Podcast appearances and mentions of Stephen McHattie

RMR 0300: Join your hosts, Chad Robinson, Dustin Melbardis, and Russell Guest for the Retro Movie Roundtable as they revisit 300 (2006) [R] Genre: War, Military, Action, Period Piece, Drama, Sword and Sandal   Gerard Butler            , Lena Headey, Dominic West, David Wenham, Vincent Regan, Michael Fassbender, Tom Wisdom, Andrew Pleavin, Andrew Tiernan, Rodrigo Santoro, Giovani Cimmino, Stephen McHattie,, Greg Kramer, Alex Ivanovici, Kelly Craig, Eli Snyder, Tyler Neitzel, Tim Connolly, Marie-Julie Rivest   Director: Zach Snyder Recorded on 2024-01-15

“You don't need to ask for directions anymore, you're no longer a fish out of water!” - Andrew on Axel's third time in Los Angeles  On this week's episode, the Summer Blockbuster Extravaganza tackles an action comedy sequel that didn't need to exist at all, and no one wanted to make in the first place, Beverly Hills Cop III! What in the hell tone were they shooting for with this movie? How is Axel not blamed for Inspector Todd's death at the hands of Ellis De Wald? Why did they replace Taggart with Hector Elizondo playing a guy who's just Taggart with different facial hair? How is Wonder World still open for business after all the carnage Axel and company carry out on park grounds? And how hilarious and great is this George Lucas cameo? PLUS: What was the Tunnel of Love supposed to represent at the end? Beverly Hills Cop III stars Eddie Murphy, Timothy Carhart, Stephen McHattie, Judge Reinhold, Hector Elizondo, John Saxon, Theresa Randle, Alan Young, Bronson Pinchot, and George Lucas as Disappointed Man; directed by John Landis. Be sure to pick up your tickets for our summer time WORLD WIDE DIGITAL EVENT where we'll be talking all about the action classic SPEED! Head over to Moment dot co slash We Hate Movies and get your tickets now— and don't forget to bundle in your ticket for the Q&A After Party that's going down right after the show that night! Can't make it to the live show? No problem! The show will be available for replay for a full TWO WEEKS after air. So you've got 14 days to check out the show after it happens! Make the WHM Merch Store your one-stop shop for all your We Hate Movies merch-related needs! Including new SHEENPRIL, Night Vision & Too Old For This Shit designs!   Original cover art by Felipe Sobreiro.

In this episode, Dan is still thinking about Ryan Reynolds!? "Pontypool," directed by Bruce McDonald and released in 2008, is a unique and cerebral horror film that reimagines the zombie genre through the lens of linguistic terror. Set in the small town of Pontypool, Ontario, the film takes place almost entirely within the confines of a radio station. Grant Mazzy, played by Stephen McHattie, is a radio DJ who begins his day like any other, only to find himself at the center of a mysterious and horrifying outbreak. As reports of violent and bizarre behavior start to flood in from the outside world, Mazzy and his small team, including producer Sydney Briar and technician Laurel-Ann, struggle to understand the cause and nature of the chaos. The film's tension builds as they realize that the virus is spread through the English language, turning ordinary words into deadly weapons. What sets "Pontypool" apart is its innovative approach to horror, focusing on psychological suspense and the power of communication rather than visual gore and typical zombie tropes. The film's claustrophobic setting and strong performances, particularly by McHattie, create an intense and immersive experience. The concept of a language-based infection is both original and thought-provoking, raising questions about the nature of meaning, communication, and the vulnerabilities of human interaction. "Pontypool" is a standout in the horror genre for its intellectual depth and minimalistic style, proving that true terror can emerge from the most unexpected and mundane aspects of daily life. Instagram: @aahfterhorrorpodcastTwitter: @aahfterhorrorFacebook: aahfterhorrorpodcastEmail: aafterhorrorpod@outlook.com

Note: This episode originally aired on April 24, 2015. -- This week, YSM tackles the truly bizarre buddy cop/talking dinosaur movie Theodore Rex. Join us as we wonder whether writer/director Jonathan Betuel got an uncredited plot assist from his four-year-old nephew Tommy and whether Theodore Rex is the most annoying 90s “poochie” protagonist we've ever covered. In the near-future, human-sized dinosaurs have been brought back by an eccentric German scientist just to see if he can. Now, the scientist is planning to start another ice age in order to bring in a new society. In the wake of a dino-murder, police officer/publicity stunt diversity hire Theodore Rex is given permission to investigate, along with new partner Katie Coltrane (Goldberg), a tough cop with computer enhancements. Together, they deal with the evil scientist and his henchmen “Edge,” (Stephen McHattie), “Spinner,” (Bud Cort), and “The Toymaker” (Peter Kwong).

Q: What do you get when you cross The Lost Boys with The Craft but make it awful? A: J.S. Cardone and Renny Harlin's The Covenant (2006), which features hot boy witches throwing globs of CGI semen at each other! We have so much to say this nonsense, including its overly complicated mythology and self-serious tone, villainous bisexual king Chase (played by Sebastian Stan), thankless damsels in distress, and addiction/gay allegories (paging Buffy S06). Plus: insects vs spiders, throwing the script supervisor under the bus, and why Stephen McHattie should have had a bigger role! Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners > Trace: @tracedthurman > Joe: @bstolemyremote Be sure to support the boys on Patreon!  Theme Music: Alexander Nakarada  Learn more about your ad choices. Visit megaphone.fm/adchoices

On this show, our specialty is sequels, sequels, and more sequels.  From the good ones, to the bad ones, to the really ugly ones, we'll be covering them all!  We've got homicidal maniacs that won't stay in the grave, sci-fi epics whose stories cannot be told in a single tale, and much much more.  For our 25th episode, we are talking about one of the strangest sequels/remakes/requels in history with "DEADLOCK 2" from 1995, (AKA Wedlock 2, AKA Deadlocked: Escape From Zone 14).  This sequel to the original Wedlock from 1991 starring Rutger Hauer (that we already reviewed for Rutger Hauer Appreciation Month) is cleverly disguised as a sequel...but it's a reamke, or is it a requel? We'll leave it up to you to decide how the hell this got made in the first place. This straight to cable mischief stars Esai Morales, Nia Peeples, and Stephen McHattie. In short, it's about a thief framed for a crime he did not commit and is then sent to a futuristic prison with a bomb strapped around his neck. Sound crazy...because it is. Join our hosts Cameron Scott and Marcus Koch as they dissect and take a deep dive into a future that only belongs to those who can survive it.   "Well, it's a six digit code. That means there's about ten million possible combinations."

Day 6: MyKill and Re-Gor tackle the little-known werewolf film “Wolves” (2014) on this episode of Then Is Now's 2023 event, 13 Days of Hallowtober! The movie stars Jason Momoa, Lucas Till, and veteran character actor Stephen McHattie, and is a refreshing direction as it doesn't rely on past films to shape its story. Sadly, because it was 2014, there were no movie ads, just listings, so we posted one that contained the logo, and a press photo from a horrible review. Enjoy! Re-Gor can be found at: http://www.havenpodcasts.com

Jacqueline Castel is a film director. Her collaborators have included Jim Jarmusch, David Lynch, and Zola Jesus. She recently released her first first feature film - My Animal - starring Bobbi Salvor Menuez, Amandla Stenberg and Stephen McHattie. It was released on September 8th. Lance Henriksen is an icon in the world of genre film. Fans know him best as Bishop in the Alien franchise. He has also appeared as Frank in both The X-Files and Millennium. He co-stars in the new film On Fire, which comes out on September 29th. --- Send in a voice message: https://podcasters.spotify.com/pod/show/dan-mcpeake/message

On the devilish 666th episode of the show, the guys are wrapping up Listener Request Month chatting about the absolutely horrendous witchcraft-centric teen action movie, The Covenant! How did they not have a single scene of this paranormal high school movie set in the school's lunch room? What are the parameters of these guys' witch powers? What is with this energy suck idea? And how awful is that Harry Potter joke? PLUS: Tune in to these incredible new TLC reality shows, DILF Den and Mint Swap! The Covenant stars Steven Strait, Laura Ramsey, Sebastian Stan, Chase Crawford, Toby Hemingway, Jessica Lucas, Kyle Schmid, Wendy Crewson, Stephen McHattie, Kenneth Walsh, and Taylor Kitsch as Pogue Parry; directed by Renny Harlin. Tickets on sale now for our upcoming spring and summer shows, including the just-announced VIRTUAL LIVE SHOW all about Peter Jackson's King Kong happening on 4/20! Check out the WHM Merch Store featuring new Grab-Ass & Cancer, SW Crispy Critters, MINGO! & WHAT IF Donna? designs!This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/whm and get on your way to being your best self.Advertise on We Hate Movies via Gumball.fmUnlock Exclusive Content!: http://www.patreon.com/wehatemoviesSee omnystudio.com/listener for privacy information.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

 DownloadWelcome to episode 299 of LOTC. This week the crew is joined by a guest that everyone who has listened to the show knows as a verb, noun, pronoun, adjective and so many other things, its the bensch himself Greg Bensch. Greg is a long time listener and supporter of the show as well as a regular caller that has caused a world wide phenomena, YOU GOT BENSCHED. We love Greg and we are so proud to have him join us for this weeks show. So what is the theme this week? Greg came up with the theme Road Trip or Travel horror. Those movies that involve a road trip and possibly travel that turns horrific or wrong. With the holidays coming up, road trips are very common, so what better theme then a whole show dedicated to those type movies. The Crew tackle a total of five feature film reviews as well as numerous recommendations from YOU the listeners. While you listen to this show we hope that you will get your pens and pencils out to right down any and all recommendations mentioned. Sit back, turn up the volume and take a journey with the crew through the Land Of The Creeps. Below will be links to the hosts as well as Breg Bensch. Also links for the creators of the music at the beginning and end of the episode. We also have links for the LOTC adopted band Lespecial. Check out any and all of these links. We also have our ratings for the movies featured in our reviews. Links will be up for purchases via Amazon or any other site for your convenience. Also if you LOVE the podcast and would like to have some of the LOTC swag, link to the store is on the side bar. We would love your support as well as know that there are a large family wearing our gear. HELP KEEP HORROR ALIVEMOVIE REVIEWS :DEATH VALLEY 1982Run Time : 1hr 27 min. Directed By : Dick RichardsStarring : Paul Le Mat, Catherine Hicks, Stephen McHattie and Peter BillingsleyRatings : Greg Bensch : 7Bill : 6.5Pearl : 7GregaMortis : 7.5Purchase Amazon Blu-RayDEAD END 2003Run Time : 1hr 27 min.Directed By : Jean-Baptiste Andrea & Fabrice CanepaStarring : Ray Wise, Lin Shaye, Mick CainRatings :Dave : 8Bill : 7.5Greg Bensch : 6Pearl : 8GregaMortis : 7.5Purchase Amazon DVDFEEDERS 1996Run Time : 1 hr 9 min.Directed By : Jon McBride, John Polonia, Mark PoloniaStarring : Jon McBride, John Polonia, Sebastian BarranBill : 4Greg Bensch : 3Pearl : .5GregaMortis : 2.5SOUTHBOUND 2015Run Time : 1 hr 29 min.Director : Matt Bettinelli-Olpin, Roxanne Benjamin, Susan BurkeStarring : Chad Villella, Matt Bettinelli-Olpin, Kristina PesicPearl : 8.5Bill : 6.5Greg Bensch : 7Dave : 9GregaMortis : 8.5Purchase Amazon Blu-RayHitch-Hike 1977Run Time : 1 hr 44 min.Director : Pasquale Festa CampanileStarring : Franco Nero, Corinne Clery, David HessGregaMortis : 8.5Dave : 8.5Bill : 7Greg Bensch : 8Pearl : 8.5Purchase Amazon Greg Bensch LinksFaceBookTwitterInstagramLetterboxdLOTC Links :Land Of The Creeps InstagramGregaMortisFacebookTwitterLand Of The Creeps Group PageLand Of The Creeps Fan PageJay Of  The Dead's New Horror Movie PodcastYoutubeInstagramEmailLetterboxdHaddonfield HatchetTwitterLand Of The Creeps TwitterDr. ShockDVD Infatuation TwitterDVD Infatuation WebsiteFacebookHorror Movie PodcastJay Of The Dead's New Horror Movies PodcastYouTube ChannelLetterboxdDVD Infatuation PodcastThe Illustrated Fan PodcastBill Van Veghel LinkFacebookLetterboxdPhantom Galaxy PodcastTwisted Temptress LinkLetterboxdLOTC Hotline Number1-804-569-56821-804-569-LOTCLOTC Intro is provided by Andy Ussery, Below are links to his social mediaEmail:FacebookTwitterOutro music provided by Greg Whitaker Below is Greg's Twitter accountTwitterFacebookLespecial FacebookLespecial Website

This week in honor of Mother's Day, we're discussing the 1976 film Look What's Happened to Rosemary's Baby. This is Episode #368!Look What's Happened to Rosemary's Baby (also known as Rosemary's Baby Part II) is a 1976 American made-for-television horror film and a sequel to Roman Polanski's 1968 film Rosemary's Baby starring Stephen McHattie, Oscar-Winning Actor Patty Duke, George Maharis, Oscar-Winning Actor Ruth Gordon, Oscar-Winning Actor Broderick Crawford, and Oscar-Winning Actor Ray Milland. The film premiered as the ABC Friday Night Movie on October 29, 1976.

EPISODE 75 – SHOOT ‘EM UP This week, Brian's prediction sadly doesn't come true; Ashley has a series of breakdowns; Chris is anti-baby; and Brandon questions a brothel's financial viability. BTW: Is this a Detective Crashmore prequel? Starring: Clive Owen, Paul Giamatti, Monica Bellucci, Stephen McHattie, Daniel Pilon, and tons of guns Directed by Michael Davis FOLLOW US:Patreon (https://www.patreon.com/trashwatch)Instagram (@trashwatchpodcast)Twitter (@trashwatchcast)TikTok (@trashwatchpodcast)Facebook (https://www.facebook.com/trashwatchpodcast/)Email (trashwatchpodcast@gmail.com)Listen to Brian's music at (https://www.brianhorne.com)Support the show (https://www.patreon.com/trashwatch)

It's the RETURN of YOU DON'T KNOW DICK, the world's greatest Dick Miller-themed podcast! On this episode we're joined by the crew from The New World Pictures Podcast to discuss the slam, bang, smash-em-up chase movie MOVING VIOLATION from 1976, starring Stephen McHattie and Kay Lenz as a couple on the run after witnessing a murder by a local sheriff. We discuss our favorite New World films, our love of automobiles and all things DICK MILLER. Check it out!

New episodes broadcast live on Twitch: https://www.twitch.tv/sotdcast On this week's episode the guys discuss the merits of creepypasta with possibly a potential point of origin being Ted's Caving Page. This leads to a number of recommendations that you should all very much check out if you're into creepy tales. Also, Matt is a LARPer and has some great battle stories involving far too much cardio, while Chris peaces out at the first lever in Twilight Princess's Water Temple. There's also some more talk on Resident Evil 7 and it's DLC – too gamey? Perhaps. The main point of discussion is of course, the puzzling yet incredibly satisfying Pontypool. After all gushing over Stephen McHattie's amazing turn as Grant Mazzy, we take a closer look at the events of the movie and what exactly could have been the starting point for the bizarre chaos that grips the small Canadian town. Refrain from using terms of endearment folks, Ken's sunshine chopper rides again! Axton: https://www.twitch.tv/axton10_61 Matticus Finch: https://www.twitch.tv/immatticusfinch Garlips: https://www.twitch.tv/garlips Recorded: 2017/03/12, Remastered: 2022/03/15. Links for stuff we discussed in the podcast: Ted's Caving Page – http://www.angelfire.com/trek/caver/ Candle Cove creepypasta – http://creepypasta.wikia.com/wiki/Candle_Cove Doors creepypasta – http://creepypasta.wikia.com/wiki/Doors Super Great Friend – https://www.youtube.com/user/supergreatfriend

It was Brad's birthday this month, so to celebrate Dem Boys talk about Pontypool for a looooong time. Written by Tony Burgess, directed by Bruce McDonald, and starring one of Brad and Billy's favorites, Stephen McHattie. It's one of their favorite horror movies and they're going to tell you why. And tell you. And tell you.

Shoot 'Em Up is a 2007 American action film written and directed by Michael Davis. It stars Clive Owen, Paul Giamatti, Monica Bellucci, and Stephen McHattie.After saving a newborn infant from assassins, carrot-crunching gunman Mr. Smith (Clive Owen) teams up with a prostitute named DQ (Monica Bellucci) to protect the baby from further attacks. With hit man Hertz (Paul Giamatti) hot on their trail, Smith and DQ uncover a dying senator's plot to harvest bone marrow from babies just like the one in their arms.

OT: COME TO DADDY | Land & Jahr: CAN, IRL, NZL, USA, 2019 | R: Ant Timpson | S: Elijah Wood, Stephen McHattie u.a. | Freigabe: FSK 18 | Laufzeit: ca. 95 min | VÖ: bereits erschienen Am 27. August ist der US-Kinostart des Films NO MAN OF GOD angesetzt. In dem Film spielt Elijah Wood einen FBI-Agenten, der Ted Bundy kurz vor dessen Hinrichtung noch einmal interviewn durfte. Ein deutscher Starttermin steht zwar noch aus, aber ich nehme den US-Kinostart von NO MAN OF GOD zum Anlass, um eine Review zu einem anderen, ebenfalls sehr interessanten Film mit Elijah Wood in der Hauptrolle zu veröffentlichen. In dem Horror-Thriller COME TO DADDY spielt Elijah Wood den jungen Hipster Norval, der seinen Vater besucht, den er im Grunde gar nicht wirklich kennt. Norvals Vater wohnt abgeschieden hinter einem Wald, direkt an einem idyllischen Strand. Das Kennenlernen könnte so schön sein, wäre da nicht die Tatsache, dass sich Norvals Vater ziemlich merkwürdig verhält und die Situation bald zu eskalieren droht. Wie mir Ant Timpsons Langfilm-Debüt COME TO DADDY gefallen hat und warum ich es schade finde, dass einige Schauspieler:innen immer wieder auf eine Paraderolle reduziert werden, erfahrt ihr in meiner Review. Weitere Reviews sind hier zu finden: https://wordspersecond.com/category/alle-texte/reviews/ Review zu FABIAN ODER DER GANG VOR DIE HUNDE: https://wordspersecond.com/2021/08/13/fabian-oder-der-gang-vor-die-hunde/ Social Media: www.instagram.com/wordspersecond/ https://letterboxd.com/wordspersecond/ www.moviepilot.de/users/wordspersecond Musik: Paul Dischmann / Gollan www.instagram.com/gollanmusic/ www.youtube.com/channel/UC5_fz9WR25vpmvpxYjeqdbA Für Interessierte - Link zum Soundtrack von COME TO DADDY: https://mondotees.bandcamp.com/album/come-to-daddy Bildquelle: Come To Daddy Filmposter / splendid film GmbH

In this exciting edition of “Freaky Fridays” with Bearded B-Roll, we're spiking hard on our weird-o-meter as we tackle Ant Timpson's, wonderfully off-beat comedy-thriller, Come to Daddy (2019) starring Elijah Wood and Stephen McHattie. As always, SPOILER ALERTS are in full effect. So, stop what you're doing, put down your poop pen, drop your limited edition Lorde phone and grab a 10-pound dumbbell, as we attempt to make sense of the nonsensical and analyze the absolute eff out of this fun and freaky midnight movie!!! Make sure to follow us on Twitter and Instagram @beardedbroll And feel free to email us with episode suggestions at beardedbroll@gmail.com Also, check out all Bearded B-Roll merch at beardedbroll.com Music and SFX credit to freesfx.com & Twisterium from Pixabay Learn more about your ad choices. Visit megaphone.fm/adchoices

Flesh Wound Horror Ladies Night is here, as your favorite fiends are joined by special guests Creepy Girl Melissa, and Jami of RegionFree & Jamis Heart. On this episode we break down the 2008 Stephen Mchattie horror film, PONTYPOOL, and get to know the ladies. Support us for exclusive and uncensored content at patreon.com/fleshwoundfeatures, check out fleshwoundfeatures.com, https://twitter.com/FleshWoundRadio, join the Horror Cartel Flesh Wound Radio Facebook group, and like the Flesh Wound Features FB page. https://www.youtube.com/watch?v=vk4c7lT8hhc  

This week, only a few months late, we explore the works of Stephen McHattie and Bruce McDonald, a dark speaking horror flick, "Pontypool", and what may or may not be a spiritual sequel, "Dreamland".

Beverly Hills Cop III (1994) Directed by: John Landis Starring: Eddie Murphy, Judge Reinhold, Héctor Elizondo, Theresa Randle, Timothy Carhart, John Saxon, Alan Young, Stephen McHattie, and Bronson Pinchot Genre: Action/Comedy

Bem-vindos ao quarto episódio do Sala de Projeção! O filme em questão é o polêmico e malfadado mother!, escrito e dirigido por Darren Aronofsky, diretor de panflet..., desculpem, filmes como Noé, Réquiem para um Sonho, A Fonte da Vida, Cisne Negro, e daquele filme que deveria ter rendido o Oscar para o Mickey Rourke. Acompanhe a nossa discussão sobre alegorias, cinema militante, gaslighting, juízo final, casamentos em crise, amor sacrificial, entre outros. --- Ficha do Filme: mãe! (mother!), 2017. Direção: Darren Aronofsky. Elenco Jennifer Lawrence, Javier Bardem, Michelle Pfeiffer, Ed Harris, Domhnall Gleeson, Kristen Wiig, Stephen McHattie. EUA. --- Créditos: Música: Bensound.com Edição: Thiago Vergara Musica de crédito ao editor: “Oh Why!” de Little Richard Ilustração: Felipe Sobreiro Logo: Amanda Rocha --- Quer falar sobre o episódio? Nos mande um e-mail - saladeprojecaopodcast@gmail.com Siga a Sala de Projeção nas redes sociais: Instagram | Twitter | Facebook

Way back in February of this crazy year, we went to see, not one but, two films in one week! I never thought I'd miss the days of being on late night transit with drunk pukers *sigh*. Up first is Come to Daddy. Released in 2020, this film was directed by Ant Timpson and stars Elijah Wood and Stephen McHattie. Join us for our rundown on is this twisty twisted tale of one man's attempt to reconnect with his dear old dad. We reveal ALL the spoilers so you might want to watch before listening. Additional topics: How much liquid do harem pants hold? Shanks and shivs Chicken of the sea Enjoy and we'll back soon with part 2: Guns Akimboooooooo!

Directed by Ant TimpsonWritten by Toby HarvardStars Elijah Wood, Stephen McHattie, Martin Donovan and Michael SmileyPremiered at the Tribeca Film Festival April 25, 2019, Released February 7, 2020Rated RRuntime: 1hr 36minRT: 87% critics, 75% audienceA fussy, dorky little man receives a letter from his long lost father seeking to make amends for abandoning the family. He travels to his father's secluded cabin to reconnect with him, but now that he's there his father seems to have forgotten he ever invited him. Plus he's a real asshole. Not that his son is much more palatable himself.We were so pleased with the number of listeners who voted for our next movie we decided to thank you by reviewing the runner-up as well. The Vast of Night is a period piece that wears its Twilight Zone influence on its sleeve. Check it out on Prime and join us in two weeks to discuss.Theme music: "Secret of Tiki Island" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org

Leslie and Alec are back! In today's episode they discuss the 2009 Canadian Zombie film, Pontypool. With traffic updates from Ken Loney, our eye in the sky, can he tell us just what is happening in this unique spin on the zombie genre?When disc jockey Grant Mazzy (Stephen McHattie) reports to his basement radio station in the Canadian town of Pontypool, he thinks it's just another day at work. But when he hears reports of a virus that turns people into zombies, Mazzy barricades himself in the radio booth and tries to figure out a way to warn his listeners about the virus and its unlikely mode of transmission: the English language.married2h@gmail.comhttps://twitter.com/Married2HorrorInstagram @married2horror

We are back with some films from Bruce McDonald director of Pontypool. But first we kick it off by talking about a spooky new app that’s causing some people to find some pretty scary things. Then we kick off our reviews with Hellions (2015) about a girl who is visited by a group of evil kids on halloween. Then we jump into a reunion of the movie Pontypool where Stephen McHattie, Bruce, Tony Burgess & Lisa Houle join again to make a new movie called Dreamland (2020). This one is pretty out there. About an assassin and a trumpet player who try to stop a crime boss play by Henry Rollins. All in this weeks episode of fever dreams. EPISODE LINK www.longlivethevoid.com/episodes/ep192 Time Stamps HORRORSHOTS - 10:12 HELLIONS (2015) Spoiler Free Review - 13:53 HELLIONS Spoilers & Trivia - 26:17 DREAMLAND (2020) Spoiler Free Review - 47:28 DREAMLAND Spoilers & Trivia - 1:00:06 End of Podcast Talk - 1:19:42 So grab your fever dreams, bring some candy and don't forget your black nail as we travel Beyond The Void!

On the night of the strangest episode in podcast history, a grotesque gang boss hires a stone cold killer to bring him the finger of a fading, drug-addicted jazz legend. And then there is a giant shootout at a vampire wedding. On Episode 413 of Trick or Treat Radio we discuss Dreamland, the latest film from Bruce McDonald, director of the amazing Pontypool! We also discuss the best fictional characters named after cities, we discuss some of Joel Schumacher’s finer works, and Ravenshadow finally names his post quarantine party! So grab your enemies pinkie finger, come up with an incident as an excuse and strap on for the world's most dangerous podcast!Stuff we talk about: Morbid Vision Films, welcome to Flavortown, there’s an incident for that, Fetus, eBay’s $$ cut, Morbid Tales, Preacher, Tony F, Boston Brand, Deadman, favorite character named after a city, Stone Cold Steve Boston, Sammy Hagar, Guy Fieri, Buffalo Bill, barrel-butted porn stars, Bill Maher, D.C. Cab, Joel Schumacher, The Lost Boys, Batman Forever, Falling Down, Michael Douglas, Joaquin Phoenix, Peter Stormane, what did the five fingers say to the face?, #releasetheschumachercut, Bossk, Trandoshan, WERNER HERZOG, Batman Returns, Flashpoint, German Impressionistic interpretations, MZ’s favorite Golden Girls episode, Night of the Demons, Human Centipede, the wrestling reckoning, B.K. Kwik, angry Rear Window, Black Widow, MZ calling his cat, Pontypool, Bruce McDonald, Dreamland, Henry Rollins, Stephen McHattie, Juliette Lewis, THE Netflix, THE Tubi, 867-530Tubi, Tommy Tutone, The Evil Dead, Lance Henriksen, Gabriel Byrne, Black Flag, Dudes, human trafficking, vampires out of nowhere, Hausu, Double Impact, Hell Comes to Frogtown, Hellraiser II, Becky, Fight For Your Life, Hellions, Kevin James, Mick Foley, the Blackout Bacchanalia, and The Communist Projectionist. Support us on Patreon: https://www.patreon.com/trickortreatradioSend 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/TheDeaditesTVInstagram: http://instagram.com/TrickorTreatRadioSupport the show (https://www.patreon.com/trickortreatradio)

In this episode legendary actor Stephen McHattie calls into the podcast. Stephen chats it up about his latest flick Dreamland. Which is available now on ...

An aging child’s weekend at a lake house with his girlfriend takes a turn for the worse when a group of podcasters wreaks havoc on their lives. On Episode 412 of Trick or Treat Radio we discuss Becky, the latest film from directors Jonathan Milott and Cary Murnion, the duo behind Cooties and Bushwick! We also discuss the reflection of the times through cinema history, MZ’s dream Transformer, and what to do when you’re bored in a pandemic. So grab your favorite book about a sports mascot, hang out with some friends around a bonfire and make sure to social d and strap on for the world's most dangerous podcast! Stuff we talk about: Birthdays, this is your life MZ, how to transfer VHS to digital, Soul Man, Gone With the Wind, Hattie McDaniel, should art be removed from history for representing a time and place?, C. Thomas Howell, MonsterZero Bedtime Stories, San Diego Chicken, Chef Boyardee, Aunt Jemima, Uncle Bens, Famous Amos Cookies, Blowing Off Some Steam in Lids, going out because you’re bored, racist and insensitive sports teams, Resident Evil 2, HBO Max, Watchmen Series, what’s wrong with gray hair?, MZ gets yelled at, William Regal the Real Man, ridiculous WWF theme songs, Jim Johnston, Proctor, social distancing bonfires, Phillie Phanatic, Police Academy Memes, Becky, Bushwick, Cooties, Jonathan Milott, Cary Murnion, Elijah Wood, MZ’s new laptop, The Kings of Queens, Fisher Price My First Hands, The Big Show, The Truth Commision, The Oddities, ICP, 300, Sluggo, Robert Maillot, Kurrgan, the history of the valknut, Community, Joel McHale, The Lodge, Simon Pegg, Kevin James, size being a factor, Paul Blart, chokeslam, powerbomb, appropriated symbolism, hate symbols or ancient runes?, dog death in films, Lowlife, Raiders of the Lost Ark, P.O. Box, 3 Dev Adam, I Spit on Your Grave, R-Rated Home Alone, Dreamland, Bruce McDonald, Stephen McHattie, Juliette Lewis, Henry Rollins, Transformers, Scrotumus Prime, The Vegan Vanguard, Babu Frik, The Lightsaber Chronicles, Star Wars, Nien Nunb, Darksaber, Aquaslash, and The Monkeemobile.Support us on Patreon: https://www.patreon.com/trickortreatradioSend 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/TheDeaditesTVInstagram: http://instagram.com/TrickorTreatRadioSupport the show (https://www.patreon.com/trickortreatradio)

Yes, believe it or not, there's a sequel to ROSEMARY'S BABY. And we saw it so you don't have to! Support this show http://supporter.acast.com/reelspoilers. See acast.com/privacy for privacy and opt-out information.

This week Liz and Alrik have on indie filmmaker Bruce McDonald to talk about his latest film Dreamland (which hit VOD on Friday, June 5th), starring Stephen McHattie, Henry Rollins and Juliette Lewis!  Some of his other films include Pontypool, Hard Core Logo and the cult classic Roadkill, among many others! We also have three editors on the show as our The Players of the week, including Jill D'Agnenica, Josie Azzam and Kelly Walker!  Listen to this episode now or subscribe to us wherever you find your podcasts: Apple Podcasts, Stitcher, Google Play, Youtube and Spotify.   Where to Find Bruce and The Players of the Week! Watch Dreamland Now! Bruce McDonald on IMDB Jill D'Agnenica's Website Josie Azzam's Website Kelly Walker's Website Contact Liz & Alrik Send us an email You can find Liz Manashil @ www.lizmanashil.com You can find Alrik @ www.alrikbursell.com You can now find MMIH @ mmihpodcast on instagram! Leave a comment on our website Find us on our Facebook Community Page Contact us on Twitter and Facebook      

Just like Seattle's "Chaz" it's chaos around here and weve got another new (but not new) guest host without a warning! David Troutman is here and out from behind the sound desk to talk about a movie staring Elijah Wood and we promise it's not a porno! Come to Daddy is here with it's Coen Brothers vibe, HBO is at it again, and David is giving us the lowdown on what's going on in the YouTubes! (Shownotes) Intro News (~2:00) Ari Aster is making another movie NOOOO (https://www.slashfilm.com/ari-aster-nightmare-comedy/) HBO MAX at it again (https://www.foxnews.com/entertainment/warnermedia-chief-bob-greenblatt-defends-hbo-max-decision-pull-gone-with-the-wind) What's new with you (~18:30) Matt- Queer Eye (https://www.imdb.com/title/tt7259746/), Dorohedoro (https://www.imdb.com/title/tt11147852/?ref_=nv_sr_srsg_0), The Big Flower Fight (https://www.imdb.com/title/tt12200714/?ref_=nv_sr_srsg_0) Blaine- Rick And Morty (https://www.imdb.com/title/tt2861424/?ref_=nv_sr_srsg_0), Jay & Silent Bob Reboot (https://www.imdb.com/title/tt6521876/?ref_=nv_sr_srsg_3) David - Shmee150 (https://www.youtube.com/channel/UCIRgR4iANHI2taJdz8hjwLw), TheStradman (https://www.youtube.com/user/TheStradmanhttps://www.youtube.com/user/TheStradman), Alec Steele (https://www.youtube.com/user/alectheblacksmith) Who should and shouldn't see Come To Daddy (~42:15) Rotten Tomato Score Predictions (~48:00) Spoilers Come To Daddy (https://www.imdb.com/title/tt8816194/?ref_=nv_sr_srsg_0) Review (~51:40) Rotten Tomatoes: Score Reveal and Reactions (~1:31:00) Send off Songs (~1:41:00) Don't Look Back - Kotomi & Ryan Elder, Pixies - Where is my Mind?, Beat The Devil's Tattoo - Black Rebel Motercycle Club Join in and listen to the Critically Aroused send-off song playlist on Spotiy (https://open.spotify.com/playlist/24jYcGOPMTB0Qhj3s5wPNe?si=-TEISBDzQVSC2zhhjCs48Q) Next weeks podcast is currently unknown but we will keep you updated on social media. Instagram @CriticallyAroused (https://www.instagram.com/criticallyaroused/) Twitter @arousedmedia (https://twitter.com/ArousedMedia) Facebook @CriticallyAroused (https://www.facebook.com/CriticallyAroused/) _Credits _ Our beautiful podcast logo come via Aubrey Troutman http://aubreytroutmancreative.com/ Our intro and outro music comes from https://ketsamusic.com/ Special Guest: David Troutman.

Agnieszka Holland is one of the celebrated film directors, both in her native Poland and Internationally. Best well-known to English-speaking audiences for 1993's The Secret Garden, she has received Academy Award nominations for her films Angry Harvest, Europa, Europa and In Darkness. Her new film Mr. Jones tells the story of journalist Gareth Jones who uncovered Soviet atrocities in Ukraine known as Holdomor. Mr. Jones releases digitally June 19th, and on Demand July 3rd. Bruce McDonald is one of cinema's most varied directors. He has helmed such fare as Hardcore Logo, Pontypool, Tracey Fragments, and Weirdos, in addition to directing episodes of several television series (including Canada's national treasure and cultural institution, Degrassi). His latest film, the psychedelic-noir Dreamland, reunites him with actor Stephen McHattie as well as Henry Rollins and Juliette Lewis. It released digitally June 5th. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/dan-mcpeake/message

Fangirl Jessica Dwyer gets to fangirl about actor Stephen McHattie as he interviews him for the upcoming film Dreamland. Following that she talks to the directors of Becky, the movie that shows us a very dark side of actor Kevin James and why you should never underestimate little girls.

In this episode director Bruce McDonald(Pontypool) calls into the podcast. Bruce chats it up about his new flick Dreamland, starring Stephen McHattie, Henry Rollins and ...

This week, the Grue-Crew explores the supernatural with a pair of films where finding your true self can be truly scary. The first film this week, DREAMLAND from director Bruce McDonald, features Stephen McHattie in a pair of roles facing off Juliette Lewis, Henry Rollins, and a vampire. The second film, BECKY from directors Jonathan […]

This week, the Grue-Crew explores the supernatural with a pair of films where finding your true self can be truly scary. The first film this week, DREAMLAND from director Bruce McDonald, features Stephen McHattie in a pair of roles facing off Juliette Lewis, Henry Rollins, and a vampire. The second film, BECKY from directors Jonathan Milott and Cary Murnion, features Kevin James as the villain discovering his match in teenage terror Lulu Wilson. Doc Rotten from Horror News Radio. Jeff Mohr from Decades of Horror: The Classic Era. And Crystal Cleveland, the Livin6Dead6irl from Decades of Horror: 1980s share their thoughts about this week's awesome collection of streaming horror films. Joining the crew this week is Horror News Radio co-host, Dave Dreher! Gruesome Magazine Podcast - Episode 118 DREAMLAND - BECKY DREAMLAND On the night of the strangest wedding in cinema history, a grotesque gang boss hires a stone-cold killer to bring him the finger of a fading, drug-addicted jazz legend. IMDb Director: Bruce McDonald Cast: Juliette Lewis, Stephen McHattie, Henry Rollins Release: Uncork'd Entertainment and Dark Star Pictures will release the horror/crime/thriller DREAMLAND in theaters, On Demand, and Digital on June 5, 2020. BECKY A teenager's weekend at a lake house with her father takes a turn for the worse when a group of convicts wreaks havoc on their lives. IMDb Director: Jonathan Milott, Cary Murnion Cast: Joel McHale, Kevin James, Lulu Wilson Release: Quiver Distribution will release the thriller BECKY On Demand and Digital on June 5, 2020. FEEDBACK: feedback@grueosmemagazine.com FOLLOW: Instagram https://www.instagram.com/gruesomemagazine/ Facebook Group: https://www.facebook.com/groups/HorrorNewsRadioOfficial/ Events: https://gruesomemagazine.com/events/list/ Doc, Facebook: https://www.facebook.com/DocRottenHNR Crystal, Facebook: https://www.facebook.com/living6dead6irl Crystal, Instagram: https://www.instagram.com/livin6dead6irl/ Jeff, Facebook: https://www.facebook.com/jeffmohr9 Dave, Facebook: https://www.facebook.com/drehershouseofhorrors Rocky Gray, HNR Theme Song: https://www.facebook.com/OfficialRockyGray

Did you hear our interview with Canadian director Bruce McDonald on the mighty Radio NL 610 AM Kamloops last night? You did? Good! But guess what? We've got even more of that conversation for you on this, the latest podcast From The Basement! That's right, we've got almost 15 minutes of Jason's conversation with Bruce, where he discusses his latest movie, Dreamland, working with the likes of Stephen McHattie, Henry Rollins and Juliette Lewis, and how he likes to bend genres to his own unique form of storytelling. There's also discussions on dreams, vampires, his career, and Jazz. How does all that fit together? Stick with us! And stay tuned, as Jason and Shawn put Dreamland on the chopping block, and determine if this trippy thriller is worth your VOD dollar when it hits June 5. The Basement Boys also discuss what they're watching to pass the social-distancing time, so your viewing choices are easier. It's a damn fine half hour of entertainment you can hear right now by pushing play on the player below, or to your right.

Here is the new episode of the Interview Series on the MULTI-MEDIA MEN podcast network, where... The post Stephen McHattie Interview appeared first on Boomstick Comics.

Here is the new episode of the Interview Series on the MULTI-MEDIA MEN podcast network, where... The post Stephen McHattie Interview first appeared on Boomstick Comics.

Doc Rotten from Horror News Radio. Jeff Mohr from Decades of Horror: The Classic Era. And Crystal Cleveland, the Livin6Dead6irl from Decades of Horror: 1980s share their thoughts about this week's awesome collection of streaming horror films. Joining the crew this week is Horror News Radio co-host, Dave Dreher! Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://www.youtube.com/gruesomemagazine Gruesome Magazine Podcast THE VAST OF NIGHT - COME TO DADDY COME TO DADDY A man in his thirties travels to a remote cabin to reconnect with his estranged father. IMDb Director: Ant Timpson Cast: Elijah Wood, Stephen McHattie, Garfield Wilson Release: Streaming on Amazon Prime THE VAST OF NIGHT In the twilight of the 1950s, on one fateful night in New Mexico, young switchboard operator Fay and charismatic radio DJ Everett discover a strange audio frequency that could change their small town and the future forever. IMDb Director: Andrew Patterson Cast: Nick Bayly, Maggie Daniels, Virginia Denham Release: Amazon Studios will release THE VAST OF NIGHT on Prime Video May 29. FEEDBACK: feedback@grueosmemagazine.com FOLLOW: Instagram https://www.instagram.com/gruesomemagazine/ Facebook Group: https://www.facebook.com/groups/HorrorNewsRadioOfficial/ Events: https://gruesomemagazine.com/events/list/ Doc, Facebook: https://www.facebook.com/DocRottenHNR Crystal, Facebook: https://www.facebook.com/living6dead6irl Crystal, Instagram: https://www.instagram.com/livin6dead6irl/ Jeff, Facebook: https://www.facebook.com/jeffmohr9 Dave, Facebook: https://www.facebook.com/drehershouseofhorrors Rocky Gray, HNR Theme Song: https://www.facebook.com/OfficialRockyGray

Here is the new episode of the Interview Series on the MULTI-MEDIA MEN podcast network, where the show is related to all things Movies, Music, and Entertainment! Here on this new episode, hosts  Bryan Kluger from Boomstick Comics, High Def Digest, and Screen Rant, along with good friend Marc Ciafardini from GoSeeTalk joins in on the fun. Our Feature Presentation this episode is a wonderful talk with the incredible actor STEPHEN MCHATTIE! Stephen is a prolific actor from Canada who started out in the theatre, moved to New York for acting school, and has been in over 200 feature films/television shows since 1970. His most recognized roles were in Pontypool, The Fountain, Watchmen, 300, Orphan Black, The Strain, Beverly Hill Cop 3, and even BASEketball. We dive into Stephen's origins into the cinematic world, growing up in Canada, the first movie he remembered watching with his father, his original artwork, and more. We also discuss some of his films, including the recent DREAMLAND motion picture, where he plays dual roles, pitted against Henry Rollins. WATCH DREAMLAND HERE! Enjoy the show! And don't forget to visit iTunes , Stitcher , I Heart Radio, and Spotify to subscribe to our podcast. You can also email us at mybloodypodcast@gmail.com. Enjoy the show and see you next week! Thank you for listening. https://boomstickcomics.com/wp-content/uploads/2020/05/mchattie.mp3

DREAMLAND is directed by visionary filmmaker Bruce McDonald (Pontypool, Weirdos, Roadkill, Hard Core Logo) from a script co-written by Tony Burgess (The Hoard, Saturn’s Rings) and Patrick Whistler (“Cardinal”). The film stars Stephen McHattie (Watchmen, The Fountain), musician/actor Henry Rollins (frontman of Black Flag, Feast, Lost Highway), Juliette Lewis (Natural Born Killers, Cape Fear) and Tomis Lemarquis (Blade Runner 2049, Snowpiercer). Stephen McHattie: Stephen McHattie was born on February 3, 1947 in Antigonish, Nova Scotia, Canada as Stephen McHattie Smith. He is an actor and director, known for Pontypool (2008), The Fountain (2006) and Watchmen (2009). He is married to Lisa Houle. They have three children. He was previously married to Meg Foster. Lisa Houle is known for her work on Pontypool (2008), Flashpoint (2008) and Haven (2010). Quarantine With The Stars is your chance to get up close and personal with some of your favorite Hollywood actors, directors, producers, and writers to find out what they’re really doing behind the scenes while we all hunker down amidst the pandemic! As the famous phrase goes: “stars, they’re just like us,” and this time, it’s true! What series’ are your favorite actors watching? Are they still keeping their craft as we all play the waiting game? And what can we be looking forward to once the world settles back down? Tune in EVERY DAY, LIVE, to hear from your favorites, here on AfterBuzz TV. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

AJ interviews Stephen McHattie for his new film Dreamland. Take a listen. Hope everyone is staying home and safe as much as they can.

AJ talks with Bruce McDonald to talk his new movie Dreamland with Juliette Lewis, Stephen McHattie and Henry Rollins. We also revisit his masterpiece Pontypool!

In this episode of the science fiction podcast 'The ACE: Atomic Cinema Experiment,' we discuss 'The Ultimate Warrior.' The film is Directed by Robert Clouse and stars Yul Brynner, Max von Sydow, Joanna Miles & Stephen McHattie. patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/Mild_Fuzz facebook: https://www.facebook.com/mildfuzznetwork Email: mftvquestions@gmail.com Audio version: https://the-ace-atomic-cinema-experime.pinecast.co UK Merch store: https://shop.spreadshirt.co.uk/mild-fuzz-tv/ US Merch store: https://shop.spreadshirt.com/mild-fuzz-tv-us SciFiPodcast #SciFi #ScienceFiction

Answering the big question...should I see this movie? Come to Daddy (Comedy, Horror, Thriller)A man in his thirties travels to a remote cabin to reconnect with his estranged father.Director: Ant TimpsonWriters: Toby Harvard (story), Toby Harvard Stars: Elijah Wood, Stephen McHattie, Garfield Wilson - (IMDb) Movies First RSS feed: https://rss.acast.com/moviesfirst Stream podcast episodes on demand from www.bitesz.com/moviesfirst (mobile friendly). Subscribe, rate and review Movies First at all good podcatcher apps, including Google Podcasts, Apple Podcasts, Spotify, iHeartRadio, Stitcher, PocketCasts, CastBox.FM, Podbean, Spreaker, etc.For more, follow Movies First on Facebook, Twitter and YouTube : Facebook - @moviesfirst Twitter - @MoviesFirst YouTube Channel: https://www.youtube.com/channel/UCatJQHaVabIvzCLqO16XvSQ If you're enjoying Movies First, please share and tell your friends. Your support would be appreciated...thank you. #movies #cinema #entertainment #podcast #reviews #moviesfirst See acast.com/privacy for privacy and opt-out information.

IMDB gives this as the storyline: Norval's life has been, to put it lightly, difficult. Currently living home with his mother, the troubled young man is coming off alcohol-related struggles. So when he receives an unexpected letter from his estranged father requesting a visit, Norval catches a bus up to his dad's secluded and scenic waterfront home. Maybe reconnecting with his father will give Norval the emotional fulfillment he's been lacking. Before long, though, he notices something off about his dad, an uneasy feeling triggered by inappropriate comments and a possible over-dependence on booze. Norval quickly realizes that his hope of father/son bonding is doomed. Instead of a family reunion, he finds himself in a waking nightmare. source Elijah Wood alone is a major reason to watch this film. He wins for worst haircut and neck tattoo in an ensemble but we all like watching him, so if you haven't seen it yet, give it a watch. If you have seen it, you may agree or disagree with my take. Please leave a comment explaining what you liked or disliked about my review. I have multiple places you can reach me: rileyonfilm.com, Riley on Film my Facebook Page, or Riley on Film on Twitter. To divide up my many thoughts on this film, I offer this: This film works as a horror because of its 1) director, 2) star quality, and 3) well-placed hardcore violence that is borderline comical (because it's so graphic). First, the director Ant Timpson. As a horror fan you will recognize the movies he's made: "Turbo Kid" and "Housebound" to name just 2. I think the big actors in this probably took the role because of this avant garde director. He knocked the ball out of the park with this one. There is usually a comedic element to his films but they are intense and often scary (I don't know how scary I would rate Turbo Kid but it's graphic). So now that you know the director is established and talented, let's look at the stars in this film. Who can think of Elijah Wood as any character other than Frodo Baggins? I sure can't. He plunges earthward though in this film, showing he has the chops to do much more. I hope we see him in more horror. In 2012 he starred in "Maniac" which holds its own with fans as a solid slasher horror. Let's hope he keeps on the horror tip. But he's not the only star quality in this film. Stephen McHattie is becoming known for a lot of Typecast roles. This is for good reason because I plays the scary old emaciated man role well! He is the DJ in the indie horror modern classic "Pontypool." He's great in that and delivers a class act performance as what I will call "the original dad" in "Come to Daddy (Gordon). His gravelly voice and visage make the scenes come alive with suspense and horror. All that is prior to "the fork scene" where a Thai actor is emasculated with the rustic utensil. This is one of the most violent kill scenes I've encountered in recent years. I suppose a worse one is done with a straight razor down Brian Cranston's character's arm in "Drive." But I digress. But that brings me to the third viable element in this film: the well-placed violence. In addition to the soon-to-be-famous fork killing, there is a partial decapitation that should have audiences squirming. IMDB labels this a comedy as well as a horror but I think that would only apply to the black comedy label. These are brutal kills. They'd fit in the context of the story though. In conclusion, I hope you see and agree with me these three attributes make the film a must see for horror fans. I gave it a 6/10. Where it lost points were in the long spaces between kills and other milestones of the plot which were lagging a bit. It could have had more exposition of the characters of it could have just been shorter. I would still make it required watching for my class on Horror (If I ever teach one).

Elijah Wood's low-budget indie run continues with Come to Daddy, the familiar tale of a hipster traversing the country to hang out with a drunken Stephen McHattie. But before our main feature, we have a ton of horror reviews for you. We're talking Ma, The Last Broadcast, Boar, Wake in Fright, Species II, Species III, Sweetheart, I See You, The Movies That Made Us, and Paperbacks from Hell by Grady Hendrix.

After receiving a cryptic letter from his estranged co-hosts, Wolfie travels to the Lair of Lost Swag for what he hopes will be a positive experience. If only he’d known the dark truth about his old co-hosts beforehand…. On Episode 394 of Trick or Treat Radio we discuss Come to Daddy, the debut feature from long time film producer Ant Timpson, starring Elijah Wood! We also talk about the upcoming film from Astron-6’s Steven Kostanski, we get ready for a bit of the old ultraviolence, and we name all 7200 members of the Green Lantern Corps! So grab a fork and some saran wrap, beware of the bombolayo virus, and strap on for the world's most dangerous podcast!Stuff we talk about: XFL, Droz, puking before meetings, the orgasm of drinking, how many beers can you handle, Birds of Prey: Harley Quinn, Robert Pattinson, Batman, the new Batsuit, kind of like being an assassin, Batgirl, No Mans Land, slow dick, Shirley Chisholm, Chisholm ‘72, Manborg, Psycho Goreman, Astron-6, Steven Kostanski, Irish Mafia, Gangs of London, Gareth Evans, Married to the Mob, MZ’s impressions, Anne Ramsey, Throw Momma From the Train, Tubi, Rat Race, Cannonball Run, Speed Zone, Donna Dixon, The Similars, Deadly Friend, Chris Claremont’s X-Men documentary, giving Nightcrawler a handjob, House of the Dead, Ona Grauer, Jason Momoa, Ant Timpson, Michael Smiley, Shakespeare vs Beyonce, Stephen McHattie, Amish Hitler, Ravenshadow’s glasses, beady little eyes, Patrick Swayze, droogs, viddy well brother, A Clockwork Orange, Aphex Twin, worked and jerked, VFW, Joe Begos, Fred Williamson, Martin Kove, Dreamscape, George Wendt, Wonder Woman failed pilot, Pedro Pascal, bwahaha JLI, Hawkcawk, John Stewart, The Green Lantern Corps, Charlie Vicker, Beast Wars, Little Monsters, Werner Herzog, and House of 1000 Ravenshadows.Support us on Patreon: https://www.patreon.com/trickortreatradioSend 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/TheDeaditesTVInstagram: http://instagram.com/TrickorTreatRadioSupport the show (https://www.patreon.com/trickortreatradio)

Recorded back on April 26th 2019, after seeing the World Premiere of Ant Timpson's Come To Daddy starring Elijah Wood and Stephen McHattie, the brothers Wallace (Jon and Jim) join me at the Waverley Restaurant to talk about the movie which has now been released across the U.S. to rave reviews.Take a listen and enjoy this discussion of the beautifully shot, wonderfully acted, wild and weird Come To Daddy.

Xavier and Mike are back with reviews of Matt Bettinelli-Olpin and Tyler Gillett's Ready or Not (2019) starring Samara Weaving, Adam Brody, and Mark O'Brien. This movies is getting a lot of love from folks so let's see how it holds up to the FHP cast.

Another post apocalyptic film about the end of humanity and what they would go through to survive. This includes possibly cutting off your own hand instead of cutting the rope. But who am I to judge.

In this interview I had a chat with Johnny Hockin where we talk about when he worked on MTV interviewing famous actors like George Clooney, Ryan Gosling, Hugh Jackman and Tommy Lee Jones. Not all of them were easy to talk to but some were really a pleasure. Johnny Hockin is a Toronto-based producer and filmmaker. While working as a correspondent at MTV News, he co-created and hosted MTV Movie Night for MTV Canada, which aired on CTV. In 2011, he produced the viral fan film Tron: Destiny which has almost 4 million views. Johnny left MTV to form Juniper Island Productions, where in 2013 he produced the BravoFact short Manifold with director Anthony Scott Burns. Manifold starred Stephen McHattie, premiered at Fantastic Fest in Austin, and garnered 200,000 views and a Vimeo staff pick. He has worked as a commercial producer and director with clients including Red Bull, Soho House and Vice Media.- IMDb Mini Biography By: B. MacleanIf you want to see the films we discussed describing the music scene in Vancouver and Montreal you can find them at his web sitewww.johnnyhockin.com

We kick off Season 03 with yet another Darren Aronofsky film in our not-so-long standing tradition. This time, we take a look at the 2006 film The Fountain. We'll discuss if “Tom” is the most boring name of all time, what a world devoid of death would look like, and we'll of course rank Aronofsky's filmography. It's gonna be a great season.The Fountain stars Hugh Jackman, Rachel Weisz, Ellen Burstyn, Mark Margolis, Stephen McHattie, Sean Patrick Thomas. Directed by Darren Aronofsky.If you enjoy what we do, please subscribe to our show. Leave us a rating in the iTunes Store and Stitcher. You can also listen on Spotify, Google Play, or YouTube as well.Like us on FacebookDiscuss the film on our subredditJoin us on YouTubeSubscribe on SpotifyFind us on StitcherListen on Google PlayBrought to you by HOLY Propaganda

It's a fascinating episode of BEHIND THE LENS as we dig deep into the 4th Annual SLAMDANCE DIG with our guest, co-founder and curator of the media showcase, DEKKER DREYER. Then we go in-depth with writer/director/editor ANDREW ROWE talking about his new film CROWN AND ANCHOR. But before we get to today's special guests, take a listen to our exclusive interview with PEPPERMINT director, PIERRE MOREL. From action to locations to cinematography to the importance of color and sound, we dig into one of the hottest action films of the year. It's very exciting having DEKKER DREYER join us for this episode. He's a writer, director, producer, artist, and he loves to push the envelope with visionary melding of live performance, film, digital and interactive media; something that is the core of SLAMDANCE DIG. A showcase FREE TO THE PUBLIC in Los Angeles on September 13, 14 and 15 in the LA Arts Collective and Ace Hotel, Dekker talks about the founding of the showcase as the "next step" beyond the Slamdance Film Festival, the concept, the type of "art and technology" involved in the various exhibits, the interactive nature of them, not to mention the various panels being presented which are also open to the public. Then ANDREW ROWE joins us talking about his first feature film, CROWN AND ANCHOR. Already opening to critical and public acclaim, listen as Andrew talks about story development, the visual design and working with his cinematographer, the use of punk rock for the soundtrack and how the music serves to help define and craft each of the two main characters, crafting not only two integral character studies but the world in which they exist and then developing distinguishing differentials, and of course, casting and working with a veteran like Stephen McHattie. http://behindthelensonline.net http://eliasentertainmentnetwork.com

Six weeks into the Expanse and the Enterprise has little to show for it. Fortunately, a tip from a freighter captain points Archer and Co. to the possible whereabouts of a Xindi miner.  Cold Open The council of Xindi races debates the significance of the Enterprise’s arrival in the Expanse. With the weapon still in need of testing, it is decided that more information on Enterprise is needed. Act I and Act II Six weeks into their mission, the Enterprise continues its journey through the anomaly ridden Expanse. Following a lead given to them by a freighter captain of “questionable character” they are enroute to a mining facility where they have been told a member of the Xindi race is employed. At the mining facility, Archer and Reed agree to terms with the foreman but Archer’s request to meet the man to confirm his species is answered with a severed finger belonging to the unfortunate miner. Back on Enterprise, Phlox analyzes it, finding that while it is Xindi, it belongs to a different sub-species than the reptilian pilot.   Archer and Trip return to the surface and are granted access to the Xindi miner, Kessick. Kessick refuses to reveal information without a guarantee that they will release him from his slavery. Soon Archer and Trip find they are being held prisoner by the foreman, and agree to help Kessick escape. With armed ships approaching the Enterprise, it becomes clear to T’Pol that something is amiss, and assigns Reed to work with Corporal Hayes to put together a team to extract the Captain. Reed clashes with Hayes, but eventually backs down. Act III - Act IV Archer, Trip, and Kessick work to climb the plasma ducts to the surface, discussing the five xindi races along the way. The conversation ends when plasma begins to surge upward, forcing the group back into the facility, and back under the Foreman’s guard. Before Archer and Trip can be be executed, the MACO’s arrive and stage their rescue. On the way out, Kessick is hit by weapons fire. Back aboard the Enterprise, while Phlox was unable to save him, Kessick managed to share the coordinates to the Xindi homeworld with his dying breath. While the Enterprise gets underway, T’Pol and Phlox have conspired to cure Trip’s insomnia by tricking him to performing Vulcan Neuropressure. For some reason Trip mistakes T’Pol’s behavior for sexual advances. T’Pol becomes aggravated, claiming it was a pointless exercise considering how stubborn Trip is. Trip stubbornly asserts he’s not stubborn, and proves it by allowing T’Pol to begin the procedure. The Enterprise arrives at the coordinates to find nothing but the debris field of a planet destroyed 120 years ago. Uncertain what to do next, the Enterprise proceeds deeper into the Expanse. Meanwhile, the Xindi Council shows signs of fracturing, as the Insectoids promise to destroy enterprise without without the council’s approval. Star Trek: Enterprise 03x01 - The Xindi Directed by Allan Kroeker Written by Rick Berman and Branon Braga Guest Stars: Richard Lineback, Stephen McHattie, Rick Worthy, Randy Oglesby, Scott MacDonald, Daniel Dae Kim, Steven Culp There Are Four Mics is a weekly Star Trek podcast discussing the Star Trek episodes and movies in stardate order. Join Jason Allen and Joe Heiser as we discuss the 1st episode of season three of Star Trek: Enterprise, The Xindi.  

Story: Ein Dichter und seine junge Ehefrau leben allein in einem großen viktorianischen Haus auf dem Land. Eines Tages steht ein fremder Mann und kurz darauf dessen Gattin vor der Tür, die der Dichter beide begeistert einlädt, bei ihnen zu wohnen. Als überraschend auch noch die Söhne des Ehepaars auftauchen, eskalieren die Spannungen im Haus: Im Streit bringt ein Sohn den anderen um. Durch den tragischen Vorfall inspiriert, verfasst der Dichter ein Werk, das nicht nur mit einem renommierten Preis bedacht wird, sondern ihm schlagartig großen Kultstatus und Ruhm verschafft. Seine mittlerweile schwangere Frau sieht sich mit einer immer aggressiver werdenden Fangemeinde konfrontiert, die sich bald als unberechenbare Bedrohung entpuppt... DVD/Blu Ray-Release: 25.01.2018 (Paramount / Universal Pictures) Mother! Genre: Drama, Thriller, Horror, Mystery Land: USA 2017 Laufzeit: ca. 121 min. FSK: 16 Regie: Darren Aronofsky Drehbuch: Darren Aronofsky Kamera: Matthew Libatique Produktions-Design: Philip Messina Produzenten: Mark Heyman, Jeff G. Waxman Mit Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer, Brian Gleeson, Jovan Adepo, Raphael Grosz-Harvey, Abraham Aronofsky, Stephen McHattie, ... https://youtu.be/Ic838QOZbS4

Story: Ein Dichter und seine junge Ehefrau leben allein in einem großen viktorianischen Haus auf dem Land. Eines Tages steht ein fremder Mann und kurz darauf dessen Gattin vor der Tür, die der Dichter beide begeistert einlädt, bei ihnen zu wohnen. Als überraschend auch noch die Söhne des Ehepaars auftauchen, eskalieren die Spannungen im Haus: Im Streit bringt ein Sohn den anderen um. Durch den tragischen Vorfall inspiriert, verfasst der Dichter ein Werk, das nicht nur mit einem renommierten Preis bedacht wird, sondern ihm schlagartig großen Kultstatus und Ruhm verschafft. Seine mittlerweile schwangere Frau sieht sich mit einer immer aggressiver werdenden Fangemeinde konfrontiert, die sich bald als unberechenbare Bedrohung entpuppt... DVD/Blu Ray-Release: 25.01.2018 (Paramount / Universal Pictures) Mother! Genre: Drama, Thriller, Horror, Mystery Land: USA 2017 Laufzeit: ca. 121 min. FSK: 16 Regie: Darren Aronofsky Drehbuch: Darren Aronofsky Kamera: Matthew Libatique Produktions-Design: Philip Messina Produzenten: Mark Heyman, Jeff G. Waxman Mit Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer, Brian Gleeson, Jovan Adepo, Raphael Grosz-Harvey, Abraham Aronofsky, Stephen McHattie, ... https://youtu.be/Ic838QOZbS4

Stephen McHattie has appeared in everything from Hill Street Blues to Pontypool to Watchmen to Orphan Black; his latest picture is Peter Lynch’s Birdland, available Friday on VOD in the US and Canada. He wanted to talk about John Ford’s landmark Western The Searchers. Your genial host Norm Wilner was delighted to ride along.

Story: ... und täglich grüßt das Grauen! Teenagerin Lisa ist gemeinsam mit ihrer Familie in einer Zeitschleife gefangen und erlebt ein und denselben Tag stets aufs neue. Erschwerend kommt hinzu, dass sie die einzige ist, die davon Notiz nimmt und niemand das Haus verlassen kann. Scheinbar auf ewig eingesperrt in ihrem Elternhaus, sieht sie sich immer häufiger mit geisterhaften Erscheinungen konfrontiert. Bei ihren Versuchen das Mysterium aufzudecken, gerät sie auf die Spur eines grausamen Mörders, durch dessen schreckliche Taten Jenseits und Diesseits scheinbar unauflösbar miteinander verbunden sind. In diesem Haunted-House ist Lisa die einzige Rettung für einen Geist, der keiner ist! DVD/Blu Ray-Release: 22.05.2014 (Koch Media GmbH - DVD) Haunter Thriller, Horror, Mystery Land: Frankreich, Kanada 2013 Laufzeit: ca. 97 min. FSK: 16 Regie: Vincenzo Natali Drehbuch: Matthew Brian King Mit Abigail Breslin, Stephen McHattie, David Hewlett, Michelle Nolden, Peter Outerbridge, ... https://youtu.be/sClAdBHrZNg

Story: ... und täglich grüßt das Grauen! Teenagerin Lisa ist gemeinsam mit ihrer Familie in einer Zeitschleife gefangen und erlebt ein und denselben Tag stets aufs neue. Erschwerend kommt hinzu, dass sie die einzige ist, die davon Notiz nimmt und niemand das Haus verlassen kann. Scheinbar auf ewig eingesperrt in ihrem Elternhaus, sieht sie sich immer häufiger mit geisterhaften Erscheinungen konfrontiert. Bei ihren Versuchen das Mysterium aufzudecken, gerät sie auf die Spur eines grausamen Mörders, durch dessen schreckliche Taten Jenseits und Diesseits scheinbar unauflösbar miteinander verbunden sind. In diesem Haunted-House ist Lisa die einzige Rettung für einen Geist, der keiner ist! DVD/Blu Ray-Release: 22.05.2014 (Koch Media GmbH - DVD) Haunter Thriller, Horror, Mystery Land: Frankreich, Kanada 2013 Laufzeit: ca. 97 min. FSK: 16 Regie: Vincenzo Natali Drehbuch: Matthew Brian King Mit Abigail Breslin, Stephen McHattie, David Hewlett, Michelle Nolden, Peter Outerbridge, ... https://youtu.be/sClAdBHrZNg

The crew at Talking Terror are back in full effect this week! Join The King of Horror, The Ghoul, The Mad Monkey and The Demonic Doctor once again as they slide through the bloody world of horror films! Heading back to the Great White North, they will be discussing   2008's Pontypool, starring Stephen McHattie as a Shock Jock Radio host having one hell of an odd day! Oh, those crazy Canadians! Better break out the zamboni and get ready for one hell of a show! Stay Scared

Andrew, Lee, and Josh chat about Star Wars even more than usual, due to Lee's recent trip to Star Wars Celebration! Plus, a grab bag of topics ranging from Ottawa's Star Wars connection, why weekly programming is better than monthly, Lee's chats with Stephen McHattie, Jonathan Demme, horror vs thriller, working in video stores, and studio's finding talent from indie films instead of music video's. They also briefly remember to mention this week's movies: Maudie, A United Kingdom, Kong: Skull Island, and Saturday Night Sinema! And, a couple of stellar Michael Caine impersonations!

On this week's episode the guys discuss the merits of creepypasta with possibly a potential point of origin being Ted’s Caving Page. This leads to a number of recommendations that you should all very much check out if you’re into creepy tales. Also, Matt is a LARPer and has some great battle stories involving far too much cardio, while Chris peaces out at the first lever in Twilight Princess’s Water Temple. There’s also some more talk on Resident Evil 7 and it’s DLC – too gamey? Perhaps. The main point of discussion is of course, the puzzling yet incredibly satisfying Pontypool. After all gushing over Stephen McHattie’s amazing turn as Grant Mazzy, we take a closer look at the events of the movie and what exactly could have been the starting point for the bizarre chaos that grips the small Canadian town. Refrain from using terms of endearment folks, Ken’s sunshine chopper rides again! Recorded: 12/03/17 Check us out on SoundCloud: https://tinyurl.com/sotdscloud Or rate and subscribe on iTunes: https://tinyurl.com/sotditunes We’re also on YouTube: https://tinyurl.com/sotdyoutube Matt’s Channel: https://tinyurl.com/sotdmatt Chris’s Channel: https://tinyurl.com/sotdchris Tom’s Channel: https://tinyurl.com/sotdtom Links for stuff we discussed in the podcast: Ted’s Caving Page – http://www.angelfire.com/trek/caver/ Candle Cove creepypasta – http://creepypasta.wikia.com/wiki/Candle_Cove Doors creepypasta – http://creepypasta.wikia.com/wiki/Doors Super Great Friend – https://www.youtube.com/user/supergreatfriend

Mrs. French's cat is missing.In a rather different take on the typical zombie story, Bruce McDonald's Pontypool (2008) has the English language as the infectious agent which drives people mad. Written by Tony Burgess (and based on his novel, Pontypool Changes Everything), the film stars Stephen McHattie as Grant Mazzy, a shock jock from the big city now working in backwater Ontario with his audio engineer Laurel-Ann (Georgina Reilly) and producer Syndey Briar (Lisa Houle).Mike discusses Pontypool with See Hear's Maurice Bursztynski.Learn more about your ad choices. Visit megaphone.fm/adchoices

Special Guests: Bruce McDonald, Tony BurgessGuest Co-Host: Maurice BursztynskiMrs. French's cat is missing.In a rather different take on the typical zombie story, Bruce McDonald's Pontypool (2008) has the English language as the infectious agent which drives people mad. Written by Tony Burgess (and based on his novel, Pontypool Changes Everything), the film stars Stephen McHattie as Grant Mazzy, a shock jock from the big city now working in backwater Ontario with his audio engineer Laurel-Ann (Georgina Reilly) and producer Syndey Briar (Lisa Houle).Mike discusses Pontypool with See Hear's Maurice Bursztynski.Buy Pontypool on DVDBuy Pontypool Changes Everything by Tony BurgessBuy the audio version of Pontypool Changes EverythingListen to the CBC Radio PlayVisit the official Claude Foisy website Visit the official Bruce McDonald websiteFollow Tony Burgess on TwitterFollow Bruce McDonald on TwitterListen to Maurice's band, the Ice HaloesListen to the I'm In Love With That Song podcast

No error here! This week's Dread Media takes a look at two films that feature journeys into horrible dimensions. First up, Artsploitation Films is back from hiatus with the lucid dreaming walk into a nightmare world of family secrets and the titular monster in Desmond and Duane's review of Horsehead. Then, Darryll pops in to review Stephen McHattie's odyssey to Hell in the recent Anchor Bay release: Hellmouth. Some songs to accompany you on your journey? "Awake and Dreaming" by Finger Eleven, "A Horse Called Golgotha" by Baroness, "Dig Up Her Bones (acoustic)" by Michale Graves, and "Grave Diggers" by The Creepshow all get a spin! Send feedback to: feedback@dreadmedia.net, or 206.278.5257. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

No error here! This week's Dread Media takes a look at two films that feature journeys into horrible dimensions. First up, Artsploitation Films is back from hiatus with the lucid dreaming walk into a nightmare world of family secrets and the titular monster in Desmond and Duane's review of Horsehead. Then, Darryll pops in to review Stephen McHattie's odyssey to Hell in the recent Anchor Bay release: Hellmouth. Some songs to accompany you on your journey? "Awake and Dreaming" by Finger Eleven, "A Horse Called Golgotha" by Baroness, "Dig Up Her Bones (acoustic)" by Michale Graves, and "Grave Diggers" by The Creepshow all get a spin! Send feedback to: feedback@dreadmedia.net, or 206.278.5257. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

No error here! This week's Dread Media takes a look at two films that feature journeys into horrible dimensions. First up, Artsploitation Films is back from hiatus with the lucid dreaming walk into a nightmare world of family secrets and the titular monster in Desmond and Duane's review of Horsehead. Then, Darryll pops in to review Stephen McHattie's odyssey to Hell in the recent Anchor Bay release: Hellmouth. Some songs to accompany you on your journey? "Awake and Dreaming" by Finger Eleven, "A Horse Called Golgotha" by Baroness, "Dig Up Her Bones (acoustic)" by Michale Graves, and "Grave Diggers" by The Creepshow all get a spin! Send feedback to: feedback@dreadmedia.net, or 206.278.5257. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

No error here! This week's Dread Media takes a look at two films that feature journeys into horrible dimensions. First up, Artsploitation Films is back from hiatus with the lucid dreaming walk into a nightmare world of family secrets and the titular monster in Desmond and Duane's review of Horsehead. Then, Darryll pops in to review Stephen McHattie's odyssey to Hell in the recent Anchor Bay release: Hellmouth. Some songs to accompany you on your journey? "Awake and Dreaming" by Finger Eleven, "A Horse Called Golgotha" by Baroness, "Dig Up Her Bones (acoustic)" by Michale Graves, and "Grave Diggers" by The Creepshow all get a spin! Send feedback to: feedback@dreadmedia.net, or 206.278.5257. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

This week, YSM tackles the truly bizarre buddy cop/talking dinosaur movie Theodore Rex. Join us as we wonder whether writer/director Jonathan Betuel got an uncredited plot assist from his four-year-old nephew Tommy and whether Theodore Rex is the most annoying 90s “poochie” protagonist we’ve ever covered. In the near-future, human-sized dinosaurs have been brought back by an eccentric German scientist just to see if he can. Now, the scientist is planning to start another ice age in order to bring in a new society. In the wake of a dino-murder, police officer/publicity stunt diversity hire Theodore Rex is given permission to investigate, along with new partner Katie Coltrane (Goldberg), a tough cop with computer enhancements. Together, they deal with the evil scientist and his henchmen “Edge,” (Stephen McHattie), “Spinner,” (Bud Cort), and “The Toymaker” (Peter Kwong).

In this episode of the Spiraken Movie Review,Xan Baz & Rufus get their mayham film fix as they review the 2007 action comedy film, "Shoot' Em Up" directed by Michael David and starring Clive Owen, Paul Giamatti, Monica Bellucci, Stephen McHattie, and Greg Bryk While this episode is slightly disjointed, if you pay attention, it makes perfect sense. Also enjoy the return of Spiraken's Goon Union Debate, rants about how no matter what, no man will go near a toliet with a floater in it, and things that our hosts mention that no man should do. Please send us any comments concerns and ideas on how to make this podcast better. Let us know so we can do something about it. Also check out the facebook fangroup Spiraken Movie Review, And finally, listen to the primary podcast, The Spiraken Manga Review and check out Xan's sidekickery on the fightbait.com podcast Hope you enjoy. Music For Episode: Intro Music -Joker & the Thief by Wolfmother (Shoot' Em Up OST), Background Music -Private Hell by Iggy Pop (Shoot' Em Up OST), Background Music -strong>Dirty Laundry (Skeewiff Remix) by Bitter Sweet (Shoot' Em Up OST), Background Music -strong>If You Want Blood (You've Got It) by AC/DC (Shoot' Em Up OST),Background Music -strong>Patient Eye by Midnight Movies (PShoot' Em Up OST),Background Music -strong>Coral Den by Midnight Movies (Shoot' Em Up OST),Ending Music -Kickstart My Heart by Motley Crue (Shoot' Em Up OST) Our Website http://www.spiraken.com Our Forum http://spiraken.darkbb.com Our Email Spirakenmovie@gmail.com My Email xan@spiraken.com Cohost's Emailbaz.spiraken@gmail.com Our Twitter Spirakenmovie Our facebook fangroup Spiraken Movie Review Xboxlive Gamertag Xan Spiraken Our Voicemail 206-350-8462 Random Question of the Week: How many shots were fired in this movie?