky's Machine". 

 Return of Wolverine #5 has an actual payoff! Venom has a crazy revelation about Eddie's family! Teen Titans has Crush... I love Crush. My favorite new DC character. I identify strongly with her angsty teenage nonsense. Sharky is an intergalactic take on Burt Reynold's movie Sharky's Machine. Old Man Quill features a knock down, drag out with the Wrecking Crew. Amazing Nightcrawler gives Kurt some love. Guardians is now a countdown to somebody getting their body taken over by Thanos... All this and more.. Plus, we miss a bunch of comics because diamond forgot to ship me a whole box of books...

It's the debut episode of The Number One Movie in America, and we're going back to the beginning of the list. In the earliest days of 1982, Americans were sleepily walking into their local strip-mall multiplex and ordering tiny bags of popcorn, eager to watch Burt Reynolds ... stare through a window at a lady. It's SHARKY'S MACHINE, and it was ... THE NUMBER ONE MOVIE IN AMERICA!

Street Light by an artist that is awesome with special guest, Deliverance. Never announce two weeks until retirement, however, two years, that you can get away with. I'M A DANCER! WELL I AIN'T GOT A THOUSAND DOLLARS! AAAAAAAAAAAAAAAAAAAH!

We setup our tribute to the dearly missed Burt Reynolds with an examination of his first Razzie nomination as "bored actor who doesn't want to be in the same film as Liza Minnelli". It's like Sharky's Machine meets A Star is Born. Does that work for a bad movie "do"? Let's get straight to the bad - the big bad is Liza. She's insufferable. It's not completely her fault as the script calls for the most annoying person ever as the "love interest" for hunky Burt - because that's how all cop movies should work right? So she is supposed to play an annoying person and she does that in spades or jazz hands or sea-urchin hair cuts. Whatever. It's awful and you can't put someone who is like nails on the chalkboard into a movie even if the role calls for it. You can't annoy your audience for 2 hours. Ugh. Then there's Burt. Sweet, sweet Burt. He stinks. And it's his fault. It's a clinic on how to shoot an actor that in no way wants to be in your movie. Sadly this is the beginning of the end for Burt (until Boogie Nights) where he would take whatever role he could get. So he'd rather be in Cleveland than starring next to the most annoying character ever. It's a little tough to watch. Aside from the bad, we come to the (not just good, but) GREAT James Remar. His villain, Dancer, is like a cut/paste from a Batman comic. He's so over-the-top for a cop movie (power-armor, knife-arm, the zipper-dance in the mirror) that he'd fit better in a 90's super-hero movie. It's fantastic and quintessential James Remar. Arguably, Dancer gets killed in the climax in the best way we've seen for years.  So in the end, if you can cut through Liza's schtick you're gonna have a do here, but man is it tough to get past her. It's wall to wall jammering on and on and on and on...

HBO and The Ringer's Bill Simmons is joined by New York Times film critic Wesley Morris to remember the great Burt Reynolds. They each go through their top five Burt Reynolds films and discuss how he owned the 1970s (2:28). Then Bill calls up Joe House to talk Tiger Woods's impressive showing at the BMW Championship and NBC's questionable broadcast changes in the NFL season opener before making some Week 1 bets (1:06:25).

Tyler and David discuss what they've been watching, including Sharky's Machine, Sons of the Desert, Brats, Hog Wild, Five Seasons: The Gardens of Piet Ouldolf, The First Purge, Abbott and Costello Meet Frankenstein, Down Three Dark Streets, United 93, He Walked by Night, Act of Violence, Seven Chances, Let's Scare Jessica to Death, All These Women, Wild Strawberries, Edge of Tomorrow, Sicario: Day of the Soldado, So This Is Paris, All That Jazz, Dr. Jekyll and Mr. Hyde, Marlina the Murderer in Four Acts, People Like Us, The Emperor's Nightingale, Skyscraper, Valley of the Dolls, The Wife, All I See Is You, Eighth Grade and GLOW.

Jackie and Dunlap break up and get back together, as Burt Reynolds would want. QUESTIONS: Can God ever be wrong? Can George W. Bush ever be wrong? TALKABOUTS: Marco Rubio, Burt Reynolds, Iraq, trains, news, VCRs, Sharky's Machine, Gator, slapping prostitutes, Twix Eggs, horse age, talking animals, Noah's Ark, Russell Crowe, Atlanta, Dom Deluise. Sponsors: Dilly Mulerider's Carriage 'Round the Wal-Marts & Soured Towels.

On this episode of Word balloon, Kaare Andrews joins us to discuss the debut of his take on Iron Fist, which debuts April 9th. Kaare tells us his take on Danny Rand which doesn't dismiss previous takes but builds on it, while giving the Immortal Weapon a new singular direction. We also talk about Kaare's film directing career, including his new film Cabin Fever Patient Zero which comes out this June. Kaare explains his experiences and the differences in Hollywood filmmaking and Canadian Filmmaking.Then it's a new WB Scene Missing segment, as Gabriel Hardman and Hilary Barta join me to talk about a ridiculous amount of old movies in a speedy fashion. We talk about these films...The Gambler, Gator, Sharky's Machine, Laura, Rough Cut, The Strange Loves Of Martha Ivers, To Catch A Thief, Stick, Dr Goldfoot , The Glass Wall, Mr. Moto , Charlie Chan, Danger Route, Deadlier Than The Male, i-spy, The Manchurian Candidate, Johnny Cool, The Untouchables, Johnny Stacatto, The Alfred Hitchcock Hour, The Tall T, Comanchee Station, the films of Budd Bedecker, The films of Anthony Mann, McClintock, The Quiet Man, Wash The Blood Of My Hands, Sorry Wrong Number, The Prowler, Too Late For Tears, Out Of The Past, Ace In The Hole, The Passion Of Joan Of Arc, The Hildegard Withers series, The Penguin Pool Murders, The Andy Hardy Films, Woman Of The Year, Madame Satan, She, You Can’t Take It With You, Around The World In 80 Days, Bunny Lake Is Missing, The Secret Agent, Advise And Consent, Book: Five Came Back by Mark Harris, The Best Years Of Our Lives, It’s a Wonderful Life, It Happened One Night, Lady For A Day, The Man Who Shot Liberty Valance, The Last Hurrah, The Searchers, Casablanca, Sergeant Rutledge, Meet John Doe, Rocky, I Walk With A Zombie, Cat People, Moonrise, Night Tessa, Nightmare Alley, South Pacific, The Birds, Flight Of The Phoenix, Criss Cross, Black Angel, Along Came Jones, Chicago Calling, Son Of Dracula, Of Mice And Men,

Simon Pegg knocks one out of the... cricket pitch(?) as super cop Nicolas Angle Angel, who gets reassigned to sleepy little Sanford and discovers that there is an evil there that does not sleep. Nick Frost pulls duty as his comic sidekick and film professor. And a host of fantastic British actors support Pegg and director Edgar Wright's brilliant and hilarious screenplay. I focus on the failures in it, of course. But I do heap praise where praise heaps are due. I focus mostly on the themes and intricacies of the plot. I compare it to other films in various genres, including Cars, Doc Hollywood, Sharky's Machine, Halloween, Friday the 13th, Shaun of the Dead, Point Break, Bad Boys II, romantic comedies, and spaghetti westerns. But I'm nothing compared to Wright and Tarantino. Check out my voluminous list of films that Edgar Wright and Quentin Tarantino talk about in their own weird meta-commentary.