Podcast appearances and mentions of sidney j furie

No episódio de hoje, Alexandre e Fred se juntam ao cinéfilo e ouvinte Guilherme Ferro para a gravação de mais um "Dicas Triplas do PFC" e nele conversam sobre três filmes que muitos cinéfilos podem desconhecer: Do Reino Unido trazemos a produção de Harry Saltzman que alavancou a carreira de Michael Caine, "IPCRESS: Arquivo Confidencial" (The IPCRESS File, 1965), dirigido por Sidney J. Furie; Da Itália, o longa dirigido por Maurizio Lucidi ainda sem título no Brasil, mas que numa tradução livre poderia ser nominado como "A Vítima Escolhida" (La vittima designata, 1971); Por fim debatemos o longa "Anjos Caídos" (Do lok tin si, 1995), filme produzido em Hong Kong e dirigido por Wong Kar-Wai.Capítulos00:00:00 Introdução00:06:10 IPCRESS: Arquivo Confidencial00:39:14 A Vítima Escolhida01:10:40 Anjos Caídos01:26:45 Spoilers de "IPCRESS: Arquivo Confidencial" 01:33:00 Spoilers de "A Vítima Escolhida" 01:36:10 Spoilers de "Anjos Caídos" ----------------------Acesse nosso site: http://www.filmesclassicos.com.br/Acesse nossa página no Facebook : https://www.facebook.com/podcastfilmesclassicos/

From Canadian director Sidney J Furie comes DOCTOR BLOOD'S COFFIN (1961), a British horror film... in colour?! The film stars Kieron Moore, Hazel Court and Ian Hunter in a typical mad scientist plot with a thriller/rom-com spin. Context setting 00:00; Synopsis 11:53; Discussion 24:30; Ranking 42:51

On this episode of the Nothing Worthwhile podcast, Moody and Groo check out Cannon films in all of its glory as they Superman IV – The Quest for Peace.Show Rundown: Retromade Podcast appearance, Survivor Series Wargames, WWE is bringing back Saturday Night's Main Event, Jesse “The Body” Ventura, Elton John can't see, John Mayer interviews Billy Joel, The Golden Bat Rule? Juan Soto signs with the NY Mets, James Gunn, WWE and A&E are back with LFG, Sidney J. Furie, The Salkinds, Cannon Films, Big Budget Cuts, Deleted Footage, Movie Fun Facts, Season 4 of Superman & Lois, Linkin Park is back and Moody and Groo answer the eternal question, “Can a movie be so bad, it's good?”Check out our next episode of Van Dammit, it's 1994 Streetfighter with Jean Claude Van Damme and Raul Julia.Check out our next episode of Nothing Worthwhile, as we wrap up Season Two of Tulsa King starring Sylvester Stallone.Rip ‘Em!

On this episode of the Nothing Worthwhile podcast, Moody and Groo check out Cannon films in all of its glory as they Superman IV – The Quest for Peace. Show Rundown: Retromade Podcast appearance, Survivor Series Wargames, WWE is bringing back Saturday Night's Main Event, Jesse “The Body” Ventura, Elton John can't see, John Mayer interviews Billy Joel, The Golden Bat Rule? Juan Soto signs with the NY Mets, James Gunn, WWE and A&E are back with LFG, Sidney J. Furie, The Salkinds, Cannon Films, Big Budget Cuts, Deleted Footage, Movie Fun Facts, Season 4 of Superman & Lois, Linkin Park is back and Moody and Groo answer the eternal question, “Can a movie be so bad, it's good?” Check out our next episode of Van Dammit, it's 1994 Streetfighter with Jean Claude Van Damme and Raul Julia. Check out our next episode of Nothing Worthwhile, as we wrap up Season Two of Tulsa King starring Sylvester Stallone. Rip ‘Em!

Host Anthony Desiato and guest Nick Farina dig into the 1987 film SUPERMAN IV: THE QUEST FOR PEACE, the oft-maligned and infamously low-budget effort from producer The Cannon Group and director Sidney J. Furie. In Christopher Reeve's final outing as Superman, our hero seeks to rid the world of its nuclear arsenal and faces opposition from Lex Luthor and his creation, Nuclear Man.View Aaron Price's restoration of select scenes on YouTube here.Listen to Digging for Kryptonite's 2022 discussion of the SUPERGIRL movie here.Support the show and receive exclusive podcast content at Patreon.com/AnthonyDesiato, including the spinoff podcasts BEYOND METROPOLIS and DIGGING FOR JUSTICE!Visit BCW Supplies and use promo code FSP to save 10% on your next order of comics supplies. FACEBOOK GROUP: Digging for Kryptonite: A Superman Fan GroupFACEBOOK PAGE: @diggingforkryptonitepodINSTAGRAM: @diggingforkryptonitepodTWITTER: @diggingforkrpodEMAIL: flatsquirrelproductions@gmail.comWEBSITE: FlatSquirrelProductions.com Digging for Kryptonite is a Flat Squirrel Production. Key art by Isaiah Simmons (2020-2024 version by Gregg Schigiel). Theme music by Basic Printer.Mentioned in this episode:Always Hold On To SmallvilleFat Moose ComicsAw Yeah ComicsHang On To Your Shorts Film Festival

In this episode, we discuss Sidney J. Furie's The Entity, including how Carla is disbelieved and dismissed, the disharmony between the film's sexual assaults and the paranormal climax, and Furie's use of Dutch angles and the split diopter. See where The Entity is available to watch.Supplemental Material:• Scream Factory's The Entity Blu-ray• Imprint's Directed by Sidney J. Furie Blu-ray Boxset• Sidney J. Furie: Life and Films by Daniel Kremer (Book)• Portraits: Sidney J. Furie | TIFF OriginalsAdditional Audio Sources:• The Entity Trailer• Scream Factory's The Entity Blu-ray• "Inner Strength" on Scream Factory's Blu-ray• "High Dread" on Scream Factory's Blu-ray• "Seeing Is Believing" on Scream Factory's Blu-ray• "Spirits & Sprocket Holes" on Scream Factory's Blu-ray• Portraits: Sidney J. Furie | TIFF OriginalsIf you'd like to support the show, subscribe to the podcast on Apple Podcasts, Spotify, or wherever you listen to your podcasts, leave a review on Apple Podcasts, and share the podcast with someone who might enjoy it.If you have any thoughts, comments, or questions about the show, you can email us at scenebyscenepodcast@gmail.comFollow us on Letterboxd: Joe | Justin

Welcome to **"Retro Life 4 You,"** where we're flying high today as we take a thrilling look back at the 1986 action-packed classic, **"Iron Eagle."** Directed by **Sidney J. Furie** and starring **Jason Gedrick** as Doug Masters, a determined teen who takes to the skies in a daring mission to rescue his father, a captured fighter pilot. With the help of retired Air Force Colonel Chappy Sinclair, played by the legendary **Louis Gossett Jr.**, Doug embarks on a dangerous and adrenaline-fueled rescue mission that tests his courage and skill.In this episode, we'll break down the film's intense aerial combat scenes, its pulse-pounding soundtrack, and the bond between Doug and Chappy that makes **"Iron Eagle"** a beloved 80s military adventure. We'll also explore the film's impact on the era, its rivalry with **"Top Gun,"** and how it became a cult favorite among fans of 80s action cinema. So strap in and join us as we soar through the high-flying action and unforgettable moments of **"Iron Eagle!"**If you are new to the podcast then please consider following us on the platform that you love, we can be found most anywhere that you listen to your favorite podcasts. Please leave us a rating and review if you listen on iTunes and a 5 star rating if you listen on Spotify. If you like what you hear then please share the show with your friends and family. If you would like to help support the podcast by donating a small amount or any custom amount you choose then please visit the following link:https://retrolife4u.com/supportThis is not a membership or anything just a way for you to help support us without paying a reoccurring monthly fee when you feel like you are able to help. If you have any questions, comments, suggestions for shows or you have a question you would like us to read on air then email us at retrolife4you@gmail.com You can find us on social media at the following places:FacebookInstagramTik TokYouTubeRetro Life 4 You Website

Original Airdate 6/18/13 - This episode has been edited from it's original broadcast.To celebrate the release of Man of Steel we look at the entire Christopher Reeve Superman franchise in a special 2-hour + podcast! It features the usual hosts of Mark Radulich and Sean Comer and they are joined by Robert Winfree and Robert Cooper.In 1973, producer Ilya Salkind convinced his father Alexander to buy the film rights to Superman. They hired Mario Puzo to pen a two-film script, and negotiated with Steven Spielberg to direct, though Alexander eventually landed on someone else. Superman (1978) and Superman II (1980) were shot simultaneously.For the third installment, Ilya Salkind wrote a treatment that expanded the film's scope to a cosmic scale, introducing villains Brainiac and Mister Mxyzptlk, as well as Supergirl. Warner Bros., however, rejected and retooled the script into their own film, trimming Brainiac down into the film's evil "ultimate computer". The final product co-starred comedian Richard Pryor as computer wizard Gus Gorman, who—under the manipulation of a millionaire magnate—creates a form of Kryptonite that turns Superman into an evil self.Cannon Films picked up an option for a fourth film, directed by Sidney J. Furie, with Reeve reprising the role due to his interest in the film's topic regarding nuclear weapons. Several others reprised their roles as well, including Kidder (Lois Lane) and Hackman (Lex Luthor). However, Cannon decided to cut the budget, resulting in poor special effects and heavy re-editing, which contributed to the film's poor reception.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsoFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76

Agents Scott and Cam sit in award-winning chairs and watch Frank Sinatra get manipulated into murder with the 1967 assassination thriller The Naked Runner. Directed by Sidney J. Furie. Starring Frank Sinatra, Peter Vaughan, Derren Nesbitt, Nadia Gray, Toby Robins, Inger Stratton, Cyril Luckham and Edward Fox. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Purchase the latest exclusive SpyHards merch at Redbubble. Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes Theme music by Doug Astley.

Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming IMPRINT FILMS physical media releases.In this episode we discuss:Directed By… Sidney J. Furie (1970 – 1978)TO SEE THE VIDEO EPISODE - JOIN THE ONE HEAT MINUTE PATREON FOR AS LITTLE AS $1 A MONTHBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming IMPRINT FILMS physical media releases.In this episode we discuss:Directed By… Sidney J. Furie (1970 – 1978)Blake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootSupport this podcast at — https://redcircle.com/imprint-companion/donations

Join Tony Michas and John Mathews along with very special guest, Filmmaker, Film Historian and the Ultimate Authority of director Sidney J. Furie, Daniel Kremer, the producer and curator of this incredible box set. Films in the box set include The Lawyer, Little Fauss and Big Halsy, Hit!, Sheila Levine is Dead and Living in New York and The Boys in Company C.

This week in physical media brings some classics to the 4K universe along with other must-owns for your collection. Peter Sobczynski joins Erik Childress to go over new collections spotlighting Walter Hill, Sidney J. Furie and Gene Hackman. One of Disney's greatest animated titles gets the 4K upgrade as does classics with James Dean and John Wayne. A little seen coming-of-age film with a lot of up-and-comers gets a director's cut as does a cult film from Clive Barker. Finally, one of the great modern horror films gets its first-ever Blu-ray overhaul; a rightfully deserved one and the duo can't wait to tell you all about it. 0:00 - Intro 1:05 - Second Sight (May) 10:04 - Imprint (Film Focus: Gene Hackman, Directed by Sidney J. Furie, Directed by Walter Hill (1975-2006)) 47:41 - Universal (2 Guns (4K)) 50:05 - Lions Gate (About My Father) 55:08 - Oscilloscope (Going All The Way: The Director's Edit) 1:02:35 - Synapse (Invaluable: The True Story of an Epic Artist) 1:08:03 - Shout! Factory (Nightbreed (4K)) 1:16:29 - Walt Disney (Guardians of the Galaxy Vol. 3 (4K), Cinderella (1950) (4K)) 1:20:36 - Warner Bros. (East of Eden (4K), Rio Bravo (4K)) 1:34:24 – New Blu-ray Announcements 1:37:48 - Outro

Howard S. Berger has been an incredible force in the home video industry in the last few years. He has been featured on countless releases and championed obscure cinema for as long as he can remember. Earlier this year, he was featured as Introduction Speaker for the Sergio Mims Memorial Award during the Shelf Shock Rewind Awards. Please enjoy this conversation with one of the most intellectual and inspiring individuals I have ever spoken with.  - Follow Howard on Facebook: https://www.facebook.com/howard.s.berger Destructible Man Website: http://www.destructibleman.com/ Directed by Sidney J. Furie: https://viavision.com.au/shop/directed-by-sidney-j-furie-1970-1978-imprint-collection-231-235/ Directed by Walter Hill: https://viavision.com.au/shop/directed-by-walter-hill-1975-2006-imprint-collection-164-169/ Film Focus: Gene Hackman: https://viavision.com.au/shop/film-focus-gene-hackman-1970-1977-imprint-collection-236-239/ Film Focus: George Peppard: https://viavision.com.au/shop/film-focus-george-peppard-1968-1974-imprint-collection-252-255/ The Complete Comic Book presents: https://severinfilms.com/collections/shop/products/comic-strip-presents-blu - Follow Shelf Shock Rewind on Twitter: https://twitter.com/Shelf_Shock Follow Shelf Shock Rewind on Instagram: https://www.instagram.com/shelfshockrewind/ Follow Shelf Shock Rewind on Facebook: https://www.facebook.com/ShelfShockRewind Follow Shelf Shock Rewind on YouTube: https://www.youtube.com/@shelfshockrewind1231 - Become a patron here: https://www.patreon.com/DiscConnected - Like the page and follow on Facebook here: https://www.facebook.com/TheDiscConnected - Join me on Instagram at: https://www.instagram.com/thediscconnected/ - Or on Twitter: https://twitter.com/disc_connected - Email: DiscConnectedMedia@gmail.com -- Merch: https://www.teepublic.com/user/the-disc-connected - Podcast: https://thediscconnected.podbean.com - If you happen to be shopping on Amazon for something and would like to share some of Lord Bezos' profits with my channel at no additional cost to you, please consider shopping through my link: https://amzn.to/39mcX1t - Tip Jar: https://www.paypal.com/donate?hosted_button_id=TDEVSPJZ9EFCW or paypal.me/RVinls (friends and family only) or  Amazon wish list: https://www.amazon.com/hz/wishlist/ls/20CR2ZN456P1B?ref_=wl_share - Music is by Michael J. LeRose- michaelxcreates@gmail.com. Outro is K(NO)W by Crusoe via a Creative Commons Attribution License and verbal/written permission from the artist. - Links above may be affiliate/promotional links that provide me a tiny commission to support the sight and do not charge the consumer anything extra.

Welcome back to another “super” exciting episode of Not A Bomb. This is the podcast where we go back and reexamine some of the biggest bombs in cinematic history and see if they deserve a second chance. On this week's episode, the guys are once again joined by Jose from the Watch/Skip+ podcast to discuss 1987's superhero film - Superman IV: The Quest for Peace. What do you get when you combine the Man of Steel and The Cannon Group? You get a commercial and critical failure, and the end of Christopher Reeves as Superman. Made with a comparatively tiny budget, The Quest for Peace is best known for terrible special effects, a total lack of scientific knowledge, and slo-mo WWE wrestling in space. Does The Quest for Peace have enough charm to make it watchable? Why is Jon Cryer in this movie doing his impression of a “Valley Girl?” Did Brad just do a Rodney Dangerfield impression? Download and listen today!Timestamp: Intro - (1:13), Box Office and Critical Results - (11:10), People Involved - (14:49), Production and Developments - (33:36), Commerical Break - (44:22), The Quest for Peace Discussion - (47:03), Is it a Bomb? - (80:52), Robo Reviewer1000 - (92:58), Outro - (105:00)Superman IV: The Quest for Peace is directed by Sidney J Furie and stars Christopher Reeves, Gene Hackman, Jackie Cooper, Marc McClure, Jon Cryer, Sam Wanamaker, Mariel Hemingway, Margot Kidder, and Mark Pillow.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, Jose

This week it's Hollipop's pick, 1982's The Entity, starring Barbara Hershey and Ron Silver. It's directed by Mr. Iron Eagle himself, Sidney J. Furie. Robi and Hollipop cover everything from Hershey's grounded performance to the outlandish finale, as well as their own personal ghostly encounters. It's an episode you don't want to miss!

Daniel Kremer is a Director and Producer out of San Francisco, California. He has contributed commentaries and features to many releases from more than 15 different boutique labels, directed seven feature length films (with more in the can already), and wrote the book "Sidney J. Furie: Life and Films". Most recently, he has produced an upcoming box set focusing on Sidney J. Furie from Imprint Films. Join us for our deep dive into Daniel's work, his passion for Sidney J. Furie, and why pan & scan was truly awful.  - Follow Daniel on Facebook: https://www.facebook.com/daniel.kremer.169 Follow Daniel on Twitter: https://twitter.com/thustlebird Buy Daniel's book on Sidney J. Furie: https://amzn.to/3MjXP7E Buy "Directed by... Sidney J. Furie" from Imprint Films: https://viavision.com.au/shop/directed-by-sidney-j-furie-1970-1978-imprint-collection-231-235/ Follow Daniel on Vimeo: https://vimeo.com/danielkremer Daniel on IMDB: https://www.imdb.com/name/nm2645255/ Buy Overwhelm the Sky from Kino Lorber: https://www.kinolorber.com/product/overwhelm-the-sky-dvd - Follow Shelf Shock Rewind on Twitter: https://twitter.com/Shelf_Shock Follow Shelf Shock Rewind on Instagram: https://www.instagram.com/shelfshockrewind/ Follow Shelf Shock Rewind on Facebook: https://www.facebook.com/ShelfShockRewind Follow Shelf Shock Rewind on YouTube: https://www.youtube.com/@shelfshockrewind1231 - Become a patron here: https://www.patreon.com/DiscConnected - Like the page and follow on Facebook here: https://www.facebook.com/TheDiscConnected - Join me on Instagram at: https://www.instagram.com/thediscconnected/ - Or on Twitter: https://twitter.com/disc_connected - Email: DiscConnectedMedia@gmail.com -- Merch: https://www.teepublic.com/user/the-disc-connected - Podcast: https://thediscconnected.podbean.com - If you happen to be shopping on Amazon for something and would like to share some of Lord Bezos' profits with my channel at no additional cost to you, please consider shopping through my link: https://amzn.to/39mcX1t - Tip Jar: https://www.paypal.com/donate?hosted_button_id=TDEVSPJZ9EFCW or paypal.me/RVinls (friends and family only) or  Amazon wish list: https://www.amazon.com/hz/wishlist/ls/20CR2ZN456P1B?ref_=wl_share - Music is by Michael J. LeRose- michaelxcreates@gmail.com. Outro is K(NO)W by Crusoe via a Creative Commons Attribution License and verbal/written permission from the artist. - Links above may be affiliate/promotional links that provide me a tiny commission to support the sight and do not charge the consumer anything extra.

Join Tony Michas, John Mathews and Ryan Kendall discuss the July 2023 releases. Hardbox July titles include Directed by Walter Hill, Directed by Sidney J. Furie and Film Focus: Gene Hackman and the standard releases of Dersu Uzala and The Straight Story.

Esta semana volvemos a contar con la colaboración de Néstor Gascon, del podcast "SPIDER-MAN: CRÓNICAS DEL DAILY BUGLE" para hablar de la película de terror sobrenatural "EL ENTE" ('The Entity', 1982). Dirigida por Sidney J. Furie y protagonizada por Barbara Hershey, la trama sigue a una madre soltera que es acosada sexualmente por una fuerza invisible en su hogar. *Sintonía de entrada: Lucidator de Saggitarius V.

NOUVEAU - Abonnez-vous à Minuit+ pour profiter de Paranormal - Histoires Vraies et de milliers d'histoires vraies sans publicité, d'épisodes en avant-première et en intégralité. Vous aurez accès sans publicité à des dizaines de programmes passionnants comme Espions - Histoires Vraies, Crimes - Histoires Vraies ou encore Catastrophes - Histoires Vraies.

Alan and Rob chat all things Superman with entertainment journalist, veteran fan and fellow podcaster Ed Gross as well as hearing all about his brand new book VOICES FROM KRYPTON, an oral history of the Man of Steel. Ed gives us his take on the highs and lows of Superman lore as well as memories from interviewing legends from the world of Superman movies, comics and more including Marlon Brando, Brandon Routh, Richard Donner, Sidney J. Furie and even Alan's FAVOURITE Lex Luthor ;-) the late Scott J. Wells.    VOICES FROM KRYPTON IS AVAILABLE TO PRE-ORDER ON AMAZON   RATE AND REVIEW THE SHOW ON APPLE PODCASTS, SPOTIFY AND PODBEAN, PLEASE AND THANK YOU!   FACEBOOK:    @allstarsuperfan INSTAGRAM: @allstarsuperfan TWITTER:       @allstarsuperpod EMAIL:             allstarsuperpod@gmail.com   Thanks to Shawn Allen for our music and Aaron Price for our show logo. Social media poster designed by Rob O'Connor with original cover by Jon Bogdanove.

Non posso farci niente: come Martin Scorsese, anche al sottoscritto questo film ancora spaventa non poco, nonostante non si veda nulla di sanguinolento o terrificante. Entity è la (presunta) storia vera di Carla Moran, vittima di continue violenze e stupri da parte di un'entità malefica e invisibile che d'improvviso piomberà nella vita della donna, rendendola un vero inferno. Vani saranno i tentativi di psicologi e scienziati per tentare di fornire una spiegazione razionale agli inquietanti fenomeni. Il regista Sidney J. Furie è abilissimo nel costruire una storia orrorifica, perennemente in bilico tra logica e paranormale, ottimamente interpretata da una Barbara Hershey credibilissima e convincente. Giocando su un'atmosfera di costante minaccia, Entity è un titolo che ormai nessuno ricorda e che, la prima volta che lo vidi, mi fece venire delle paranoie assurde, inducendomi a pensare se veramente fossi solo nella mia stanza e nella mia casa. Il tema martellante composto da Charles Bernstein (poi omaggiato da Tarantino nel suo Bastardi) è qualcosa di angosciante e indimenticabile ancora oggi. Da recuperare solamente se non siete persone impressionabili nell'animo.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Episodio para Fans - Episodio 51 de R80 Magacine, spin off de Remake a los 80, revista en formato podcast, solo disponible por suscripción en agradecimiento a los fans. Especial "De la pantalla al Cómic" 📰📺 Para esta ocasión analizamos la adaptación a viñeta de la película de 1983, Superman IV (1987,Sidney J. Furie), producida por Cannon Group . Te contamos lo que puedes encontrar entre sus páginas entintadas con aroma a superhéroe de los 80. ------------------------------------------------------------------ Escúchanos también en www.remakealos80.com Síguenos en Instagram y Twitter @Remakealos80 y búscanos en Telegram, te dejamos el enlace a nuestro grupo de para que compartas tus opiniones e interactúes con nosotros: https://t.me/joinchat/GXsRJYMd3wQVBG2vEscucha este episodio completo y accede a todo el contenido exclusivo de Remake a los 80, cine y videoclub. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/248910

A seemingly naive and devout middle-aged man finds his way in the underground world of supernatural fighter plane films. On Episode 546 of Trick or Treat Radio we are joined once again by MZ, he mustn't regret his decision to return full time… yet. This week we discuss the film Candy Land, a slasher flick from writer/director John Swab! We also talk about the career of Ruggero Deodato and the indelible mark he left on cinema, the unbearable responsibility of watching a film in one sitting, and we have our latest film pitch! So grab your favorite religious murder weapon, look for the wretched hive of scum and villainy at the Mos Eisley rest stop, and strap on for the world's most dangerous podcast!Stuff we talk about: Nicolas Winding Reppin', Copenhagen Cowboy, remembering Ruggero Deodato, more than cannibals, Eli Roth, Evil Dead Rise, dangerous filmmaking, David Hess, Sergio Leone, Deodato Holocaust, Midnight Pulp, The Barbarians, Cut and Run, Body Count, Michael Berryman, Richard Lynch, greetings from Chile, time zones are weird, black olives in chili, Renfield, watching movies in one sitting, Captain Fantastic, Vigo Mortensen, DSO, “six soft”, Sneaker Pimps, chloroform, Top Gun: Maverick, Tom Foose, Val Kilmer, Iron Eagle, Cobra Kai, Freddie Mercury, Kenny Loggins, Turbulence III, Superman IV: The Quest For Peace, Sidney J. Furie, pitching a supernatural fighter plane film, Firefox, Clint Eastwood, Long Kiss Goodnight, Diggstown, RIP Lisa Marie Presley, Elvis, Austin Butler, Patreon Takeover, EF Contentment, Blood In Blood Out, Enemy Mine, B. Brian Blair, Candy Land, Eden Brolin, John Swab, Let Me Make You A Martyr, William Baldwin, Bloodrayne, Uwe Boll, Piedmont St, Turn the Page, Long Jeanne Silver, sex workers, shlub ‘em if you got ‘em, snowballs, religious cults, Guinevere Turner, Owen Campbell, Olivia Luccardi, rest stops, crystal statues, Boogie Nights, Kids, The Everlasting Nob-Gobbler, Dave Mustaine, Metallica, This Old Murder Weapon, Matt Frewer, exploitation, rim jobs in the iron pit, Mad Heidi, The Rocky Overhang, Sergio Martino, Sergio Corbucci, Django, Franco Nero, The Visitor, and more than just cannibals.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

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.

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.

From the archives comes this interview with director Sidney J. Furie on 'Superman IV,' and it's obvious he was feeling positive about the film in the final stages of post-production Learn more about your ad choices. Visit podcastchoices.com/adchoices

"Die Hard but in Beverly Hills" is elevator pitch for The Taking of Beverly Hills. And while the film looked like a sure-fire hit on paper thanks to its star, the then white-hot Ken Wahl, and it's director, Sidney J. Furie, the didn't even get the chance to fade into obscurity - it debuted there. Rob Hill from The Bad Movie Bible joins me to try and find out why. Content warning; When discussing Wahl's past, I quote some homophobic things other people said.

#VALentinesFortnight turns into the #VALentines3weeker as we get the need for speed and talk Top Gun and Iron Eagle. Top Gun(1986) Directed by Tony Scott. Starring Val Kilmer, Tom Cruise and Anthony Edwards. Trailer: https://www.youtube.com/watch?v=ArOMXELHiLw Iron Eagle(1986) Directed by Sidney J. Furie. Starring Louis Gosset Jr. and Jason Gedrick. Trailer: https://www.youtube.com/watch?v=Py1LeIf3xQE Twitter: @DoubledFeature Instagram: DoubledFeature Email: DoubledFeaturePodcast@Gmail.com Dan's Twitter: @DannyJenkem Dan's Letterboxd: @DannyJenkem Max's Twitter: @Mac_Dead Max's Letterboxd: @Mac_Dead Executive Producer: Koolaid --- Send in a voice message: https://anchor.fm/doubledfeature/message

Break the sound barrier. Break the speed barrier. Break out some 80s Revisited as we talk about Iron Eagle (1986)! 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.

Patreon Glynn Davies is our guest this week and chose a childhood favorite, Iron Eagle. Released in the same year as Top Gun, this is directed by Sidney J. Furie and written by Kevin Alyn Elders. And stars Louis Gossett Jr., Jason Gedrick, and David Suchet. If you enjoy the show we have a Patreon, become a supporter. www.patreon.com/thevhsstrikesback Plot Summary: A young pilot plans a rescue mission when his father is shot down over enemy territory and captured. thevhsstrikesback@gmail.com https://linktr.ee/vhsstrikesback --- Support this podcast: https://anchor.fm/thevhsstrikesback/support

Simone Barbes or Virtue (1980) / The Taking of Beverly Hills (1991) This week we're pulling an all-nighter as we take tickets in a porno theater with Marie-Claude Treilhou and stage an explosive coup in Beverly Hills with Sidney J. Furie

Extra! Extra! Read All about it! Superman destroys Nukes, dates multiple women at once and fights the new fangled calculator. Read about it in the evening edition of the Daily Planet! The guys (Ben, Bracken, Brant, Nate and producer, Danny) continue the season of the sequel with this 3rd Superhero sequel to the seminal Superman movie. Is this film Exceptionally Bad or just Bad? This movie stars Christopher Reeve, Gene Hackman, Jackie Cooper, Mar McClure, Jon Cryer, Sam Wanamaker, Mark Pillow, Mariel Hemingway, Margot Kidder, and Jim Broadbent. Follow us on Instagram @ExceptionallyBad and Twitter @XceptionallyBad or email us at theguys@exceptionallybad.com or check out our website at exceptionallybad.com Superman IV: The Quest for Peace (1987) was Directed by Sidney J. Furie, Produced by Graham Easton, Yoram Globus, Menahem Golan, and Michael J. Kagan, and Written by Christopher Reeve (story by), Lawrence Konner (story and screenplay by) and Mark Rosenthal (story and screenplay by). --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In Episode 6 - This week we caused an international incident because we're hot-headed stubborn sullen 80's teens that won't take it - we are talking about Iron Eagle or as Brodie calls it Awkward Eagle.  Co-Written & Directed by Sidney J Furie. Co-Written by Kevin Alyn Elders Starring Jason Gedrick, Louis Gossett Jr and David Suchet. Watch the trailer here. Find the movie in your region via Just Watch Weird Kid Video is hosted by Keean Murrell-Snape, Kira Jade Oppitz and Brodie McDonald. Don't follow us on Instagram and Twitter at @weirdkidvideo

Der Agentenfilm, der Michael Caine zum Durchbruch verhalf, stellt einen echten Gegenentwurf zum populären Kollegen James Bond dar: Harry Palmer ist ein Normalo, dessen Heldenmomente im Bürokratiealltag des Staatsapparats eher die Ausnahme bilden als die Regel. Die hochwertige Inszenierung, der pointenreiche Schlagabtausch mit den Vorgesetzten und nicht zuletzt die Darstellung der Figur durch Caine selbst machen „Ipcress“ im Vergleich zur Bond-Reihe jedoch zu einem kaum minder großen Vergnügen. Kontakt zu uns: podcast(at)retroboost.de

'All right. All right, bastard. I've finished running. So do what you want. Take your time - buddy. Take your time. Really, I'm thankful for the, uh... rest. I'm so... tired of being scared. So it's all right, it really is, it's all right. You can, uh, do anything you want to me, you can, uh, torture me, kill me, anything. But you can't have me. You cannot touch me'.  Hello and welcome to Once Upon a Nightmare, the true crime in horror! In this episode I discuss the 1982 film based on the real life events of Doris Bither, The Entity, directed by Sidney J. Furie.  Doris Bither claims she was attacked by an invisible assailant, multiple times, in her own home. Parapsychologists found evidence that her claims were true. What do you believe, do you believe in the paranormal and the story of The Entity?  Podcast Promo - A Little Wicked  -  https://alittlewickedpodcast.webador.com/ (https://alittlewickedpodcast.webador.com/) Thank you for listening and don't forget to rate and review on itunes and podcasher and if you have any film suggestions then let me know.  For updates, reviews and behind the scenes info follow via one or all of the below options: Instagram – @onceuponanightmarepodcast Twitter - @anightmarepod Facebook - Once Upon a Nightmare Email - onceuponanightmarepod@gmail.com Buy Me a Coffee - https://www.buymeacoffee.com/anightmarepod Part of the Oracl3 Network: http://theoracl3network.com Music by: Darren Curtis Music  Pay the Reaper -https://www.darrencurtismusic.com/dark-music ( https://www.darrencurtismusic.com/dark-music)  https://www.free-stock-music.com/darren-curtis-pay-the-reaper.html (https://www.free-stock-music.com/darren-curtis-pay-the-reaper.html)  Sources: Production Company:  American Cinema Productions Trailer:  https://www.youtube.com/watch?v=d4_jrkshbvU The Entity Files: The Story of Doris Bither https://www.youtube.com/watch?v=irL6cZY0D2c (https://www.youtube.com/watch?v=irL6cZY0D2c) http://www.ghosttheory.com/2009/05/18/the-entity-interview-with-doris-bithers-son

Visit the episode page at Trailers From Hell for the full list of movies, references and more.And don't forget to follow us on Letterboxd.

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Graham Day and Niall Glynn, The 250 is a weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT. So this week, Sidney J. Furie's Superman IV: The Quest for Peace. It is a turbulant time in the life of Clark Kent. He finds himself considering selling the family farm. The Daily Planet has been brought out by an aggressive media conglomerate. A young boy has begun to question his faith in Superman, asking whether the Man of Steel can truly protect the world from the threat of nuclear annihilation. Tired of standing by as a passive observer, Superman decides to finally take action. However, an old enemy is lurking in the shadows, waiting to spring a trap of his own. At time of recording, it was ranked 86th on the list of the worst movies of all time on the Internet Movie Database.

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. This is episode is all about the pick of the October British Batch, The Harry Palmer Collection.  FOR THE FIRST TIME, ALL THREE ORIGINAL 1960S FILMS ARE BROUGHT TOGETHER IN ONE COLLECTION, WITH BONUS FEATURES WORTHY OF FURTHER INVESTIGATION.The Ipcress File (1965) – Imprint Collection # 75Starring Michael Caine, Nigel Green, Guy Doleman, Sue Lloyd, and Gordon Jackson.Based on Len Deighton's bestselling novel, the realistic, landmark spy thriller of espionage and counter-espionage centres on Harry Palmer, an intelligence agent assigned to investigate fears over British security. Produced by 007's Harry Saltzman, with music by John Barry, The Ipcress File provides a downbeat, yet realistic and exciting portrayal of 1960s espionage.  Special Features and Technical Specs:1080p high-definition master from a restored 2k scan by ITV StudiosAudio commentary by director Sidney J. Furie and film editor Peter Hunt (1999)Audio commentary by film historian Troy Howarth and film historian/filmmaker Daniel Kremer (2020)Michael Caine is Harry Palmer – interview with Michael Caine (2006)The Design File – interview with production designer Ken Adam (2006)Locations Report with Richard Dacre (2021) Through The Keyhole – interview with 2nd assistant director Denis Johnson, Jr. (2021)Counting The Cash – interview with assistant production accountant Maurice Landsberger (2021)Isolated Music & Effects audio track Textless Material, Theatrical Trailers, U.S. Radio Spots and Extensive Photo GalleriesDTS HD 5.1 surround / LPCM 2.0 Mono Optional English subtitlesFuneral in Berlin (1966) – Imprint Collection # 76Starring Michael Caine, Paul Hubschmid, Oscar Homolka, Eva RenziHarry Palmer is sent to Berlin where he is to extricate a Russian general who wants to defect. Director Guy Hamilton's follow-up to The Ipcress File is the second in the film series based on Len Deighton's novels. Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by Rob Mallows of The Deighton Dossier (2021)Fun in Berlin – interview with editor John Bloom (2021)Afternoon Plus – interview with Len Deighton (1983) Candid Caine: a self portrait by Michael Caine – documentary (1969) Michael Caine: Breaking the Mold – documentary (1994)Theatrical Trailer and Photo GalleryLPCM 2.0 Mono Optional English subtitlesBillion Dollar Brain (1967) – Imprint Collection #77Starring Michael Caine, Karl Malden, Ed Begley, Oscar Homolka, Francoise DorleacHarry Palmer is blackmailed into working for MI5 again on his wildest – and most dangerous – assignment yet as he pits his wits against an insane billionaire and his supercomputer. From 007 producer Harry Saltzman and acclaimed director Ken Russell come the final film in the 1960s Palmer trilogy. Special Features and Technical Specs:1080p high-definition transfer by MGM Audio commentary by film historians Vic Pratt and Will Fowler (2021))Interview with Rob Mallows of The Deighton Dossier (2021) Photographing Spies – interview with cinematographer Billy Williams (2021)Billion Dollar Frame – interview with associate editor Willy Kemplen (2021)This Week – excerpt of Michael Caine discussing the British film industry (1969)Theatrical Trailers LPCM 2.0 Mono Optional English subtitlesBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. This is episode is all about the pick of the October British Batch, The Harry Palmer Collection.  FOR THE FIRST TIME, ALL THREE ORIGINAL 1960S FILMS ARE BROUGHT TOGETHER IN ONE COLLECTION, WITH BONUS FEATURES WORTHY OF FURTHER INVESTIGATION.The Ipcress File (1965) – Imprint Collection # 75Starring Michael Caine, Nigel Green, Guy Doleman, Sue Lloyd, and Gordon Jackson.Based on Len Deighton's bestselling novel, the realistic, landmark spy thriller of espionage and counter-espionage centres on Harry Palmer, an intelligence agent assigned to investigate fears over British security. Produced by 007's Harry Saltzman, with music by John Barry, The Ipcress File provides a downbeat, yet realistic and exciting portrayal of 1960s espionage.  Special Features and Technical Specs:1080p high-definition master from a restored 2k scan by ITV StudiosAudio commentary by director Sidney J. Furie and film editor Peter Hunt (1999)Audio commentary by film historian Troy Howarth and film historian/filmmaker Daniel Kremer (2020)Michael Caine is Harry Palmer – interview with Michael Caine (2006)The Design File – interview with production designer Ken Adam (2006)Locations Report with Richard Dacre (2021) Through The Keyhole – interview with 2nd assistant director Denis Johnson, Jr. (2021)Counting The Cash – interview with assistant production accountant Maurice Landsberger (2021)Isolated Music & Effects audio track Textless Material, Theatrical Trailers, U.S. Radio Spots and Extensive Photo GalleriesDTS HD 5.1 surround / LPCM 2.0 Mono Optional English subtitlesFuneral in Berlin (1966) – Imprint Collection # 76Starring Michael Caine, Paul Hubschmid, Oscar Homolka, Eva RenziHarry Palmer is sent to Berlin where he is to extricate a Russian general who wants to defect. Director Guy Hamilton's follow-up to The Ipcress File is the second in the film series based on Len Deighton's novels. Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by Rob Mallows of The Deighton Dossier (2021)Fun in Berlin – interview with editor John Bloom (2021)Afternoon Plus – interview with Len Deighton (1983) Candid Caine: a self portrait by Michael Caine – documentary (1969) Michael Caine: Breaking the Mold – documentary (1994)Theatrical Trailer and Photo GalleryLPCM 2.0 Mono Optional English subtitlesBillion Dollar Brain (1967) – Imprint Collection #77Starring Michael Caine, Karl Malden, Ed Begley, Oscar Homolka, Francoise DorleacHarry Palmer is blackmailed into working for MI5 again on his wildest – and most dangerous – assignment yet as he pits his wits against an insane billionaire and his supercomputer. From 007 producer Harry Saltzman and acclaimed director Ken Russell come the final film in the 1960s Palmer trilogy. Special Features and Technical Specs:1080p high-definition transfer by MGM Audio commentary by film historians Vic Pratt and Will Fowler (2021))Interview with Rob Mallows of The Deighton Dossier (2021) Photographing Spies – interview with cinematographer Billy Williams (2021)Billion Dollar Frame – interview with associate editor Willy Kemplen (2021)This Week – excerpt of Michael Caine discussing the British film industry (1969)Theatrical Trailers LPCM 2.0 Mono Optional English subtitlesSupport this podcast at — https://redcircle.com/imprint-companion/donations

A caustic 1980s radio host for a fledgling horror podcast finds himself unwittingly trapped in a self-help group for horrible frozen pizza chefs. With no other choice, he attempts to blend in or risk burning his deep dish pie. On Episode 467 of Trick or Treat Radio we discuss the film Vicious Fun from director Cody Calahan! We also discuss the loss of Richard Donner, 80s slasher and serial killer stereotypes, and rigatoni?! So grab a quarter to toss in the jukebox, grab your favorite slasher weapon, and get ready to strap on for the world's most dangerous podcast!Stuff we talk about: Grady Hendrix, Adrian King, The Final Girl Support Group, Ravenshadow's slow ass computer, MZ's caterpillar caper, rigatoni.com, RIP Richard Donner, Sylvester Stallone, Superman I & II, Canon, Sidney J. Furie, The Taking of Beverly Hills, Christopher Reeve, Gene Hackman, Mark Pillow, Jon Cryer, Nuclear Man, Superman IV apologist, Mariel Hemingway, Karen Allen, Superman Returns, Jackie Cooper, Little Rascals, Lane Smith, Michael McKean, kneel before VOD, Terence Stamp, fantasy baseball, snake tattoos, Vicious Fun, Cody Calahan, Krypton sh*t, Julian Richings, Robert Maillet, David Koechner, Shazam, Evan Marsh, Amber Goldfarb, Zachary Levi, 80s aesthetic, Smokey and the Bandit, Fangoria, renting a closet, The Ares Killer, American Psycho, Patrick Bateman, John Wayne Gacy, masked killers, Charlize Theron, cops with mustaches, lovable 80s goofball, Ari Millen, Eddie Izzard, Nosferatu, silent film era acting, Drab Majesty, Genesis, practical fx, Skull: The Mask, Werewolves Within, Shakma's Holiday Shack, Red Baron, Severin's release of Raiders of Atlantis, One Crazy Summer, Warner Archive, Talk Without Rhythm, Double Deep Dish, paper plates, and Splashy 80s Gory Fun.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: https://discord.gg/ETE79ZkSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show (https://www.patreon.com/trickortreatradio)

This week we have a one-off episode with the 1961 film The Snake Woman. This is Castle of Horror Episode 338.The Snake Woman (a.k.a. The Terror of the Snake Woman) is a low budget black-and-white 1961 British horror film produced by George Fowler and directed by Sidney J. Furie. It stars Susan Travers and John McCarthy.[1] The film was shown on a double bill in the UK with several movies, including re-releases of The Split (a.k.a. The Manster) (1959) and The Vikings (1958), and as the second feature on a double bill with Doctor Blood's Coffin (1961) in the US. The film is set in a small English village at the turn of the 20th century. It tells the story of Atheris (Susan Travers), a young woman who has the power to transform from human to cobra, and the Scotland Yard detective (John McCarthy) sent to investigate a series of deaths, unusual because all the victims died after being bitten by snakes that are not native to the UK.

Christopher Reeve puts on the cape and tights for the fourth time to take on a super powered opponent. Directed by Sidney J. Furie and written by Lawrence Konner and Mark Rosenthal, Superman IV: The Quest for Peace is based on the DC Comics character of the same name. Luke and Jae revisit this 1987 Superman sequel which, depending on who you talk to, is sometimes regarded as one of the worst movies ever made. Superman (Christopher Reeve) decides to take action and collects all the nuclear warheads from the world and throws them into space. Meanwhile, Superman's nemesis, Lex Luthor (Gene Hackman), has broken out of prison with a new scheme. He clones Superman with radioactive material to create Nuclear Man (Mark Pillow), a being just as powerful as the man of steel.

Based on real events! Barbara Hershey shines in this paranormal thriller that delves into some very upsetting content, but one thing's for sure; Stan Winston's full body prosthetic of her being groped by an invisible force is second to none. More like two separate movies, this one never quite reached the level of its more well known contemporaries, but that didn't keep it from earning a “rent” from Ryan on the merits of Ms. Hershey's performance, while Tim stayed in his usual place with a “stream”. Either way, the guys still think this one is worth the watch and a fun delving into the actual case it's based on. Where we watched: Blu-ray The Entity (1982) Directed by Sidney J. Furie Written by Frank De Felitta RecommenDEADtions: 60 Minutes: Navy Pilots Describe Encounters With UFOs / The Bay Next week's film: Splice (2009)

Programa conducido por Darío Lavia, Lo sobrenatural. Acto I: "El horror sobrenatural en la literatura" (H.P. Lovecraft) 0:00:02 Prólogo a "Cuentos de terror" (Rafael Llopis) 0:03:44 "El claro del bosque" (Wenceslao Fernández Florez) por Chucho Fernández 0:05:45 Acto II: Parroquiales 0:11:34 Saludo de Marián Salgado 0:13:07 Acto III: Entrevista a Juan Carlos Vizcaíno (i) 0:17:16 Entreacto: Los fantasmas de San Antonio por Mariana Surra 0:31:35 Acto IV: Clasificación del relato sobrenatural 0:31:35 Acto V: Entrevista a Juan Carlos Vizcaíno (ii) 0:42:29 Entreacto: La habitación 428 por Mariana Surra 0:57:55 Acto VI: "El extraño" (H.P. Lovecraft) 1:00:51 "El ente" de Sidney J. Furie 1:04:23 Juan Carlos Vizcaíno http://thecinema.blogia.com/ Rafael Llopis https://es.wikipedia.org/wiki/Rafael_Llopis Cortinas musicales Monst3r Music, TeknoAXE's, Kevin MacLeod y MATTIA CUPELLI Imdb https://www.imdb.com/title/tt14133888/ Web de Cineficción http://www.cinefania.com/cineficcion Fan Page de Cineficción https://www.facebook.com/revista.cineficcion/

Frame Fatale es un podcast sobre películas no canónicas conducido por Sebastián De Caro y Santiago Calori. En este segundo episodio, nos ocupamos de Una mujer poseída (Possession, 1981) del querido Andrej Zulawski, una película francesa dirigida por un polaco y filmada en Alemania, y terminamos hablando de todas estas otras: La mujer pública (La femme publique, 1984) de Andrzej Zulawski, El diablo en el cuerpo (Diavolo in corpo, 1986) de Marco Bellochio, Gracias tía (Grazie zia, 1968) de Salvatore Samperi, Garganta profunda (Deep Throat, 1972) de Gerard Damiano, Detrás de la puerta verde (Behind the Green Door, 1972) de Artie y Jim Mitchell, La fuente de la doncella (Jungfrukallan, 1959) de Ingmar Bergman, Thriller: A Cruel Picture (Thriller - en grym film, 1973) de Bo Arne Vibenius, Portero de noche (Il portiere di notte, 1974) de Liliana Cavani, Asignatura pendiente (1977) de José Luis Garci, Los santos inocentes (1984) de Mario Camus, El crimen de Cuenca (1980) de Pilar Miró, Salon Kitty (1976) y Calígula (1979) de Tinto Brass, Kamikaze 89 (1982) de Wolf Gremm, Spring (2014) de Justin Benson y Aaron Moorhead, Lace Crater (2015) de Harrison Atkins, A Ghost Story (2017) de David Lowery, The Lighthouse (2019) de David Eggers, ET (E.T. the Extra-Terrestrial, 1982) de Steven Spielberg, King Kong (1976) de John Guillermin, Maridos (Husbands, 1970) de John Cassavetes, Alien, el octavo pasajero (Alien, 1979) de Ridley Scott, El ente (The Entity, 1982) de Sidney J. Furie, El hombre invisible (The Invisible Man, 2020) de Leigh Whannell, La bruja (The VVitch, 2015) de Robert Eggers, La última profecía (The Final Conflict, 1981) de Graham Baker, Jurassic Park (1993) de Steven Spielberg, En la boca del miedo (1994) de John Carpenter, Midsommar (2019) y El legado del diablo (Hereditary, 2018) de Ari Aster, El exorcista (The Exorcist, 1973) de William Friedkin, La profecía (The Omen, 1976) de Richard Donner, El resplandor (The Shining, 1980) de Stanley Kubrick, Persona (1966) y El huevo de la serpiente (The Serpent's Egg, 1977) de Ingmar Bergman, Cosmos (2015) de Andrzej Zulawski, La fiesta de Babette (Babettes gæstebud, 1987) de Gabriel Axel, Jean de Florette (1986) y Manon de manantial (Manon des sources, 1986) de Claude Berri, Farinelli (1994) de Gérard Corbiau, Cristo se detuvo en Eboli (Cristo si è fermato a Eboli, 1979) de Francesco Rosi, Amanece que no es poco (1989) de José Luis Cuerda, Jesús de Montreal (Jésus de Montréal, 1989) de Denys Arcand, Onibaba (1964) y Kuroneko (Yabu no naka no kuroneko, 1968) de Kaneto Shindô y The Void (2016) de Jeremy Gillespie y Steven Kostanski... ... por si justo te dio paja anotar. Podés comentar este episodio usando el hashtag #FrameFatale en Twitter. Frame Fatale volverá el lunes que viene. Quizás sea una pegada total suscribirte en donde sea que escuches tus podcasts y tener la primicia que de todas maneras, como ya explicamos varias veces, es lo menos importante.

Hello 70's cinema fans. Movie review time again, and we got 5 for you. First up we review 1973's Gordon's war, an amazing story of a vets revenge on the heroin industry that has ravaged his community and taken the life of his beloved wife whilst he was away. Using his many skills he learned in the Nam, Gordon and his squadron declare it time to kick ass. Staring Paul Winfield (he's never even met Admiral Kirk) and directed by Ossie Davis (yes the radio station guy from “Do the right thing). Next up Billy Dee F'n Williams awesomely stars in 1973's HIT! Lando's daughter's life was taken away by the deadly drug heroin. Lando puts together a crew to deal with this shit and claim his vengeance. Also stars Richard Pryor and is directed by Sidney J. Furie. On we go to the three musketeers 1973. A film about 3 people who have a job they are not good at, and a fourth who just thinks they are so very cool. Stars Michael York (Logan's run) and others. Directed by Dick Lester (A hard days night) Now it's time for our review of the classic Three the hard way 1974, a timeless tale of some bad ass community heroes who thwart white supremacists from poisoning our water........ with DEATH! Stars Jim Brown, Fred Williamson, and Jim Kelly. Directed by the great Gordon Parks. Finally today we end with 1979's Shellshock rock, an hour long documentary about early punk rock people and bands having fun in Northern Ireland. Stars rad peeps in Belfast. Thanks y'all for listening.

Bond. Not James Bond. Is it already time for more Michael Caine!? You bet your bottom dollar! Your hosts talk about The Ipcress File, a spy film that has often been described as the anti-James Bond. They talk about the new concept of grocery stores, the sloppy but geniune fight scenes, how the finale brings movies like The Manchurian Candidate and A Clockwork Orange to mind, how Caine's look in the film inspired a fairly major modern spy flick and much more.   The guys also roll the dice to find out what they'll be watching next week. Join us, won't you?   Full List: https://en.wikipedia.org/wiki/BFI_Top_100_British_films Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/bfi_pod Our logo was designed by the wonderful Mariah Lirette (https://www.instagram.com/mariahhx)   The Ipcress File stars Michael Caine, Nigel Green, Guy Doleman, Gordon Jackson, Sue Lloyd and Aubrey Richards; directed by Sidney J. Furie. Learn more about your ad choices. Visit megaphone.fm/adchoices

In today's Episode Jason and I finish the Christopher Reeve Superman films. This means we dive directly into Superman IV: The Quest for Peace. This film was masterfully directed by Sidney J. Furie, and stars Christopher Reeve, Gene Hackman, & Margot Kidder. Is it a masterpiece? Is it a disaster? Join us and find out.  Also sorry for the confusion in the intro about the episode designation. When we recorded it was going to be Ep 7.5. On Apple Podcasts it will be something else. In our hearts? Confusion reigns. We are still working out the kinks. Also, and crucially, if you have thoughts, comments, suggestions hit us up at lordmovies39@gmail.com. As always thanks for listening.

We wrap up this shitty year with two VERY entertaining action films from the 90's that both feature the always-fun Robert Davi and also have plots that remind us VERY much of our favorite Christmas movie...a little flick called "Die Hard". We start off with "The Taking of Beverly Hills" from 1991, directed by Sidney J. Furie and starring Ken Wahl and Matt Frewer, with several good people in supporting roles. The plot revolves around a group of disgruntled cops who fake a chemical spill in Beverly Hills in order to rob the place blind. Lots of things are blown up, crushed and shot during the runtime and it's a ton of fun!  We follow it up with 1995's "No Contest" which stars Shannon Tweed and Andrew "Dice" Clay. This time, a beauty pageant is taken over by a group of VERY bad men who hold the contestants hostage and only the kicks and punches of a former winner can save them!  It is a very fun piece of fluff that delivers on every level. Neither of these movies are "good" on any defensible level, but they both left us all with huge grins on our faces and we recommend them. Please let us know what you thought of the show and send us some suggestions for future episodes. Please send emails to flickersfrom@yahoo.com or flickersfrom@gmail.com.  You can also reach us on Facebook, Instagram and Twitter.

Jazzvaneio 04, Especial Divas em quatro atosAto Primeiro: Billie Holiday “Lady day”Primeiro de quatro homenagens que humildemente rendemos às quatro grandes “Divas Clássicas” do Jazz, Soul e da música popular americana. Alçamos as cortinas e com esmero apontamos os holofotes à “Lady Day”, protagonista e heroína deste episódio número 01. Sua trágica vida interrompida ainda aos 44 anos de idade, é o palco e a seiva de uma produção artística ímpar e, para muitos, revolucionária. Seu álbum “Songs For Distingué Lovers”, um dos seus últimos registros em vida, é testemunha de uma fragilizada e inspiradora Billie Holiday ainda comovente por sua inabalável capacidade expressiva. Voltemos assim a 1957...imaginemos!Album: Billie Holiday “Songs For Distingué Lovers” 1957 - Vervehttps://billieholiday.com/Ato gravado no dia 20 de Outubro de 2020Outras Referências Artísticas e “culturais” (por ordem de menção): Clarence Holiday (Músico), Louis Armstrong (Músico), Bess Smith (Músico), U2 (Banda de Rock), Angel of Harlem (Música do U2 do álbum Rattle and Hum), Billie Dove (Atriz), Benny Goodman (Músico), Brusnwick Records (Gravadora Musical), Teddy Wilson (Músico), Swing (estilo jazzístico mais simples e da caráter dançante), What a Little Moonlight Can Do (Música de Harry M. Woods interpretada por Billie Holiday em 1935), Miss Brown to You (Música de Richard A. Whiting e Ralph Rainger interpretada por Billie Holiday em 1935), Count Basie (Músico), Lester Young (Músico), Chick Webb (Músico), Ella Fitzgerald (Músico), Carnegie Hall (Casa de Espetáculos em NY), Savoy Ballroom (Sala de Música e Dança de NY), Artie Shaw (Músico), The Green Book (Filme dirigido por Peter Farrelly e estrelado pelos atores Vigo Mortensen e Mahershala Ali), Senhor dos Anéis (Filme dirigido por Peter Jackson e estrelado também por Vigo Mortensen), New York Café Society (Clube de Jazz em NY), Strange Fruit (Música de Abel Meeropol interpretada por Billie Holiday em 1939), God Bless the Child (Música de Billie Holiday and Arthur Herzog Jr de 1939), Lewis Allan (Pseudônimo usado pelo poeta Abel Meeropol), Lady Sings The Blues (Biografia da Billie Holiday de 1956), Lady in Satin (Álbum da Billie Holiday), Lady Sings The Blues (Filme dirigido por Sidney J. Furie e estrelado pela Atriz Diana Ross em 1972), Van Halen (Banda de Rock), Queen (Banda de Rock), Universal Studios (Estúdio e arquivo musical de Los Angeles), Like Someone in Love (Álbum da Ella Fitzgerald), Norman Granz (Produtor Musical), Harry Edison (Músico), Ben Webster (Músico), Ira Gershwin (Letrista), George Gershwin (Músico), Cole Porter (Músico), Jonny Mercer (Músico), Harold Arlen (Músico), Richard Rodgers (Músico), Columbia Records (Gravadora Musical), EP (Extended Play – mini álbum), LP (Long Play – álbum), Verve (Gravadora Musical), Walking Bass (estilo de “levada” baixo muito utilizada no âmbito jazzístico), David Bowie (Músico), Day-In Day-Out (Música de Johnny Mercer e Rube Bloom também regravada por David Bowie em seu álbum Never Let Me Down de 1987), George Benson (Músico) e Stan Getz (Músico).Contato: info@jazzvaneio.com

Los 80 fue una época misteriosa, lo oculto y paranormal comenzaban a tener presencia y protagonismo a través de personajes públicos y medios de comunicación. La apertura mental y cultural de nuevas generaciones y el contacto con la tecnología permitía comenzar a tratar públicamente unos temas, que también ocupaban gran parte de la literatura y como no, del cine de aquel momento. Entre todas la filmografía de películas guionizadas en base a hechos paranormales reales, hay dos que destacan por su peculiaridad en la década de los 80, se trata de “El Ente”(Sidney J. Furie, 1982) y “Communion” (Philippe Mora, 1989) En este episodio especial, realizamos un increíble crossover con los compañeros del podcast de misterio “Ecos de lo Remoto”, nos juntamos con los entendidos en la materia y protagonistas de este podcast Álvaro Martín e Israel Gordón para desvelar el misterio de los casos reales que narran estas películas, en una unión perfecta con el cine y su particular interpretación, que analiza en este podcast, el equipo de Remake a los 80, Javi García, Carlos Aceituno y Juan Pablo Videoclubsero, realizando un análisis de interpretaciones, actores, rodaje y anécdotas. ------------------------------------------------------------------------------------ Escúchanos también en www.remakealos80.com y no olvides suscribirte al boletín informativo en el enlace https://eepurl.com/dFCkir Spotify: https://spoti.fi/2Wf1xqN Itunes: https://apple.co/39QFevv Spreaker: https://bit.ly/39URTOb

Los 80 fue una época misteriosa, lo oculto y paranormal comenzaban a tener presencia y protagonismo a través de personajes públicos y medios de comunicación. La apertura mental y cultural de nuevas generaciones y el contacto con la tecnología permitía comenzar a tratar públicamente unos temas, que también ocupaban gran parte de la literatura y como no, del cine de aquel momento. Entre todas la filmografía de películas guionizadas en base a hechos paranormales reales, hay dos que destacan por su peculiaridad en la década de los 80, se trata de “El Ente”(Sidney J. Furie, 1982) y “Communion” (Philippe Mora, 1989) En este episodio especial, realizamos un increíble crossover con los compañeros del podcast de misterio “Ecos de lo Remoto”, nos juntamos con los entendidos en la materia y protagonistas de este podcast Álvaro Martín e Israel Gordón para desvelar el misterio de los casos reales que narran estas películas, en una unión perfecta con el cine y su particular interpretación, que analiza en este podcast, el equipo de Remake a los 80, Javi García, Carlos Aceituno y Juan Pablo Videoclubsero, realizando un análisis de interpretaciones, actores, rodaje y anécdotas. ------------------------------------------------------------------------------------ Escúchanos también en www.remakealos80.com y no olvides suscribirte al boletín informativo en el enlace https://eepurl.com/dFCkir Spotify: https://spoti.fi/2Wf1xqN Itunes: https://apple.co/39QFevv Spreaker: https://bit.ly/39URTOb

Épisode 8 de la série des film de l'Univers de DC, Superman IV, sorti en 1987 et réalisé par Sidney J. Furie. Films/séries couvertes par Premier visionnementBasic Instinct (1992)Brightburn (2019)Conan (1982 et 1984)Cyborg (1989)Décadence (complet)Godzilla (1954 et 1984)Les Griffes de la nuit (1984)Halloween (complet)John Wick (complet)Red Sonja (1985)King Kong (1933, 1976 et 2005)King Kong VS Godzilla (1962)Kull (1997)La Plateforme (2019)Mortal Kombat (complet)Rambo (complet)Sept (Se7en 1995)Solomaon Kane (2009)Star Trek: DiscoveryStar Trek: Picard (complet)Star Wars (complet)SupermanSwamp Thing (1982)Transformers (complet)Vendredi 13 (1,2 et 3)Nous (Us 2019)X-Men (complet) Liens du podcast: feed rss:https://anchor.fm/s/590d508/podcast/rss Facebook:https://www.facebook.com/premiervisionnement/ Twitter:@visionnement Spotify:https://open.spotify.com/show/6YeUNMHJpBvlQZYvWwxllH Podbean:http://www.podbean.com/media/share/pb-nkvk3-968909 iTunes:https://itunes.apple.com/ca/podcast/premier-visionnement/id1445322515?mt=2 Anchor:https://anchor.fm/premier-visionnement PocketCasts:https://pca.st/MdlZ Stitcher:https://www.stitcher.com/…/anchor-podc…/premier-visionnement Google Podcasts:https://www.google.com/podcasts… RadioPublic:https://play.radiopublic.com/premier-visionnement-GKJ7bz Breaker:https://www.breaker.audio/premier-visionnement  

In Episode 29, Jay Towers & Jim Bowers are joined by the 'Kryptonian Keeper' of all Superman IV knowledge Martin Lakin. The team discusses the elusive 134-minute cut of Superman IV seen only once before being cut down to 89 minutes in 1987. The budget challenges of Sidney J. Furie are often talked about, but in this episode the guys celebrate some of the great moments of Christopher Reeve and the entire cast. Plus the Alexander Courage score and the filming locations. It's a quest for answers and these are just the fans to do it! Jim also gives an update on the Sideshow release of "Someone To Believe In". The SUPER Fine Art Print by artist Kristopher Meadows. Recorded on September 25th, the birthday of our beloved Christopher Reeve.

Agents Scott and Cam hit the grocery aisles with Michael Caine for 1965's The Ipcress File.Directed by Sidney J. Furie. Starring Michael Caine, Nigel Green, Guy Doleman, Sue Lloyd, Gordon Jackson and Frank Gatliff.Social media: @spyhardsCheck out the NOC List at: Letterboxd.com/spyhards

On the conclusion of WHM's FIVE HUNDREDTH (!!!) episode, the gang is chatting about the spectacular failure that is Superman IV: The Quest for Peace! Did Hackman flat-out refuse to use anything other than his real hair this time? Why sub out Otis for, ugh, Lenny Luthor? And could the producers not agree on a real villain to use, ultimately damning us with Nuclear Man? PLUS: One more HUGE thanks to our fantastic army of listeners and loyal subscribers—there would be no point in doing this without you; your support is what keeps this whole thing moving and encourages us to work harder and create all that much more fun stuff for you all to put in your ears! We thank you for hopping on during the first 500 and we look forward to having you around for the next 500!WHM is donating 100% of our 2020 merch income to causes fighting for racial justice. For more information on how you can pitch in, head over to our website.Superman IV: The Quest for Peace stars Christopher Reeve, Gene Hackman, Margot Kidder, Jon Cryer, Jackie Cooper, Marc McClure, Sam Wanamaker, Mariel Hemingway, and Mark Pillow as Nuclear Man; directed by Sidney J. Furie.

A panel of special guests joins host Jamey DuVall as he explores the majority of films released in the U.S. during March of 1970. Guests include legendary musician and composer Don Randi, assistant director Harvey Laidman, film professors Ramzi Fawaz, David Gerstner and Matt Bell, authors Stephen Prince (Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies), Garner Simmons (Peckinpah: A Portrait in Montage), David Weddle (If They Move...Kill 'Em!: The Life and Times of Sam Peckinpah), Chris Nashawaty (Crab Monsters, Teenage Cavemen and Candy Stripe Nurses: Roger Corman: King of the B Movie), Pawel Aleksandrowicz (The Cinematography of Roger Corman), Beverly Gray (Roger Corman: Blood-Sucking Vampires, Flesh-Eating Cockroaches and Driller Killers), Jan Herman (A Talent for Trouble: The Life of Hollywood's Most Acclaimed Director, William Wyler), Gabriel Miller (William Wyler: The Life and Films of Hollywood’s Most Celebrated Director), Kate Buford (Burt Lancaster: An American Life), Nik Havert (The Golden Age of Disaster Cinema), Nat Segaloff (Stirling Silliphant: The Fingers of God), Mary Elizabeth Strunk (Wanted Women), and Daniel Kremer (Sidney J. Furie: Life and Films), producer/director Dale Bell, cinematographers Richard Pearce and Malcolm Hart, professor Alan Brown, and Woodstock attendees Albert Froment and Mike Brinn.  For more information and advanced access to future episodes and uncut interviews, visit https://my.captivate.fm/MovieGeekYearbook.com (MovieGeekYearbook.com). Support this podcast

A panel of special guests joins host Jamey DuVall as he explores the majority of films released in the U.S. during March of 1970. Guests include legendary musician and composer Don Randi, assistant director Harvey Laidman, film professors Ramzi Fawaz, David Gerstner and Matt Bell, authors Stephen Prince (Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies), Garner Simmons (Peckinpah: A Portrait in Montage), David Weddle (If They Move...Kill 'Em!: The Life and Times of Sam Peckinpah), Chris Nashawaty (Crab Monsters, Teenage Cavemen and Candy Stripe Nurses: Roger Corman: King of the B Movie), Pawel Aleksandrowicz (The Cinematography of Roger Corman), Beverly Gray (Roger Corman: Blood-Sucking Vampires, Flesh-Eating Cockroaches and Driller Killers), Jan Herman (A Talent for Trouble: The Life of Hollywood's Most Acclaimed Director, William Wyler), Gabriel Miller (William Wyler: The Life and Films of Hollywood’s Most Celebrated Director), Kate Buford (Burt Lancaster: An American Life), Nik Havert (The Golden Age of Disaster Cinema), Nat Segaloff (Stirling Silliphant: The Fingers of God), Mary Elizabeth Strunk (Wanted Women), and Daniel Kremer (Sidney J. Furie: Life and Films), producer/director Dale Bell, cinematographers Richard Pearce and Malcolm Hart, professor Alan Brown, and Woodstock attendees Albert Froment and Mike Brinn.  For more information and advanced access to future episodes and uncut interviews, visit MovieGeekYearbook.com (https://my.captivate.fm/MovieGeekYearbook.com). Support this podcast

A panel of special guests joins host Jamey DuVall as he explores the majority of films released in the U.S. during March of 1970. Guests include legendary musician and composer Don Randi, assistant director Harvey Laidman, film professors Ramzi Fawaz, David Gerstner and Matt Bell, authors Stephen Prince (Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies), Garner Simmons (Peckinpah: A Portrait in Montage), David Weddle (If They Move...Kill 'Em!: The Life and Times of Sam Peckinpah), Chris Nashawaty (Crab Monsters, Teenage Cavemen and Candy Stripe Nurses: Roger Corman: King of the B Movie), Pawel Aleksandrowicz (The Cinematography of Roger Corman), Beverly Gray (Roger Corman: Blood-Sucking Vampires, Flesh-Eating Cockroaches and Driller Killers), Jan Herman (A Talent for Trouble: The Life of Hollywood's Most Acclaimed Director, William Wyler), Gabriel Miller (William Wyler: The Life and Films of Hollywood’s Most Celebrated Director), Kate Buford (Burt Lancaster: An American Life), Nik Havert (The Golden Age of Disaster Cinema), Nat Segaloff (Stirling Silliphant: The Fingers of God), Mary Elizabeth Strunk (Wanted Women), and Daniel Kremer (Sidney J. Furie: Life and Films), producer/director Dale Bell, cinematographer Malcolm Hart, professor Alan Brown, and Woodstock attendees Albert Froment and Mike Brinn.  For more information and advanced access to future episodes and uncut interviews, visit https://my.captivate.fm/MovieGeekYearbook.com (MovieGeekYearbook.com). Support this podcast

Michel Legrand estudió música en el Conservatorio de París graduándose con las máximas notas como compositor y pianista. Trabajó en Estados Unidos con gente de la talla de Miles Davis o Stan Getz. Su salto a la fama le llegó con la película de Jacques Demy “Los paraguas de Cherburgo” en el que todos los diálogos eran cantados. Aunque compuso más de 200 bandas sonoras para el cine con las que ganaría tres Oscar ,en esta playlist daremos un repaso a sus canciones para películas como “El caso Thomas Crown” (1968, Norman Jewison), “Verano del 42” (1971, Robert Mulligan), “Con los ojos cerrados” (1969, Richard Brooks), “La piscina” (1969, Jacques Deray), “Cumbres borrascosas” (1970, Robert Fuest), "El ocaso de una estrella" (1972, Sidney J. Furie), "Amigos muy íntimos (1982, Norman Jewison) o “Primavera en otoño” (1973, Clint Eastwood). En los primeros 100 minutos hemos alternado temas cantados por tres magníficas voces femeninas que trabajaron muy estrechamente con Legrand: Barbra Streisand, Melissa Errico y Kiri Te Kanawa. La segunda parte de la playlist incluye temas suyos interpretados por solistas como Sarah Vaugham, Jessye Norman, Regine Velasquez, Ray Charles, Neil Diamond, Nana Moskouri o Matt Monro, entre otros. Espero os guste. 00h 00'00" Presentación 00h 01'42" Cabecera 00h 02'18" Pieces of dreams - Barbra Streisand 00h 05'40" His eyes, her eyes - Melissa Errico 00h 11'40" I will say goodbye - Kiri Te Kanawa 00h 14'41" What are you doing the rest of your life - Barbra Streisand 00h 17'56" Dis moi - Melissa Errico 00h 20'48" Summer me, Winter me - Kiri Te Kanawa 00h 23'39" Between yesterday and tomorrow - Barbra Streisand 00h 27'08" The windmills of your mind - Melissa Errico 00h 32'09" Breezy’s song - Kiri Te Kanawa 00h 35'24" The summer knows - Barbra Streisand 00h 38'59" Maybe someone dreamed us - Melissa Errico 00h 43'08" Magic - Kiri Te Kanawa 00h 46'14" Once upon a summertime - Barbra Streisand 00h 49'41" Martina - Melissa Errico 00h 52'15" One at a time - Kiri Te Kanawa 00h 56'02" Love and learn - Barbra Streisand 00h 58'28" In another life - Melissa Errico 01h 02'07" Secret places - Kiri Te Kanawa 01h 05'32" On my way to you - Barbra Streisand 01h 09'12" I was born in love with you - Melissa Errico 01h 13'44" Comme elle est long a morir ma jeunesse - Kiri Te Kanawa 01h 15'38" Ask yourself why - Barbra Streisand 01h 19'30" You must believe in spring - Melissa Errico 01h 24'16" A rose in the snow - Kiri Te Kanawa 01h 27'34" Something new in my life - Barbra Streisand 01h 31'31" Celui-là - Melissa Errico 01h 34'16" One day - Kiri Te Kanawa 01h 37'06" After the rain - Barbra Streisand 01h 40'42" Blue, green, grey and gone - Kiri Te Kanawa 01h 44'24" If there were no dreams - Neil Diamond 01h 47'42" Never say never again - Lani Hall 01h 50'40" Nobody knows - Bill Medley 01h 53'44" A place in Paris - Matt Monro 01h 56'11" La trentaine - Michel Legrand 01h 59'40" How do you keep the music playing?- James Ingram & Patty Austin 02h 03'40" One more moment - Guy Thomas 02h 06'05" Une chanson d'amour - Sophie Della 02h 10'24" Love makes the change - Ray Charles 02h 14'43" Un peu du ciel - Réjane Perry 02h 19'48" Pretty Polly - Matt Monro 02h 22'03" Et si demain - Michel Legrand & Nana Moskouri 02h 24'43" Happy - Michael Jackson 02h 28'01" Vivre - Michel Legrand & Nana Moskouri Solo me queda recordaros que si queréis suscribiros GRATUITAMENTE al canal de Love4musicals podéis hacerlo pinchando en los siguientes enlaces de ivoox o itunes para recibir notificación cada vez que publiquemos un nuevo programa.

Michel Legrand estudió música en el Conservatorio de París graduándose con las máximas notas como compositor y pianista. Trabajó en Estados Unidos con gente de la talla de Miles Davis o Stan Getz. Su salto a la fama le llegó con la película de Jacques Demy “Los paraguas de Cherburgo” en el que todos los diálogos eran cantados. Aunque compuso más de 200 bandas sonoras para el cine con las que ganaría tres Oscar ,en esta playlist daremos un repaso a sus canciones para películas como “El caso Thomas Crown” (1968, Norman Jewison), “Verano del 42” (1971, Robert Mulligan), “Con los ojos cerrados” (1969, Richard Brooks), “La piscina” (1969, Jacques Deray), “Cumbres borrascosas” (1970, Robert Fuest), "El ocaso de una estrella" (1972, Sidney J. Furie), "Amigos muy íntimos (1982, Norman Jewison) o “Primavera en otoño” (1973, Clint Eastwood). En los primeros 100 minutos hemos alternado temas cantados por tres magníficas voces femeninas que trabajaron muy estrechamente con Legrand: Barbra Streisand, Melissa Errico y Kiri Te Kanawa. La segunda parte de la playlist incluye temas suyos interpretados por solistas como Sarah Vaugham, Jessye Norman, Regine Velasquez, Ray Charles, Neil Diamond, Nana Moskouri o Matt Monro, entre otros. Espero os guste. 00h 00'00" Presentación 00h 01'42" Cabecera 00h 02'18" Pieces of dreams - Barbra Streisand 00h 05'40" His eyes, her eyes - Melissa Errico 00h 11'40" I will say goodbye - Kiri Te Kanawa 00h 14'41" What are you doing the rest of your life - Barbra Streisand 00h 17'56" Dis moi - Melissa Errico 00h 20'48" Summer me, Winter me - Kiri Te Kanawa 00h 23'39" Between yesterday and tomorrow - Barbra Streisand 00h 27'08" The windmills of your mind - Melissa Errico 00h 32'09" Breezy’s song - Kiri Te Kanawa 00h 35'24" The summer knows - Barbra Streisand 00h 38'59" Maybe someone dreamed us - Melissa Errico 00h 43'08" Magic - Kiri Te Kanawa 00h 46'14" Once upon a summertime - Barbra Streisand 00h 49'41" Martina - Melissa Errico 00h 52'15" One at a time - Kiri Te Kanawa 00h 56'02" Love and learn - Barbra Streisand 00h 58'28" In another life - Melissa Errico 01h 02'07" Secret places - Kiri Te Kanawa 01h 05'32" On my way to you - Barbra Streisand 01h 09'12" I was born in love with you - Melissa Errico 01h 13'44" Comme elle est long a morir ma jeunesse - Kiri Te Kanawa 01h 15'38" Ask yourself why - Barbra Streisand 01h 19'30" You must believe in spring - Melissa Errico 01h 24'16" A rose in the snow - Kiri Te Kanawa 01h 27'34" Something new in my life - Barbra Streisand 01h 31'31" Celui-là - Melissa Errico 01h 34'16" One day - Kiri Te Kanawa 01h 37'06" After the rain - Barbra Streisand 01h 40'42" Blue, green, grey and gone - Kiri Te Kanawa 01h 44'24" If there were no dreams - Neil Diamond 01h 47'42" Never say never again - Lani Hall 01h 50'40" Nobody knows - Bill Medley 01h 53'44" A place in Paris - Matt Monro 01h 56'11" La trentaine - Michel Legrand 01h 59'40" How do you keep the music playing?- James Ingram & Patty Austin 02h 03'40" One more moment - Guy Thomas 02h 06'05" Une chanson d'amour - Sophie Della 02h 10'24" Love makes the change - Ray Charles 02h 14'43" Un peu du ciel - Réjane Perry 02h 19'48" Pretty Polly - Matt Monro 02h 22'03" Et si demain - Michel Legrand & Nana Moskouri 02h 24'43" Happy - Michael Jackson 02h 28'01" Vivre - Michel Legrand & Nana Moskouri Solo me queda recordaros que si queréis suscribiros GRATUITAMENTE al canal de Love4musicals podéis hacerlo pinchando en los siguientes enlaces de ivoox o itunes para recibir notificación cada vez que publiquemos un nuevo programa.

PLEASE DOWNLOAD and listen at your leisure. Canadian Saul Pincus joins us to discuss filmmaking, roles of Directors/Editors around music and of course, some of his favorite scores. He is an accomplished director and editor having worked on numerous projects. He also collaborated with Directing legend Sidney J Furie on several projects. We have a wide ranging discussion on many aspects of filmmaking in addition to some great music from the golden age to present day. He's also produced several documentaries for Film Score Monthly so you know he knows his stuff! 

Sur le Billard cette semaine Grâce aux généreux tipeurs qui nous ont permis l'achat de matériel d'enregistrement, et au poto Corentin M, qui à nous prêté le sien afin de respecter le #Restezchezvous, nous sommes en mesure de continuer nos émissions dans une qualité technique pas trop dégueulasse. Cette semaine, petite émission confinée en forme de galop d'essai pour tenter de surmonter quelques écueils techniques et notamment la connexion moyenâgeuse de l'un des membres de cette émission. On y cause de nous, de Cinéma à l'ère du confinement mais aussi des productions BlumHouse, The Hunt de Craig Zobel et The Invisible Man de Leigh Whannell (avec un détour par L'Emprise de Sidney J. Furie) Et vivement le retour de la radio non confinée!

In the summer of 1974, Dr. Barry Taff, a now a renowned parapsychologist, was working as a research associate in UCLA's parapsychology laboratory. He and an associate, Kerry Gaynor, were overheard discussing the paranormal in a local bookstore by woman in her mid-thirties, and she approached them with a story about her house being haunted. She didn’t give them many details, but invited them to visit the home for themselves: a small bungalow located in Culver City, California. The woman was Doris Bither, and it wasn’t until after Taff and Gaynor arrived at the house that they got the full story from Doris about the nature of these paranormal occurrences: since moving into the house, on almost a nightly basis, Doris was being violently attacked and raped by three nameless, shapeless, entities. In 1982, her story was adapted by Frank De Felitta into the film 'THE ENTITY', directed by Sidney J. Furie and starring Barbara Hershey and Ron Silver. NOTE: This episode was originally created for our Patreon listeners as an exclusive, but since the show is on hiatus we thought it would be a great way to give something new to most of you! We may have references to news events that are now far in the past. Our style for these former Patreon episodes is a little different than our regular ones, but we hope you enjoy the show! Stay tuned for more of these types of episodes in the near future. Based on a True Crime is a podcast where Chelsea’s love of true crime and David’s love of horror movies intersect. Each week we will be discussing murders and/or mysteries, along with the pop culture they have spawned. Find us on our website and on Instagram @basedonatruecrime, Twitter @truecrimebased and Facebook @basedonatruecrime. LAB CREATURE is our indie art business where we focus on cats, monsters and spooky stuff. Follow us on Instagram @labcreature or shop online at https://labcreature.com/shop. Our podcast theme and supporting music was composed and performed by Nico Vettese of We Talk of Dreams, who can be found on Twitter (@wetalkofdreams), their website and on Instagram (@wetalkofdreams)! Learn more about your ad choices. Visit megaphone.fm/adchoices

I'm your host Darrell Taylor and joining me this episode is comic creator Ibrahim Moustafa to discuss the the fourth and final film in the original Superman film series.Superman IV: The Quest for Peace directed by Sidney J. Furie, starring Christopher Reeve, Gene Hackman and Margot Kidder. Follow us on twitter @stars_podcast and or join our facebook group This podcast is part of the TaylorNetwork which is a home to many great podcasts all available on taylornetwork feed on Spotify, Itunes, stitcher radio and also google play

I'm your host Darrell Taylor and joining me this episode is comic creator Ibrahim Moustafa to discuss the the fourth and final film in the original Superman film series.Superman IV: The Quest for Peace directed by Sidney J. Furie, starring Christopher Reeve, Gene Hackman and Margot Kidder. Follow us on twitter @stars_podcast and or join our facebook group This podcast is part of the TaylorNetwork which is a home to many great podcasts all available on taylornetwork feed on Spotify, Itunes, stitcher radio and also google play

Problematizamos la representación vaga de la violencia de genero en el mundo audiovisual pero tambien rescatamos algunas peliculas con el abordaje sensible que amerita el tema. The Tale (2018)-Jennifer Fox Revenge (2017)-Coralie Fargeat The Entity (1982)-Sidney J. Furie

In which Matt and Gavin discuss Cliff Richard’s 1961 movie “The Young Ones”Email: bpmoaca@gmail.comFacebook: https://www.facebook.com/BPMOACA/Twitter: https://twitter.com/bpmoacaLinks:Episode 1 - The Young Ones Spotify Playlist The Young Ones (1961) on DVD…or if you can find it, this triple-DVD pack with “Summer Holiday” and “Wonderful Life” which features commentaries from directors Sidney J Furie & Peter YatesCliff Richard – Desert Island Discs (1960) - Cliff discusses his career thus far and his upcoming starring movie roleOn the set of The Young Ones (raw footage) David Frost pays “tribute” to Norrie Paramor (TW3 1962, begins at 13’30”)The Ipcress File (Opening Sequence (1965))Harry Enfield parodies Cliff movies in "Keep Your Hair On, Daddio" (Norbert Smith: A Life (1989))We played: "Got a Funny Feeling" (Welch/Marvin)Films/TV Referenced:The Curse Of Frankenstein (1957)April Love (Trailer (1958))No Trees in the Street (1959)Bottoms Up! (1960)A Kind of Loving (1962)The Boys (1962)Danger By My Side (1962)The Servant (1963)Bye Bye Birdie (1963)The Party's Over (1963/5)The Ipcress File (1965) – Full MovieCurse of the Fly (1965)Doctor Who – “The Massacre” (1966)Island of Terror (1966)Brides of Fu Man Chu (1966)Funny Girl (1968)Oh! What a Lovely War (1969)The Owl And The Pussycat (1970)Play It Again, Sam (1972)The Sunshine Boys (1975)Funny Lady (1975)The Seven-Per-Cent Solution (1976)The Goodbye Girl (1977)California Suite (1978)Pennies From Heaven (1980)Footloose (1984)The Secret of My Success (1987)Steel Magnolias (1989)Boys on the Side (1995) See acast.com/privacy for privacy and opt-out information.

Regisseur-Podcaster-Autor Dominik Starck hat es sich nicht leicht gemacht mit der Filmauswahl, die er zum #beepodcast mitbringt. Und so spreche ich mit dem klugen Kopf gleich über Filme zweier oft zu Unrecht übersehenen Regiekoryphäen. Dabei fällt es uns nicht schwer, die Vorzüge von John Frankenheimers letztem großen Kinohit Ronin (1998) über den grünen Klee zu loben. Superman IV - Die Welt am Abgrund (1987) von Sidney J. Furie macht es uns deutlich schwerer, eine Lanze für das ungeliebte Stiefkind des DC-Kosmos zu finden. Dabei ist die knackig-kurios-konfuse Comicverfilmung à la Cannon Films keinesfalls ein schlechter Film sondern ein bestenfalls ambitioniertes Scheitern in himmlischen Höhen. Finden wir zumindest und verlieren so manch emotional aufgeladenes Wort darüber.

Although he had claimed to be done putting on the red cape after SUPERMAN III, Reeve is lured back to make a fourth entry with a different studio from an idea he had written himself to bring back the series to respectability.  Alas, it didn't quite work out that way in the end. Superman makes a decision to meddle in Earth's affairs by getting rid of all of the nuclear missiles, but Lex Luthor has his own super-powered being to take the Man of Steel down before he interrupts the business of war that Lex relies upon for his riches. In addition to Reeve, Margot Kidder returns to a sizable role, and Gene Hackman returns to the series as Luthor.  Where did it all go so wrong when so much seems so right?  Vince takes a closer examination on this episode.

This week, we trace the evolution of black American cinema from blaxploitation in the 1970s to what we’re calling "blaxplaining" in 2018. While blaxploitation sought to showcase black actors in dramatic, action-packed films, today’s blaxplaining centers on the challenges of being black in America. We examine three films — "The Hate U Give," "Blindspotting" and "Sorry to Bother You" — and ask if they accurately depict aspects of contemporary black life, or instead merely seek to make some black experiences more palatable to white audiences.Discussed this week:"The Hate U Give" (directed by George Tillman Jr., 2018)"Blindspotting" (directed by Carlos López Estrada, 2018) "Sorry to Bother You" (directed by Boots Riley, 2018)"Coffy" (directed by Jack Hill, 1973)"Slaves" (directed by Herbert Biberman, 1969)"Sweet Sweetback’s Baadasssss Song" (directed by Melvin Van Peebles, 1971)"The Devil Finds Work" (by James Baldwin, 1976)"Lady Sings the Blues" (directed by Sidney J. Furie, 1972)"Mandingo" (directed by Richard Fleischer, 1975)"Jaws" (directed by Steven Spielberg, 1975)"Hammer" (directed by Bruce Clark, 1972)"Truck Turner" (directed by Jonathan Kaplan, 1974)"Shaft" (directed by Gordon Parks, 1971)"Blacula" (directed by William Crain, 1972)"Proud Mary" (directed by Babak Najafi, 2018)"The Equalizer 2" (directed by Antoine Fuqua, 2018)"White Fragility: Why It's So Hard for White People to Talk About Racism" (Robin DiAngelo, Beacon Press, 2018)"Super Fly" (directed by Gordon Parks Jr., 1972)"Dr. Black, Mr. Hyde" (Directed by William Crain, 1976)"Cotton Comes to Harlem" (Directed by Ossie Davis, 1970)"Mahogany" (Directed by Berry Gordy, 1975)"Dancing in the Moonlight" (Still Processing, 2016)

On the surface, Brad Bird’s new animated family adventure INCREDIBLES 2 wouldn’t seem to have a lot in common with Guy Hamilton’s swingin’ 1964 James Bond entry GOLDFINGER, but superhero films and spy movies are actually pretty closely thematically related, as we discover in our comparison of the two films. After discussing our reactions to INCREDIBLES 2, a follow-up to what one of us calls “a perfect movie,” we look at how these two very different versions of 1960s heroism compare in their evolution (and establishment) of familiar tropes, in their respective wish-fulfillment fantasies, and in how they handle extraordinary individuals with a license to kill. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar. Please share your comments, thoughts, and questions about GOLDFINGER, INCREDIBLES 2, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Show Notes Your Next Picture Show: • Scott: The Science Behind Pixar exhibit  • Tasha: David Lynch and Kristine McKenna’s ROOM TO DREAM • Keith: Sidney J. Furie’s THE IPCRESS FILE Outro Music: Michael Giacchino, “Pow! Pow! Pow! - Mr. Incredible’s Theme” Learn more about your ad choices. Visit megaphone.fm/adchoices

We got a special episode of Video Vampires here as we team up with Curt Sandvig, host of Paranormal Almanac, to tackle the controversial 1982 film The Entity starring Barbara Hershey. Did it really happen? Is this fact or fiction? Check out this episode for the gang's take on the Sidney J Furie film and then check out Paranormal Almanac to hear about the supposed true story that The Entity is based on.

Popcorn Talk Network proudly presents a vodcast that offers a glimpse into the movies we love to watch with breakdown and analysis of the movies some might call… a "Guilty Movie Pleasure." Join us each week as Ben Begley and Jesse McIntosh breakdown your favorite films, ranging from the classics to the unknown hidden pile of gems; it’s all here under one banner… GUILTY MOVIE PLEASURES! This week, Ben and Jesse riff off of Superman 4: The Quest for Peace! Superman IV: The Quest for Peace is a 1987 American superhero film directed by Sidney J. Furie, based on the DC Comicscharacter Superman. It is the fourth and final film in the original Superman film series, and the first film in that series not to be produced by Alexander and Ilya Salkind, but rather by Golan-Globus' Cannon Films, in association with Warner Bros. Gene Hackman returned as Lex Luthor, who creates an evil solar-powered version of Superman called Nuclear Man. Superman IV was both a c --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

El Calabozo recupera "El Ente", uno de esos pequeños grandes clásicos del horror que aprovechándose de la moda del "inspirado en hechos reales" dramatizaba en pantalla uno de los fenómenos paranormales más conocidos de la historia oculta norteamericana. Doris Bither (Carla Moran en la ficción) era una mujer que acudió a la ciencia para poder encontrar explicación a los repentinos ataques sexuales que sufría cada noche provenientes de un aparente ente sobrenatural. Dirigida por el todoterreno Sidney J. Furie, y protagonizada por una sensacional Barbara Hershey, "El Ente" supone en estos días un pequeño clásico del género que a pesar de su calidad cinematográfica ha estado siempre un escalón por debajo, en lo que a popularidad se refiere, de otras leyendas fílmicas del horror. Repitiendo el modelo de programa presencial, el Reverendo estará acompañado de Miguel Ángel Muñiz, repasando de paso todo lo que se conoce a día de hoy del aparente caso real en el que la película se inspira. ¡Disfruten camaradas del culto!

The Muscle Cult returns for another week of action with their most rage-fueled episode ever! This week the boys cover a double dose of Rage with the Lorenzo Llamas, Gary Busey and Roy Scheider DTV action classic Rage from 1997, directed by Sidney J Furie and the PM Entertainment, Gary Daniels vehicle Rage from 1995, directed by Joseph Merhi. WITH ALL THE RAGE AND FURY PUMPIN' THROUGH THIS EPISODE WE DARE YOU TO TRY AND STOP YOUR HEAD VEINS FROM BURSTING!!!! E-mail: cultofmuscle@gmail.com tumblr: cultofmuscle.tumblr.com Facebook: facebook.com/groups/cultofmuscle Merch: Redbubble.com/people/cultofmuscle/shop   LIFTAGE: 0:00:0 - 0:56:00 The Rage: 0:57:00 - 1:34:30 Rage: 1:36:00 - 2:12:00 Feedback: 2:12:00 - END  

On the latest episode of the Talkhouse Film Podcast, to mark the release of Dolph Lundgren's latest movie, Mike Mendez's B-horror Don't Kill It, regular Talkhouse Film contributor Joe Lynch, also the director of Everly and the forthcoming Mayhem, talks with the iconic action star. Among the topics the two discuss, aside from Mendez's film, include: Lundgren modeling his career on Clint Eastwood, his move into writing and directing, what he's learned from directors as diverse Sidney J. Furie and Sylvester Stallone, why it's worse to be chased by a 50-year-old guy with a shotgun than a 20-year-old with a shotgun, the political incorrectness of movie violence, the "Harvey Keitel penis genre," and much more. For more filmmakers talking film and TV, visit Talkhouse Film at talkhouse.com/film.

Special Guests: Joan Micklin Silver, John Heard,Amy Robinson, Griffin Dunne, Mark Metcalf Guest Co-Hosts: Daniel Kremer, Bill AckermanIn Joan Micklin Silver's Chilly Scenes of Winter (1979) John Heard plays Charles, a lovelorn man who pines for Laura (Mary Beth Hurt), who's taking a break from her relationship with Ox (Mark Metcalf).Produced by Metcalf, Amy Robinson, and Griffin Dunne, the film was initially released as Head Over Heels with a ridiculous advertising campaign that didn't capture the true spirit of the movie. Fortunately, the film was given another chance with a new ending and its proper title.Bill Ackerman and Daniel Kremer (who's writing a book about Joan Micklin Silver) join Mike to discuss the film, which is finally getting a proper Blu-Ray release.Buy Chilly Scenes of Winter on Blu-RayBuy Chilly Scenes of Winter by Ann BeatieBuy Sidney J. Furie: Life and Films by Daniel Kremer 

Special Guests: Jerry Schatzberg, Barry PrimusGuest Co-Hosts: Bill Ackerman, Daniel KremerJerry Schatzberg's Puzzle of a Downfall Child (1970) stars Faye Dunaway as Lou Andreas Sand, a model who has been used up and discarded by the fashion industry. Her former photographer and lover, Aaron (Barry Primus) interviews Lou, allowing screenwriter Carole Eastman to take the audience back and forth in a fracture time structure, allowing us to see the pieces of the puzzle that is Lou.Bill Ackerman and Daniel Kremer join Mike to discuss this fascinating and difficult-to-find film.Buy Puzzle of a Downfall Child on DVD (PAL, Reg.2)Visit the official Jerry Schatzberg websiteBuy Looking for Gatsby by Faye DunawayBuy Sidney J. Furie: Life and Films by Daniel KremerListen to Supporting Characters from Bill Ackerman

Time for MMIS to go back to both the "Fourth Movie Of a Franchise" and the "Young Jon Realizes a Movie Can Be Terrible" wells for 1987's Superman IV: The Quest For Peace, which officially stomped the life out of the once mighty Christopher Reeve Superman series. Jon is considering taking a speeding bullet. Ali is thinking of leaping in front of a locomotive. Have both of them discovered their respective Kryptonites? Superman IV: The Quest To Destroy the Superman Legacy was directed by Sidney J. Furie, and stars basically everyone from the original Superman movie but Otis and Miss Tessmacher (lucky them). It also stars Zoë Wanamaker's dad and Ernest Hemingway's granddaughter.

Christopher Reeve and Gene Hackman have a day out at Milton Keynes Train Station in Sidney J. Furie's SUPERMAN IV: THE QUEST FOR PEACE. Margot Kidder tries to keep it together (herself, not her performance) whilst everyone else tries to work around endless padding and numerous budget cuts in this Poundland entry of the Superman saga. But does this Cannon Films blockbuster deserve all its bad press or is it ready to be tossed into the sun? Gareth and Andy find out...

The boys breathe a sigh of relief as the era of the Christopher Reeve Superman franchise comes to a close. Cannon Group's Superman IV: The Quest For Peace (as it would be unfair to assign the blame to director Sidney J. Furie) sees a massive decline in quality, but has far more redeeming features than most remember. To say that this film falls short would be an understatement, and to cut it slack would be a sin, but the nail in the franchise's coffin may not be quite as bad as the world remembers.Also on this episode: Allen barely remember's the John Candy film Delirious, but tries to explain it anyway; Steven doesn't mention wrestling once.Email: FourColorFilm@gmail.comFacebook: http://www.facebook.com/fourcolorfilmTwitter: @fourcolorfilm 

Based on a book by and adapted by Frank De Felitta, The Entity was directed by Sidney J. Furie and stars Barbara Hershey as Carla Moran, a woman haunted by a malevolent spirit that sexually terrorizes her.Learn more about your ad choices. Visit megaphone.fm/adchoices

Based on a book by and adapted by Frank De Felitta, The Entity was directed by Sidney J. Furie and stars Barbara Hershey as Carla Moran, a woman haunted by a malevolent spirit that sexually terrorizes her.

EPLA #11. Guests: @Kev44600 et @wildgunslinger. Au programme: Looker de Michael Crichton, The entity (L'emprise) de Sidney J. Furie Class 1984 de Mark Lester.

EPLA #11. Guests: @Kev44600 et @wildgunslinger. Au programme: Looker de Michael Crichton, The entity (L'emprise) de Sidney J. Furie Class 1984 de Mark Lester.

We're looking at the 1973 action film HIT! from director Sidney J. Furie. The film stars Billy Dee Williams as federal agent Nick Allen. When Nick's sister takes a hot shot, he goes on the warpath for the people that put the smack on the streets. Rather than dealing with two bit hustlers and thugs, Nick takes it all the way to the source, making a real French Connection with a group of drug kingpins in Marseilles.Learn more about your ad choices. Visit megaphone.fm/adchoices

We're looking at the 1973 action film HIT! from director Sidney J. Furie. The film stars Billy Dee Williams as federal agent Nick Allen. When Nick's sister takes a hot shot, he goes on the warpath for the people that put the smack on the streets. Rather than dealing with two bit hustlers and thugs, Nick takes it all the way to the source, making a real French Connection with a group of drug kingpins in Marseilles.

Terrible Tuesday Movie Night: Episode 18: "Rock My World" On this episode of Terrible Tuesday Movie Night, Dale analyses the 2002 Sidney J. Furie’s Rock My World.When the agency through which they hired the temporary cook and butler for the renters goes bankrupt, the Foxleys are forced to host Global Heresy, young immature American rock stars whose record company has set up this stint as a secret retreat location for them to test their new materials.Staring:Peter O'Toole - Lord FoxleyJoan Plowright - Lady FoxleyAlicia Silverstone - NatJaimz Woolvett - LeoKeram Malicki-Sánchez - FlitChristopher Bolton - CarlLochlyn Munro - DaveTITO SCORE: 7Wrap up:A member of the Geek I/O and Chefwonder Podcast networkschefwondermedia.com/ttmngeek-io.com/ttmnNext Movie: Syrup 

For the episode of Silva & Gold this week, Allan of the Arctic requested we cover a leathery film about questioning one’s sexuality, so we decided to make it a double feature as we are prone to do. First we discuss the 1964 film directed by Sidney J. Furie called The Leather Boys. Then we […] The post Episode 35: Not That There’s Anything Wrong With That appeared first on Silva and Gold.

Radical Ones⚡️It's time to go back to 1992! With a classic comedy movie from Ryan & Robs childhood "Ladybugs" starring Rodney Dangerfield, Jonathan Brandis and Jackée Harry! Before that we get into a quick chat about Queen Latifah always dying in her early film roles!"Ladybugs is a 1992 American sports-comedy film starring Rodney Dangerfield and directed by Sidney J. Furie. Dangerfield plays a Denver businessman who takes over a girls' soccer team that the company he works for sponsors. The film also stars Jackée Harry as his assistant coach, Ilene Graff as his girlfriend, Jonathan Brandis as his girlfriend's son, and Vinessa Shaw as his boss' daughter."⚡️Rob's Instagram: Geekyrob & Rob The Movie Geek/Brunch With The Halliwells!Please Like