Podcast appearances and mentions of Tim Thomerson

Movie Meltdown - Episode 643 Sam Drog returns as we try to decide just what it is that's trying to kill Hollywood. And while we try to mimic the Magnum P.I. lifestyle, we also address… Minecraft, Andor, The Studio, The Da Vinci Code, Gods of Egypt, Black Mirror, Cherry 2000, Barry, Eyeborgs, RoboDoc: The Creation of RoboCop, Terminator 3: Rise of the Machines, Viy, religious discussions over the internet, Barbenheimer, Seth Rogen, parent your kid, Dracula 2000, Godzilla Minus One, content creation, sacrilege, Gerard Butler, Phil Tippett, Starship Troopers, Adam Wingard, watching money being spent, a shorthand for starting geek conversations, Rob Bottin real estate agent, don't patronize me robot, flying around the room in her coffin, getting into a relationship with an AI character, Tubi ads, bringing a live chicken, Tom Hanks' haircut, secrets under the pyramids, The Running Man, Monarch: Legacy of Monsters, Tim Thomerson, taking selfies, The Rocky Horror Picture Show, being a shill for other people, Paul Verhoeven and a practical effects feast. “All the sacred cows have already been slaughtered.”

On our show, "Howling At The Full Moon" which celebrates anything related to Charles Band's Empire of Full Moon Pictures, we're going with one of the heavy hitters with our 38th episode and a sequel from what we consider to be the greatest franchises in the Full Moon legacy "TRANCERS 3" from 1992.  Written and Directed by C. Courtney Joyner and starring the one and only Tim Thomerson, and co-starring Megan Ward, Helen Hunt, Melanie Smith, Stephen Macht, Andrew Robinson, Telma Hopkins, R.A. Mihailoff, and more.  This third chapter in the long running franchise finds our time traveling hero/trancer hunter Jack Deth on the outs with his wife and forced to time jump once again to do what he does best...singe Trancers and be an all around Boss.  Join our discussion headed off by our regular hosts Cameron Scott and Full Moon enthusiast Dustin Hubbard as they take a deep dive discussion about the adventures of the The Man himself Jack Deth and his most worthy of sequels as he battles against a whole new breed of Trancers and their leader Col. Daddy Muthuh. Join us!   "You know, this could be the beginning of a beautiful... forget it!"

The year of the stitch up has had a couple of misfires for Dave's picks, with Chris unfortunately declaring Cloud City's for both sword and sorcery adventures - Gor and The Barbarians. So this is the time to roll out the cult classic sci-fi movie from 1984, Trancers.Trancers was a low-budget sci-fi film produced by Charles Band's Empire Pictures, a company known for its B-movie output during the 1980s. Directed by Charles Band and written by Danny Bilson and Paul De Meo, the film was conceived as a time-traveling noir with a futuristic twist, inspired by Blade Runner and classic detective stories. The production had limited financial resources, so the filmmakers cleverly set much of the movie in present-day Los Angeles rather than the distant future, allowing them to save on costly futuristic sets and effects. The film starred Tim Thomerson as the grizzled, time-traveling cop Jack Deth and a young Helen Hunt in one of her early roles. Despite its modest budget, Trancers managed to craft a unique cyberpunk atmosphere using creative cinematography and neon-lit cityscapes.Empire Pictures, known for churning out cult classics, ensured the movie had a quick and efficient production, utilizing familiar locations and a mix of practical effects to bring its sci-fi elements to life. The film's pulpy, hard-boiled dialogue and time-travel premise helped it stand out in the crowded landscape of low-budget sci-fi, leading to a small but dedicated cult following. Trancers performed well enough on the home video market to spawn multiple sequels, solidifying its place in the annals of ‘80s cult cinema. The movie's mix of noir and sci-fi influences, along with Thomerson's performance, kept it alive long after its initial release, proving that even a low-budget indie film could leave a lasting impact on the genre.If you enjoy the show we have a Patreon, so become a supporter.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.patreon.com/thevhsstrikesback⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Trailer Guy Plot SummaryIn a world where the future is on the brink of collapse, one man must travel back in time to stop an unstoppable evil. Jack Deth is a hard-nosed cop on the hunt for Martin Whistler, a madman who turns people into mindless, murderous Trancers. But when Whistler escapes to 1985, Deth is forced to follow, leaping into the body of his own ancestor. With the help of a fiery young woman, Leena, he'll have to fight his way through an army of mind-controlled killers, stop Whistler, and save the future… before time runs out!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠

This week Mike, Rich and Steve tackle three new releases - as usual, click the links to see the trailer for each! We kick off with PROJECT SILENCE (Altitude Film Distribution) - A Korean disaster/action movie where commuters become stranded upon a bridge, and surrounded by genetically engineered military attack dogs! Next is IN TENEBRAS: INTO THE DARKNESS (Miracle Media), a film which has some great locations in and around Gibraltar, and generated A LOT of discussion between us! Take a listen to hear what we think! Finally, we take a look at TRANSERS NOIR, a remastered black and white version of the cult classic, starring Tim Thomerson as Jack Deth, sent back to modern day LA to stop a time-travelling criminal mastermind. You can find the whole movie on Youtube by clicking the link! Our short shot is GOING VIRAL, from the Art School Dropouts team. You can see the whole short by clicking the link. Our DTV Throwback is NEW YORK NINJA - a film which was shot back in 1984 but never completed. A long running project has meticulously managed to piece together the footage and brought in the likes of Don "The Dragon" Wilson and Cynthia Rothrock to re-dub the dialogue. This is available on Tubi - click the link to see the whole film!  

'Twas the night before Christmas, and all through the house, Carroll Baker was drinking, Tim Thomerson was singeing, and Jesse Ventura was sitting up in bed being creepy. It's a heck of a Christmas, people, it really is. Seasons greetings, folks! Join us for this special Christmas episode, along with very special guests, Sammy from the Gentlemen's Guide to Midnite Cinema, and habitual Caliber 9'er, Bryce Hamilton (who never says no to an eggnog). We'll be reviewing a triple feature of sort-of-Christmas movies (mostly), with Trancers (1984) directed by Charles Band, Orgasmo (1969), directed by Umberto Lenzi and Abraxas, Guardian of the Universe (1990), directed by Damian Lee. We will be announcing a Spoiler Territory section for all these films. So if you haven't seen them before you listen, you can nevertheless avoid spoilers for Trancers by skipping ahead to the 1:21:26 mark, for Orgasmo by skipping ahead to the 2:03:34 mark and for Abraxas by skipping ahead to 2:38:38. Want to get in touch? You can reach us on caliber9fromouterspace@gmail.com Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

This week Gary and Iain review and discuss, Nemesis (1992) by Director, Albert Pyun. Starring, Olivier Gruner, Tim Thomerson and Cary-Hiroyuki Tagawa. For more Off The Shelf Reviews: Merch: https://off-the-shelf-reviews.creator-spring.com https://www.youtube.com/channel/UChWxkAz-n2-5Nae-IDpxBZQ/join Podcasts: https://offtheshelfreviews.podbean.com/ Follow us on Twitter: https://twitter.com/@OTSReviews Youtube: https://www.youtube.com/c/OffTheShelfReviews Facebook: https://www.facebook.com/OffTheShelfReviews Support us: http://www.patreon.com/offtheshelfreviews Twitch: https://www.twitch.tv/offtheshelfreviews Discord: https://discord.gg/Dyw8ctf

Welcome to Cyberpunk Cinema – the Definitive Dive into the Dark Future of Science Fiction. I am your host, Anthony La Pira, and I will be taking you on a cinematic journey through the sprawling cityscapes, the crippling datastorms, and the cybernetic implants that encompass all things Cyberpunk.In this week's episode, I will be breaking-down the 1984 cyberpunk time-traveling B-Movie delight Trancers – directed by Charles Band; written by Danny Bilson & Paul De Meo; starring Tim Thomerson, Helen Hunt, Art LaFleur, Michael Stefani, Biff Manard, and Richard Herd.A gruff bounty hunter travels back in time to 1980s Los Angeles to stop a twisted criminal who can transform people into zombie-like creatures.Trancers is an excellent B-Movie Cyberpunk from the King of B-Movies himself, Charles Band. It launched a franchise that had six installments and created the character of Jack Deth led by Tim Thomerson's awesome performance. It's a blend of time travel and neo noir and it's so much freakin' fun. So, in the words of Jack Deth – “Dry hair's for squids. Now come on. Let's get outta here.” So, do me a favor – it's time to access your cranial jacks, boot up your Ono-Sendai Cyberspace 7, and slap on your damn mirror-shades. You know what time it is! Cyberpunk Cinema starts…now!Anthony's IG - https://www.instagram.com/stormgiantproductionsCyberpunk Cinema IG - https://www.instagram.com/cyberpunk.cinemaSignal Fragment SoundCloud - https://soundcloud.com/signalfragmentSend us a text

Thank you to our listener, Ryan, for requesting this high-flying amazingness. Doug (Jason Gedrick) dreams of being a fighter pilot just like his father. His father (Tim Thomerson) is shot down and captured, and it seems that the U.S. government isn't moving quickly enough to rescue him. Now, he's got three days to live, and Doug will gain the Obi Wan wisdom of Chappy (Louis Gossett Jr.). With the aid of all of Doug's friends, some light hacking, moving some F-16s and rockets around, they forge a friendship and a rescue plan that just might work. Also, all of this is extremely illegal and seems unlikely. But, hell, it's time to fly like an eagle. An iron eagle! RTS strap reel-to-reel tape decks to their legs, and they let the rock flow. La-Mar, Collin and Jeremy hot dog every-which-way. When are they not hot doggin' around? “This one's for you, Chappy.” 

What's more 90s than an action movie from director Albert Pyun? Um, how about a movie starring Andrew Dice Clay and Teri Hatcher? Let Will and Matt whisk you away to a timeless "Ore-GONnah!" DISCLAIMER: Language and Spoilers!!BRAIN SMASHER... A LOVE STORYdir. Albert Pyunstarring: Andrew Dice Clay; Teri Hatcher; Yuji Okumoto

It's the latest episode of the world famous Bottom of the Stream Movie Show! This week we are talking about 1991 action movie Dollman. Directed by Albert Pyun, starring Tim Thomerson; Jackie Earle Haley and Kamala Lopez, listen on to hear what we made of this cult classic about a 13inch high alien cop taking on the hoodlums on the grim streets on 90s New York. Yeah, you read that right…    Bottom of the stream is a weekly podcast, hosted by film lovers Adam and Nick, exploring the parts of Netflix and Amazon that most people don't go to in a bid to find out what hidden gems are lurking down there Every week we rank the films we watch against each other and place them in what we like to call THE STREAM TABLE which can be found on our website  www.bottomofthestream.com Follow us on Twitter, instagram and letterboxed at @bots_podcast  Please consider supporting the show on Patreon, If you do we will give you lots of bonus content including early access to the episodes. Check it out over at www.patreon.com/bottomofthestream   We also now have a discord so join us to hang out https://discord.gg/wJ3Bfqt

Seanbaby and Lydia Bugg welcome special guest, Shawn DePasquale to the DOGGZZONE to discuss Dollman 2! Bereft of substance AND incredibly dense? Yes! Demonic toys? YES! Tim Thomerson?? THEY DON'T MAKE ENOUGH DRY PANTIES TO KEEP PACE! Dollman 2 has everything you never wanted jam packed into four infinite scenes. Running time 61 minutes.

Welcome to another thrilling episode of the I Hate Critics Movie Review Podcast! This week, we dive into two highly anticipated 2024 releases and revisit a cult classic from the 1980s. Here's what we have in store: New Releases: MaXXXine (2024) Director: Ti West Writers: Ti West, Mia Goth Stars: Mia Goth, Elizabeth Debicki, Kevin Bacon, Giancarlo Esposito Set against the backdrop of 1980s Hollywood, “MaXXXine” follows adult film star and aspiring actress Maxine Minx as she navigates her big break. However, her rise to fame is threatened by a mysterious killer stalking the starlets of Los Angeles, which could expose her dark past. Join us as we dissect Ti West's latest horror masterpiece and discuss the standout performances, especially from Mia Goth. Kinds of Kindness (2024) Director: Yorgos Lanthimos Writers: Yorgos Lanthimos, Efthimos Filippou Stars: Jesse Plemons, Emma Stone, Willem Dafoe, Hong Chau, Margaret Qualley “Kinds of Kindness” intertwines three stories: a man striving to take control of his life, a policeman dealing with his wife's strange behavior, and a woman on a quest to find someone with a unique gift. We explore the intricate narratives crafted by Lanthimos and Filippou, and the powerful performances delivered by an exceptional cast. Classic Rewind: Fade to Black (1980) Director: Vernon Zimmerman Writer: Vernon Zimmerman Stars: Dennis Christopher, Tim Thomerson, Linda Kerridge, Mickey Rourke In “Fade to Black,” we delve into the psyche of Eric Binford, a lonely movie buff whose rejection by a Marilyn Monroe lookalike pushes him over the edge. Binford embarks on a killing spree, embodying various classic film characters. We discuss the film's cult status, Dennis Christopher's haunting performance, and its unique take on horror. Stay Connected: Follow us on social media to stay updated with the latest episodes, reviews, and movie discussions: Website: www.ihatecritics.com Facebook: Everyone's a Critic Podcast Twitter (X): @criticspod Instagram: @criticspod Patreon: Support Us Tee Public Store: Shop Merchandise YouTube Channel: Watch Episodes Check out Jeff's incredible artwork: Jeff's Art Read Sean's insightful reviews: Sean's Reviews Tune in for a captivating episode filled with deep dives into the latest cinematic releases and a nostalgic look at a horror classic. Enjoy the show!

On our show, "Howling At The Full Moon", we're going with something a little on the controversial side of things with a film that is highly contested by many Full Moon fans deep from within the Paramount days with our 35th episode and the 1993 effort "DOLLMAN VS DEMONIC TOYS." Directed by Charles Band himself and starring Tim Thomerson, Tracey Scoggins, Melissa Behr and Phil Fondacaro. Dollman vs Demonic Toys was the huge super-ultra-mega crossover flick that tied up some loose ends from Dollman, Bad Channels, and Demonic Toys. Some feel this was the greatest crossover event in the history of film and others...not so much. Join our discussion headed off by our regular hosts Cameron Scott and Full Moon enthusiast Dustin Hubbard as they debate and talk about their general love for this movie.   "Pop goes the weasel."    

Take a step into the Pyun'iverse again, as Will and Matt watch what it would be like for Albert Pyun (Nemesis) to make his very own James Bond. Lance Henriksen stars as an American accented spy on her majesty's secret service... but let's focus on his Olympiad gymnast daughter instead... Also starring Tim Thomerson and Tim Thomerson's hair! DISCLAIMER: Language and Spoilers!SPITFIREdir. Albert Pyunstarring: Lance Henriksen; Debra Jo Fondren; Sarah Douglas

John Candy stars as a bumbling private investigator who is hired to find a kidnapped heiress. Co-starring Jeffrey Jones, Annie Potts, Tim Thomerson and Shawnee Smith.

Will and Sabrina are watching “The B.R.A.T. Patrol” starring Sean Astin, Tim Thomerson and Jason Presson. It premiered in 1986 as part of ABC's Magical World of Disney.See omnystudio.com/listener for privacy information.

Will and Sabrina are watching “The B.R.A.T. Patrol” starring Sean Astin, Tim Thomerson and Jason Presson. It premiered in 1986 as part of ABC's Magical World of Disney.See omnystudio.com/listener for privacy information.

Welcome to Cyberpunk Cinema – the Definitive Dive into the Dark Future of Science Fiction. I am your host, Anthony La Pira, and I will be taking you on a cinematic journey through the sprawling cityscapes, the crippling datastorms, and the cybernetic implants that encompass all things Cyberpunk.In this week's episode, I will be breaking-down the 1992 cyberpunk action film, Nemesis  – written and directed by Albert Pyun, starring Olivier Gruner, Tim Thomerson, Cary-Hiroyuki Tagawa, Brion James, and Vincent Klyn.Alex, a burned out L.A. cyborg cop, is forced by commissioner Farnsworth to find his former cyborg partner and lover Jared who's about to deliver sensitive data to cyborg terrorists who wish to wage war against humans. Is he being played?This film might be the most insane B-movie cyberpunk action film ever made. There are more bullets fired in this film than in any film I've seen. Albert Pyun, who we already went over with on Cyborg, returns to his favorite sub-genre and delivers some amazing thrills and action set-pieces. You just have to see it to believe it! Trust me, there are parts in this movie that you can't unwatch! It's a stunt spectacular!So, do me a favor – it's time to access your cranial jacks, boot up your Ono-Sendai Cyberspace 7, and slap on your damn mirror-shades. You know what time it is! Cyberpunk Cinema starts…now!Anthony's IG - https://www.instagram.com/stormgiantproductionsCyberpunk Cinema IG - https://www.instagram.com/cyberpunk.cinemaSignal Fragment SoundCloud - https://soundcloud.com/signalfragmentSend us a Text Message.

The year? 1997. The place? Hong Kong. The title? Hong Kong '97.Robert Patrick (Terminator's T-1000) plays an assassin who is confused when people want to kill him. Ming-Na Wen (Mandalorian's Fennec Shand) is confused about when they should leave the country. Brion James (Blade Runner's Leon) is confused about what British people sound like and what hacking is. Will and Matt (of this podcast) are confused as to why they do this to themselves. DISCLAIMER: Language and Spoilers!!HONG KONG '97dir. Albert Pyunstarring: Robert Patrick; Brion James; Ming-Na Wen

“Most human problems can be solved with an appropriate charge of high explosive”During the 1980s, it seemed as if Hollywood sent every one of its action stars on unsanctioned missions to Vietnam to rescue American POWs. But before Chuck Norris and Sylvester Stallone got in on the MIA rescuing act, it was the more unlikely figure of Gene Hackman who first went in to get ‘our boys' back. So, on this show, we're looking at the film that kicked off an entire sub-genre of the Eighties Namsploitation movie boom, UNCOMMON VALOR (1983).We're joined by Todd Liebenow from the Forgotten Filmcast to discuss Nam movie tropes, the film's wildly eclectic cast, and whether America got to win this time.Show notesDirector:  Ted KotcheffCast: Gene Hackan, Patrick Swayze, Randall ‘Tex' Cobb, Fred Ward, Reb Brown, Robert Stack, Tim Thomerson, Harold SylvesterPlot: Ten years after his son went M.I.A. in Vietnam, U.S. Marine retired Colonel Jason Rhodes assembles a private rescue team to find Americans held in P.O.W. camps in Laos.Episode 146.Follow Exploding HelicopterTwitter: @chopperfireballWebsite: explodinghelicopter.comInstagram: explodinghelicopter

Jeff Altman and I discuss growing up in Syracuse; his father, Arthur, teaching him slight of hand magic; learning more at Johns Hopkins; moving to LA and going to the Magic Castle; trying out at the Comedy Store; doing a comedy album with Denny Johnston; his Carson impression and two times he met him; doing his voice on Mary Hartman, Mary Hartman; doing voices on Norman Lear shows and Archie Bunker's Place; Celeste Holm, who his uncle discovered; his year living off income from being on Merv Griffin; Starland Vocal Band Show; guest appearances on Mork and Mindy and WKRP; playing Huey Hogg on Dukes of Hazard; getting the co-hosting job on Pink Lady; being told they spoke perfect English; working with Sid Caesar and Jim Varney; impressions; Rich Little; talking to Johnny right before he announced his retirement; his on-air prank calls to Letterman; Tim Thomerson; the origins of butt steak; being in the Israeli Candid Camera and almost getting arrested; his appearance on Night Court; his tough times being a cast member on Nurses; hosting Sunday Comics; Franklin Ajaye; doing an episode for the troops in the Gulf War; impersonating Bob Hope to Brooke Shields; his "dad" character; his album, I'll Flip You Like a Cheese Sandwich"; having Seinfeld ask him to be in The Bee Movie; retiring from comedy and going full time into sleight of hand; getting married to a girl he knew from high school and moving to Raleigh, NC; Max Alexander; Pink Lady covers and original songs

When Col. Ted Masters' (Tim Thomerson) plane goes down in an Arab country and he's sentenced to death for trespassing, his 18-year-old son, Doug (Jason Gedrick), is determined to save him. Unfortunately, Doug isn't the best fighter pilot -- he wasn't accepted into the Air Force because he needs to listen to music in order to hit a target. So he enlists the help of Col. Chappy (Louis Gossett Jr.) to borrow a couple of F-16 planes, fly across the Atlantic and start a rescue mission.

Episode #118: This week, Steven and Leo shrink down and size to fight Dollman vs Demonic Toys, and they've phoned a friend to join them! They talk about a great little performance by Tim Thomerson, missing demonic toys, the pressures of having sex on a schedule, bizarre flash animation references and what happens when a really fun movie is stuffed to the brim with clips from other movies. Watch the trailer here - Dollman vs Demonic ToysCheck out the Dollman TrailerLike the show? Rate us on Apple or Spotify!Worf vs a BarrelDollman Explosions!Who is Strong BadTrevor The VampireWho is The CheatFollow us on Instagram Follow us on TwitterCheck out our favorite podcast that starts with "Give Me Back My" - Give Me Back My Horror MoviesLike the Ads? Check out our friends at...Give Me Back My Action & Horror Movies100 HorrorsDark AdaptationHorror HouseA Cut Above: Horror ReviewManic Movie Monday PodcastGood Beer Bad Movie NightBucket of Chum PodcastDissect that FilmThe CinemigosHorror and More with Anya GooreComing Soon... Dollman vs. Demonic Toys 

Nemesis (1992) synopsis: “Alex, a burned out LA cyborg cop, is forced by commissioner Farnsworth to find his former cyborg partner and lover Jared who's about to deliver sensitive data to cyborg terrorists who wish to wage war against humans. Is he being played?”Starring: Olivier Gruner, Tim Thomerson, Cary-Hiroyuki Tagawa, and Thom MathewsDirector: Albert PyunSince co-host Corey is currently in Japan with his wife, we're releasing an episode of the Action, Action Podcast that he and Zak were on last year. The boys had a blast reviewing Albert Pyun's Nemesis with their Canadian pals, James and Dustin, who you heard on Canadian TV Obscura Part 1 a few months ago! We hope you enjoy the discussion and make sure you give Action, Action a follow!Action, Action Podcast: Apple Podcasts | Spotify | Patreon | Instagram | Letterboxd— SUPPORT PODCASTING AFTER DARK —PATREON - Two extra shows a month including Wrap-Up After Dark and The Carpenter Factor, plus other exclusive content!MERCH STORE - We have a fully dedicated merch store at TeePublic with multiple designs and products!INSTAGRAM / FACEBOOK / LETTERBOXD - Follow us on social media for updates and announcements!This podcast is part of the BFOP Network

As we kick off 2024, we are changing a few things in the cave. We are staying true to our mission of finding strange little movies and telling you about them, but we're making some small adjustments to the overall format. To begin the new year, we're looking at two films about movie-fans who are more than a little bit out of control. As fanatics ourselves, these both struck pretty close to home! We start off with "Fade to Black" from 1980. Starring Dennis Christopher and with a fun appearance from the always-great Tim Thomerson, the story focuses on an obsessive movie fan who finds a Marilyn Monroe look-a-like and then goes murderously off the ledge. It's fun with some great cameos and cool location footage of late 90's Hollywood. We follow that with 1991's "Popcorn" which has a team of film students at a local college organizing a festival of B movies. Once the festival begins, they fall prey to a mysterious killer one by one. It also includes the "mysterious lost film" trope which we love, to really pump up the enjoyment. Is it a perfect movie? No. But, is it a lot of fun? Yes! Please let us know what you thought of the show, and send us some suggestions for future episodes. You can email us at flickersfrom@yahoo.com or flickersfrom@gmail.com. You can also reach us on Facebook, Instagram and Twitter.

It's a double-dose of Deth this week as we return to one of our earliest franchises, TRANCERS! The only Empire film series to make it onto the Full Moon label, the Tim Thomerson-starring franchise has always been a favorite of Charles Bands, but do these carry over the charm of the original or is it a case of diminishing returns? Erik Hanson from the Cradle 2 the Grave Podcast joins us to find out!  Hosted by Jarrod Hornbeck and Steve Guntli  Theme song by Kyle Hornbeck  Logo by Doug McCambridge  Email: puppetmasterscastlefreaks@gmail.com Instagram/Threads: @puppetmasters_castlefreaks  YouTube: @PuppetMastersCastleFreaks  Next week's episode: The Dungeonmaster 

We're going back to 1984 to singe some squids and romance Helen Hunt before Paul Reiser got his greasy mitts all over her, as we watch the cult classic sci-fi movie, Trancers, directed by Charles Band. Join us as we discuss time traveling through your ancestors, Tim Thomerson's weathered face, and maybe figure out what a "trancer" is. Find us on Twitter and Instagram @TCTAMPod and on TikTok @theycalledthisamovie.Our theme music was written and performed by Dave Katusa. He can be found on Instagram @dkat_productions.

March 12-18, 1983 This week Ken welcomes comedian and man behind the new Blonde Medicine Comedy lp "Ice Cream vs. Everything", Paul Morrissey. Ken and Paul discuss Paul's excitement being on the show, why he picked 1983, the early 80s mix of famous people guest stars, The Love Boat, Smokey and the Bandit, Paul Williams, Milton Berle, cocaine, 70s Variety Shows, Solid Gold, Tim Thomerson, Top of the Pops, Steelers Wheel, miming, Richard Marx's Lionel Richie debut, cigarettes, David Bowie playing with Mott the Hoople, Robin Williams, Gen Xers vs. Boomers, buying awful products from TV Guide, horrifying children's decor, having to pay massive fines for ruining a VHS tape, Diff'rent Strokes, video games, Silver Spoons, Jason Bateman, Teen Wolf, how massive Bob Hope was, Jackie Gleason, never flying, Voyagers, the death of Jon Eric Hexum, on set accidents, getting bumped on Letterman so many times it becomes an inside joke, dry cleaning The Jeffersons, Newhart, Fritz Leiber, Jay Thomas, Square Pegs, production values, Little House of the Prairie, The A-Team, Happy Days, James Bond, Remington Steel, Pierce Brosnan, The Celtics vs. The Sixers, the Celtics 80s team, Facts of Life, baby death, Very Special Episodes, Fred Willard, Magnum PI, Vietnam, CHPs, Franken and Davis, Saturday Night Live, when everything was on Ice, Benson, Knight Rider, K.I.T.T. vs. K.A.R.R., Stephen Tobolowsky, Morgan Fairchild, $20k TVs, the power of the mustache, roasts, Beverly Hills Cops, action comedies, and why Real Genius is the greatest comedy of all time. 

He's thirteen inches... with an attitude. He's DOLLMAN, Tim Thomerson's wacky return to the Full Moon universe, a badass space cop who travels to Earth, where he learns he's six times smaller than everything around him. This silly, gory action-comedy boasts some oddball laughs and a fun villain turn from future Oscar nominee Jackie Earle Haley, and we're excited to be joined by Eric Walkuski from JoBlo.com to talk through all the pint-sized action.  Hosted by Jarrod Hornbeck and Steve Guntli  Theme song by Kyle Hornbeck  Logo by Doug McCambridge  Email: puppetmasterscastlefreaks@gmail.com Instagram/Threads: @puppetmasters_castlefreaks  YouTube: @PuppetMastersCastleFreaks  Next week's episode: Blood Dolls   

Salute your squids AND Daddy Mother because this week we're discussing "Trancers 3: Deth Lives!" So come along as we discuss the third film, plus making sense of the timeline, zombie NPCs, Tim Thomerson's stand up, good writing, best gifts ever, fleshies, hacking into you, high talk, Pixar's "Cars", hot scenes, Daddy Mommy, sugar babies, Nesquik Pudding, scab eaters, the films commentary on PTSD, skin suits, future Trancer hunters, CFNM, saluting, safe stunts, & more! Want to hear more from your favorite Marsh Land Media hosts? Hear exclusive shows, podcasts, and content by heading to Patreon.com/MLMpod! Buy some Shuffling the Deck / MLMpod MERCH, including our "Natty With Otters" shirt, over at redbubble.com/shop/msspod! Follow James @MarshLandMedia on Twitter, @MLMpod on Instagram, and listen to his music under "Marsh Land Monster" wherever music is found! Have fan mail, fan art, projects you want us to review, or whatever you want to send us? You can ship directly to us using "James McCollum, PO Box 180036, 2011 W Montrose Ave, Chicago, IL 60618"! Send us a voice mail to be played on the show at (224) 900-7644! Find out more about James' other podcasts "Mostly Speakin' Sentai", "Hit It & Crit It", "Formulaic: A Podcast In Script Writing", "The Height of Horror", "Sweet Child of Time", & more on our website, www.MLMPod.com!!! Plus, download all Marsh Land Monster albums there, too!

If you got to the end of the "Die Hard" episode, you heard guests Erik Laws and Erik Childress name-drop this 1984 sci-fi concoction, "Trancers," starring Tim Thomerson (as Jack Deth!) and before-she-was-famous Helen Hunt. Kerry and Collin decided "may as well" and dove right in. Piecing together elements of "Blade Runner," "The Terminator," "Back to the Future" and "The Hidden," this movie actually pre-dates most of those and certainly works as a Christmas movie. Beware of mall Santas! They just might be a trancer! This is some stupid fun. And what does any of it have to do with "The Room"? Is there too much of an age difference between the two leads? How can "Jingle Bells" sound badass? All this, plus three worthy entries in the "We Just Say Book" segment. Book segment films covered: "Clueless" (1995) "Reds" (1981) "Sons of the Desert" (1933)

 Nemesis is a 1992 American cyberpunk action film directed by Albert Pyun and starring Olivier Gruner, Tim Thomerson, Cary-Hiroyuki Tagawa, Yuji Okumoto, Marjorie Monaghan, Brion James and Deborah Shelton.[3] Set in a near future world populated by androids, the film centers on Alex Rain (Gruner), a cybernetically-enhanced, ex-counterterrorism operative charged by his former employers with assassinating his former lover, the leader of an underground militant group. This is the first installment in the Nemesis film series, and was followed by four direct sequels and a spinoff film. After premiering in Japan, it was released in the United States by Imperial Entertainment in January 1993.   Directed by Albert Pyun Written by Rebecca Charles Produced by Tim Karnowski Eric Karson Ash R. Shah Starring Olivier Gruner Tim Thomerson Cary-Hiroyuki Tagawa Merle Kennedy Yuji Okumoto Marjorie Monaghan Brion James Deborah Shelton Cinematography George Mooradian Edited by Mark Conte David Kern Music byMichel Rubini Production company Greenleaf Productions[1] Distributed byImperial Entertainment[2] Release dates 26 December 1992 (Japan) 29 January 1993 (U.S.) Running time 95 minutesCountryUnited StatesLanguageEnglishBox office$2 million

In this episode, we're looking back at the pre-Full Moon days, going back to Charles Band's earlier studio, Empire International Pictures! Empire produced some of the most beloved movies from the entire Band canon, and TRANCERS is definitely among the most loved. This wildly fun 1984 sci-fi thriller stars Tim Thomerson as future cop Jack Deth, who must travel back in time to stop a madman from turning low-intelligence people into killer zombies. Along the way, he teams up with future superstar and Oscar winner Helen Hunt as they tear around mid-90s Los Angeles. Hosted by Steve Guntli and Jarrod Hornbeck  Logo by Doug McCambridge  Email: puppetmasterscastlefreaks@gmail.com  Instagram: @puppetmasters_castlefreaks  Next week's episode: Evil Bong 

We here at Cinema Degeneration thought it was time for another Appreciation Month topic!  We bring to you a celebration of the life and career of the late great filmmaker Mr. Albert Pyun.  Pyun was a maverick director with over 50 directing credits to his resume before he passed away unfortunately in late 2022. Often operating well outside the studio system Pyun delivered films the only way he knew how...his way.  We are continuing the adventures and our 7th episode with a rare comedy in Pyun's filmography with the 1993 action/comedy/romance thriller "BRAIN SMASHER: A LOVE STORY", starring Andrew 'Dice' Clay, Teri Hatcher, Deborah Van Valkenburgh, Tim Thomerson, Brion James and Yuji Okumoto. This Vidmark era thriller is a tale about a supermodel who joins forces with a bouncer to wage battle with a bunch of ninjas for possession over a powerful Red Lotus flower and eventually find love along the way. Join our hosts Gary Hill and Cameron Scott as they discuss this unique chapter of Pyun's epic film history that proves that "dice-light' can actually work.    Join us for an intense celebration of the expansive Pyuniverse!   "We are NOT ninjas!"

April is well upon us and we here at Cinema Degeneration thought it was time for another Appreciation Month topic!  We bring to you a celebration of the life and career of the late great filmmaker Mr. Albert Pyun.  Pyun was a maverick director with over 50 directing credits to his resume before he passed away unfortunately in late 2022. Often operating well outside the studio system Pyun delivered films the only way he knew how...his way.  We are continuing the adventures and our 3rd episode with what is one of Pyun's most action packed films with the 1992 science fiction cyborg thriller "NEMESIS", starring Olivier Gruner, Tim Thomerson, Brion James, Thom Mathews, and more.  This is the crazy story of Alex Rain, a cyborg cop caught somehwere between humanity and the machines, and his fight to find out who is on his side and what side he is on himself!  Join hosts Cameron Scott and Deryk Wehrley as they discuss this diamond in the rough which was a first time watch for one of them!  Join us for a month long celebration of the expansive Pyuniverse!   "You see, there's an old saying in this business. It pays to be more than human."

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- 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.   On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released.   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.  

Inexperienced podcasters are killed alongside their strong, respected Patreon Supporter and awaken to find a mad scientist has given them a new body made of each other's body parts and indestructible bionics! On Episode 555 of Trick or Treat Radio we have a Patreon Takeover from Carlitos! This time around he has chosen the films Project Wolf Hunting and Full Metal Yakuza for us to discuss! We also dive deep into Takashi Miike's career, we discuss just how many gallons 2.5 tons of blood is, and flub a lot of words. So grab your favorite indestructible killing machine, invert your expectations, condense your hate, and strap on for the world's most dangerous podcast!Stuff we talk about: Eli Roth's Thanksgiving, Patreon Takeover, Blackout Tapes, Carlitos, Hausu, Buy Bust, The Happiness of the Katakuris, The Quiet Family, Gozu, Takashi Miike, 13 Assassins, Zebra Man, James Gunn, Superman: Legacy, Slither, Super, Brightburn, Jamie Lee Curtis, Everything Everywhere All at Once, The Whale, Brendan Fraser, Sarah Polley, Paulie Shore, Bio Dome, Ke Huy Quan, Michelle Yeoh, Halloween III, Dr. Loomis handicapped parking bandit, Project Wolf Hunting, Hongsun Kim, Dreaming about Kurando, Con-Air, most violent South Korean film, Cult of Muscle, Silver Bullet, Shinji Mikami, The Night Comes For Us, 2.5 tons of blood, Audition, Ichi the Killer, Imprint, Full Metal Yakuza, SFX Magazine, Lady Terminator, sleazy films, family walking in while watching sleazy movies, dancing like Morris Day, interpretative dance defense, optical blurring huge wangs, all balls, the Gnort of the Green Lantern Corp, embrace the ridiculousness, Zatoichi, The Great Yokai War, Infinity Pool, Brandon Cronenberg, Mia Goth, Alexander Skarsgard, ignorance is piss, Rachel from Zombie Grrlz, marketing films in the VHS era, Full Moon, Charlie Band, Demonic Toys, the Video Zone, Oliver Reed, Captain Marvel, Tim Thomerson, Dollman, Last of Us, calk in the crack, the thirteenth step, teeter on the edge of insanity, and notarized and circumcised.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

This week Ken welcomes comedian, actor, and writer Marc Sheffler to the show. Ken and Marc discuss Columbia, Daylight Savings Time, going to New York first so you can learn things before going to California, doing stand up in the late '60s, London Lee, going from driver to opener, Last House on the Left, the Borscht Belt, just wanting to do it once, being the start of the aluminum siding world, Pittsburgh,  hiring the Three Stooges for your 10th Birthday party, being anointed into show biz by Moe, Curly Joe Diritta, Roger Ebert's review of Last House on the Left, David Hess, picking up girls, lying about being a script writer, being in ads, snakes on a bus, moving to LA with money in the bank, and apartment and a car, Being There, Tim Thomerson, getting up at the Comedy Store, Mitzy Shore, David Letterman, Robin Williams, Marc Summers, Jimmy Walker, How Bugs Bunny Won the West, why Warner Bros stopped having live action wrap arounds on recycled Looney Tunes specials, Co-Ed Fever, how amazing Heather Thomas is, Du-beat-e-o, Joan Jett, Marsha Warfield, smoking pot, Richard Pryor, Johnny Dark, Steve Ladesberg, opening for Tower of Power in 1977, Charles in Charge, Harry and the Hendersons, producing Everything Is Relative, the 1988 Writer's Strike, doing an impression of Brett Goldstein, living in England, Ted Lasso, Lee Lacey, the wonder of improv, and the weird weird world of stand up comedy.

Jack Deth is back... and he's never even been 80s Revisited before! 80srevisited@gmail.com to talk with us, and leave a review for us! Thank you for listening 80s Revisited, hosted by Trey Harris. Produced by Jesse Seidule.

Director: Katheryn Bigelow Starring Adrian Pasdar, Jenny Wright, Bill Paxton, Lance Henrickson, Tim Thomerson, Some other fuckers. Caleb is a small town farmboy out at night looking for some action. He gets more than he bargains for when he runs into a succubus by the name of Mae who turns him onto the darker side of what goes on when everyone else goes to sleep. This ain't the horse farm no more, Caleb.

Lethal Mullet Podcast: Episode #194: Cherry 2000 with Kyle Wagner of FPN Hi there Mulleteers, on tonight's episode we look back to Melanie Griffith's first major film role in an action movie that has elements of post apocalyptic films like Mad Max, comedy and wall-to-wall action. Starring also legendary B movie star Tim Thomerson this film is a cult VHS flick from back in the eighties. Joining The Mullet tonight to talk about it is Kyle Wagner from FPN. Join us as we talk about Cherry 2000.  Give Lethal Mullet a listen: Website https://bit.ly/3j9mvlG IHeartRadio https://ihr.fm/3lSxwJU Spotify https://spoti.fi/3BRg260 Amazon https://amzn.to/3phcsi7 For all Lethal merch: TeePublic: https://bit.ly/37QpbSc Kyle Wagner:  Twitter: twitter.com/akylew Site: fpnet.podbean.com #lethalmulletpodcast #kylewagner #cherry2000

December 4-10, 1982 This week Ken welcomes writer and creator/host of The Bastard Tapes Podcast, Tim Harrod. Ken and Tim discuss the unique spite of people from New England, video games, Atari, walking to the arcade, Charlottesville, pinball companies trying to take on video games, how Nintendo temporarily killed arcades, Dragon's Lair, Saturday Supercade, Q*Bert, Steve Allen, stand up on TV, the influence of MTV, Solid Gold, Tim Thomerson, the weird MTV influenced syndicated sketch comedy show, Laugh Tracks, Gallagher, Gallagher II, Cinemax Comedy Experiment, Martin Mull, Rich Hall, Joe Piscapo and his mysterious Halloween Special, Dead Heat, Disney's Christmas Gift, Life's Most Embarrassing Moments, Foul Ups, Bleeps and Blunders, the influence of Letterman, Dennis Wolfberg, how you rarely saw Burt Reynolds and Tom Selleck together, Fridays, being conscripted into Circus of the Stars, Charlie Brown Christmas, Doctor Who,  The Year Without a Santa Claus, Joanie Loves Chachi, the missing Cunningham, RapCity Kids Christmas, M*A*S*H, Three's Company, Dolly Parton's Sister, Jane Curtain's Cousin, Newhart, Real People, Christmas Eve on Sesame Street, Follow that Bird, Family Ties, Cheers, Facts of Life, Diff'rent Strokes, always going for comedy, fake bands on real TV shows, The Urkel, The Guys Next Door, Chip and Pepper's Comedy Madness, Meatballs and Spaghetti, the fame of Nelson, Taxi, Too Close for Comfort, Sneak Previews, Siskel and Ebert's dog vs skunk, The Toy, Richard Pryor, a good story about Jackie Gleason, Chris Elliot, Action Family, The Powers of Matthew Star, Yes Virginia There is a Santa Claus, Mr. Magoo's Christmas Special, Sledge Hammer, losing the car horn, Wonder Bug and Schlep car, and the changes of the Incredible Hulk. 

Thirty-five years ago, we saw the release of a vampire thriller from a hot new director which truly connected with audiences and is beloved to this day – that film was The Lost Boys and it remains pretty beloved to this day.  This was the OTHER vampire thriller released that same year – it was the second film to be directed by future Oscar-winner Kathryn Bigelow and it stars Adrian Pasdar as Caleb, a young man living in Oklahoma who meets a mysterious young woman (Jenny Wright) one night.  The two lovebirds connect and then he meets the rest of the family….or so he thinks.  Because this woman doesn't below to a family, she belongs to a gang of vampires lead by Lance Henrickson and they're travelling around the country with one main purpose: to feed on others.  And as a result, Caleb has to decide whether he wants to join them….or to be fed upon.  This cult classic also stars Jeanette Goldstein, Tim Thomerson, and the late, great Bill Paxton.Host: Geoff GershonEditors: Geoff and Ella GershonProducer: Marlene Gershonhttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/

Ryan eats a bag of skittles on the mic, and Brant can't shut up about Tim Thomerson. It's a blast from the past with this sci-fi cult classic.Do you like the show? So help us out! Listen, rate, review, and share our show over at Apple Podcasts or over on Spotify. Want to give us your two cents? Curious about what's coming up on the show? Follow us on Instagram, Twitter, or Facebook.

Allyson was made to watch the 1987 sci-fi action rom-com Cherry 2000. Will she have the same love/hate relationship with it that star Melanie Griffith has or will she want to ask Mike for a Pepsi while stranding him in the desert? Mike sings the praises of Tim Thomerson, an even better "every man" action hero than Bruce Willis! Steve De Jarnatt, who wrote the cult comedy classic Strange Brew, directed this. Will he bring enough self-aware silliness to make this one a worth rewatch? If you saw Cherry 2000, let us know what you thought! Join our https://www.facebook.com/groups/youmademewatch (Facebook group) for more movie talk! https://www.facebook.com/groups/youmademewatch Follow us on Instagram @YouMadeMeWatch to get sneak peeks at which movie we'll talk about next. Logo by Martin Butler. Follow him on Instagram @MartyButtons Theme song by Thomas Medelheim. https://www.fiverr.com/medelheim

Lethal Mullet Podcast: Episode #180: Brain Smasher A Love Story Howdy there Mulleteers! I have an interesting film for you learn about tonight: BRAIN SMASHER: A LOVE STORY. Starring the awesome Andrew DICE Clay, Teri Hatcher, Tim Thomerson, Brion James, Yuji Okumoto, Deborah Van Valkenburgh, Charles Rocket, and the always amazing Peter Kwong. Directed by Albert Pyun, the man behind: The Sword and The Sorcerer, Cyborg and Nemesis among others this film is filled with action, laughs and romance.  Give Lethal Mullet a listen: Website https://bit.ly/3j9mvlG IHeartRadio https://ihr.fm/3lSxwJU Spotify https://spoti.fi/3BRg260 Amazon https://amzn.to/3phcsi7 For all Lethal merch: TeePublic: https://bit.ly/37QpbSc #lethalmulletpodcast #brainsmasher #lovestory 

*WARNING: THIS EPISODE IS COMPLETELY UNHINGED AND UNSUITABLE FOR A LISTENING AUDIENCE* On today's episode, your favorite Dumpster Boy get's absolutely smashed out of his mind and attempts to piece together the 1993 Full Moon Crossover Event--Dollman vs Demonic Toys! Please do not show this episode to anyone... especially Tim Thomerson.  Remember: FIGHT BIG BOX OFFICE, SAVE TRASH CINEMA!

It's sequel time once more on Weirdhouse Cinema! Join Rob and Joe as they jump right into Charles Band's 1991 sequel to Trancers, starring Tim Thomerson, Helen Hunt and the always villainous Richard Lynch. Jack Deth contends with psychic zombies, various wives and the not-so-rigorous rules of time travel. (originally published 5/21/2021) See omnystudio.com/listener for privacy information.

Dollman vs Demonic Toys (1993) Category: Puppet Revenge Part III Bones brings back 5DR favorite Tim Thomerson as Dollman and it's his job to fight off those crazy Demonic Toys. The guys dive deep into the history of Dollman and the Demonic Toy but are very surprised to find another movie hiding within this weeks pick. Four movies are covered on this weeks episode. The guys also talk accounting insider information, NFT's and how toy's are fake in movies.  -Crash and Burn 

The rest of the action community may be talking about the upcoming Top Gun sequel, Top Gun Maverick, but on Episode 67 of The Bulletproof Podcast Chris the Brain, Chad Cruise and special guest Chris DePetrillo from Figures Toy Company look back at the other jet fighter movie from 1986! The awesome cast that included Louis Gossett Jr, Jason Gedrick and Tim Thomerson, the awesome soundtrack that included Twisted Sister, Queen and Dio are among the talking points of this episode... plus, should Toy Soldiers have been a Chappy Sinclair spin off? Check out this jet fueled edition of The Bulletproof Podcast right now!!!