Podcasts about Yoram Globus

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In dieser Folge (101) spricht Mareike mit Christian Becker, Produzent, HFF-Alumnus (Abt. V, Kurs 1994) und u.a. Gründer der n RAT PACK Filmproduktion. Becker hat das deutsche Unterhaltungskino der letzten 20 Jahre maßgeblich mitgeprägt.In dieser Episode sprechen wir über :Erster Einschnitt: Videotheken: Filmen nach Firmen die Idee Kinobesitzer zu werden Durch Losverfahren zum ersten Studium in Siegen Amerikanische Produktion in Berlin und Produzenten, die Eltern überzeugen Vom VHS-Rekorder und dem Fernseharchiv Siegens zur Produzentenlegende: Wie Christian Becker nach dem BWL-Studium zur HFF kam – und warum Menahem Golan und Yoram Globus ausschlaggebend waren, obwohl niemand an der HFF sie kannteZusammenarbeit mit vielen ehemaligen Kommiliton*innenLanges Durchhalten für Jim KnopfKino Liebe : Bud Spencer und (oder?) DisneyfilmeDVD-Regale und Heimkino .Eine Folge über Genre-Liebe, kreative Freundschaften und das unbedingte Ja zum Filmemachen!Viel Vergnügen beim Hören! Hosted on Acast. See acast.com/privacy for more information.

Access this entire 105 minute episode (and additional monthly bonus shows) by becoming a Junk Filter patron for only $5.00 (US) a month! Over 30% of episodes are exclusively available to patrons of the show. ⁠https://www.patreon.com/posts/169-cannons-with-105061266 The film writer Jessica Ritchey returns for a show about Cannon Films, and the aggressive attempt by “The Go-Go Boys” Menahem Golan and Yoram Globus to bring legitimacy to their schlock studio by financing projects designed to win them awards and prestige. Despite the critical success of some of these offerings, and some high-profile wins and nominations, none of these films were financially successful thanks to Cannon's hapless marketing strategies and their bad reputation within the film industry (including staggering money losses, a shareholder revolt and an SEC investigation into their accounting practices). Cannon would file for bankruptcy by the end of the eighties. We discuss 5 of these prestige projects: the dark journalism thriller Street Smart (which Cannon financed for Christopher Reeve in exchange for starring in Superman IV and the film that put Morgan Freeman on the map), Andrei Konchalovsky's masterful Runaway Train (the best film the studio ever made) and his followup, the American gothic drama Shy People (an award winner at Cannes which vanished without a trace), Nicolas Roeg's Castaway (the film Oliver Reed was promoting the night he almost beat up David Letterman), and Barbet Schroeder's black comedy about alcoholism Barfly with Mickey Rourke and Faye Dunaway. Street Smart, Runaway Train and Shy People are currently available to stream on Tubi. Follow Jessica Ritchey on Bluesky, and support her work on Patreon. Trailers Street Smart (Jerry Schatzberg, 1987) Runaway Train (Andrei Konchalovsky, 1985) Shy People (Andrei Konchalovsky, 1987) Castaway (Nicolas Roeg, 1986) Barfly (Barbet Schroeder, 1987)

Welcome back to another exciting episode of Not A Bomb Podcast. This is the podcast where we re-examine some of the biggest bombs in cinematic history. Oh man, do we have a treat for you! This week's show is all about Cannon films, and you can't talk about Cannon without Austin Trunick. Austin is the author of two excellent retrospective books - The Cannon Film Guide: Vol 1 and 2. If you have ever wanted to know something about Cannon Films, Austin is the guy to talk to. While Cannon created a ton of cult favorites, they also dipped their toes into some prestige storytelling. We decided to go a bit more “highbrow” with this week's choice and are discussing 1985's Runaway Train. This Academy Award nominated film started as a screenplay by legendary filmmaker Akira Kurosawa and was passed around by several Hollywood executives. The story of two escaped convicts who become stuck on a…you guessed it…runaway train finally found a home with Menahem Golan and Yoram Globus. Austin brings so much insight to this film and we are super excited he joined us for this week's conversation. So, sit back, relax, and learn all about one of the best stories to come out of The Cannon Group, Runaway Train. Runway Train is directed by Andrei Konchalovsky and stars John Voight, Eric Roberts, Rebecca De Mornay, Kyle T. Heffner, John P. Ryan, T.K. Carter, and Kenneth McMillian.Be sure to check out The Cannon Film Guide: Vol 1 and Vol 2, or please support your local bookstore and ask them to order it for you. If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com or Contact Us - here. Also, if you like what you hear, leave a review on Apple Podcast. For invite to the Not A Bomb Discord, hit us up here. Cast: Brad, Troy, Austin Trunick

Time for a powerful reunion with Menahem Golan and Yoram Globus, the masters of Cannon Group Films, a madhouse full of ninjas and buff dudes. Only this time they've got a buff gal and the ghost of a ninja. Will it be more entertaining than a movie with a troll and Courtney Cox? Tune in. Find out. Live free.  Featuring: A lot of anti-police sentiment, the lingering frustration of internet issues and possible misogynist Sho Kosugi (allegedly).  More Pauls!  https://facebook.com/ogtpod https://twitter.com/ogtpod We have a Patreon! https://www.patreon.com/ogtpod – sign up for exclusive content for as little as $1 a month. Listen to Salt's show Jen and the Film Critic with OGT guest and deep friend Jen Blundell here! Like d&d? Want more Pauls? Into nerd shit AND jokes about bums? Why not check out our d&d actual play podcast, Quest Fantastic?  https://shows.acast.com/quest-fantastic link.chtbl.com/questfantastic RSS: https://feeds.acast.com/public/shows/61d8e6b335501c0012b6c367 Goodman's EP 'Future Music' is out now! Find out where you can stream and purchase here: Future Music by Run//Phase (songwhip.com)

Regresamos a los mundos de espada y brujería en busca de una de las aventuras más épicas y recordadas por cualquier niño de los 80s y 90s, Los Barbaros, esta producción de los geniales Menahen Golam y Yoram Globus y su compañía Cannon Films que cautivo a una juventud que crecía arropada de películas como Conan el Bárbaro, Ator el Poderoso, El señor de las bestias o El Guerrero Rojo. En este programa te ofrecemos la sección "Huérfano de Series" donde te damos toda la información sobre la nueva promoción de Vodafone Tv, conoce todos los detalles escuchándolo o a través de https://www.vodafone.es/series Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

The Go-Go Boys: The Inside Story of Cannon Films (2014) synopsis: “A documentary about two Israeli-born cousins, Menahem Golan and Yoram Globus, who in pursuit of the American Dream turned the Hollywood power structure upside down, producing over 300 films and becoming the most powerful independent film company in the world.”Starring: Menahem Golan and Yoram GlobusDirector: Hilla MedaliaThis week on Podcasting After Dark, Zak and Corey review the 2014 documentary, The Go-Go Boys: The Inside Story of Cannon Films! Zak thought this would be the perfect addition to our annual docu-series, especially since the boys have already covered quiet a few movies produced by the infamous duo. As a fun little bonus, Zak and Corey also list their top five Cannon Films at the end of the episode!Leave a comment on our Patreon page or social media and let the boys know what your top five Cannon Films are!— 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 - Follow us on social media for updates and announcements!This podcast is part of the BFOP Network

Au moment où le contexte géopolitique et sociétaire se tend à loisir, Sep7ième Dimension aidé par l'éditeur hexagonal ESC Distribution, se penche sur la solution trouvée à l'époque par deux Israéliens fous, Menahem Golan et Yoram Globus, qui décidèrent le temps d'un film fou, d'opposer le terrorisme communiste à un savant mélange entre Rambo, Crocodile Dundee et Charles Bronson.Cette solution porte un nom : Chuck Norris.En 1h47, cet orfèvre de Joseph Zito, jette une poignée de moustachus énervés entre les mains expertes de Matt Hunter, agent très spécial, aussi habile dans le dressage d'alligator que dans le maniement de la punchline bigger than life.Pénis à emporter, pavillons explosés au bazooka et aéroglisseur permanenté, voilà le généreux programme de cette Vérif réjouissante en VHS Box Blu Ray collector signé ESC Distribution.Bonne écoute !Pour accompagner tout ça, le thème enjoué et racoleur signé Jay ChattawayPour ceux qui apprécient notre diarrhée verbale (presque) quotidienne, n'hésitez pas à liker, partager sur vos plateformes d'écoutes habituelles. Vous pouvez venir aussi nous faire un petit coucou sur notre Facebook, notre Instagram, notre Twitter, et même notre TikTok dis donc ! vous verrez on y est bien !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Remaker ¿Has visto alguna vez un Ninja? seguramente NO ¿Verdad? y ¿Sabes por qué? Porque se quedaron todos rodando películas de los 80. Hubo una época en la que hablar de cine, era hablar casi exclusivamente del cine de videoclub, y hablar de cine de videoclub era hablar, entre otros cuantos temas, de cine de Ninjas. Con “El Guerrero Americano” los primos de la Cannon Group, Menahem Golan y Yoram Globus, lo vuelven a hacer, en un momento donde parecía que el cine de Ninjas y artes marciales no podía dar más de sí, producen una película que vuelve a ser un gran éxito y el comienzo de una de las sagas más mediáticas de la década, con 5 entregas en total. “El Guerrero Americano” fue dirigida por Sam Firstenberg un desconocido por entonces y con poco oficio, y que poco después se convertiría en un habitual de la Cannon y del cine de ninjas. Lo mejor de esta película era su carátula, donde podías encontrar al emblemático Michael Dudicoff con catana en mano sobre la tan idolatrada bandera yankee, el Jeams Dean de la Cannon. Tampoco se quedaba atrás en la película y parte de la saga el carismático Steve James como el cabo Curtis Jackson. Luego llegaría David Bradley para suplantar a Dudicoff, pero lejos de significar una debacle para la franquicia, fue todo lo contrario, ai pudimos todos volver a disfrutar de las mejores secuelas de artes marciales jamás hechas. ¿Que había de especial en aquellas películas? ¿Qué era aquello que tanto nos emocionaba? ¿Qué era aquello que nos hizo apuntarnos al día siguiente de verla a clases de karate y pegar patadas a diestro y siniestro en el patio del colegio? Aún a día de hoy nos lo preguntamos, aún a día de hoy, nos emocionamos cuando volvemos a ver la mítica película del Guerrero Americano, y esperamos que también en el día de hoy, te emocionemos al escuchar a Israel Gordón, Javi Garcia y un servidor Juan Pablo Videoclubsero, hablando y reviviendo esta mítica saga de películas de videoclub. ----------------------------------------------------------------- Escúchanos también en www.remakealos80.com Recuerda suscribirte a nuestro canal de You Tube para estar al día de nuestros directos https://www.youtube.com/@remakealos80 Síguenos en Instagram y Twitter @Remakealos80 y búscanos en Telegram, te dejamos el enlace a nuestro grupo de para que compartas tus opiniones e interactúes con nosotros: https://t.me/joinchat/GXsRJYMd3wQVBG2v

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----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.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, 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.

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----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.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, 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.

¡Bienvenidos a un nuevo episodio de El Calabozo Redux! Toca rendir tributo y pleitesía a la fábrica de los sueños de toda una generación: la Cannon, comandada por dos soñadores como Menahem Golan y Yoram Globus, fue una compañía que otorgó toneladas de felicidad, diversión y pasión por el cine durante la década de los 80. Un recorrido de auge y caída que ha conseguido ser un capítulo en sí mismo de la historia del cine en general, y del culto en particular. Acompaña al Reverendo el cortometrajista underground, Miguel Ángel Muñiz, para desentrañar la historia, obra, anecdotario y star system de esta inolvidable compañía. Enjoy! Si te ha gustado el programa, recuerda que tienes la posibilidad de ayudar a El Calabozo del Reverendo Wilson dándole a "Me gusta". ¡Gracias y feed the cvlt!

You are in for a treat today. We have legendary 80's action director Sam Firstenberg.At a young age Sam began to "create" movies to entertain his friends. Horrifying his mother, he would cut up books, stringing together the pictures and rolling them up. He would then put the roll into a box with a cut out window, shine a flashlight from behind, and manually pull the roll, revealing the pictures through the window in sequence.Sometimes he would plan a special show in which his sister narrated the "film" based on a script Sam would concoct, and his father would accompany on the violin. As he grew up he found a hobby in photography and by high school had turned his bedroom into a darkroom where he would earn pocket money by developing pictures for his friends.After serving three years in the Israeli army, Sam came to the US in 1971, began to study and work in films, and culminated his studies with “One More Chance," the graduate film thesis which turned into a feature-length film."After Golan bailed us out, our film premiered at the Cannes Film Festival in 1981, then went on to become the official US entry at the prestigious Locarno Film Festival in Switzerland, and won a Silver Plaque at the 17th Annual Chicago Film Festival. This film became my calling card, and launched my career." recalls Sam.By then Menahem Golan and Yoram Globus had acquired Cannon Films. They hired Sam to direct “Revenge of the Ninja." Sam knew nothing about martial arts, but learned quickly and the film, which starred Sho Kosugi, was shot in Salt Lake City, Utah. Distributed by MGM to a great box-office bonanza, it set the stage for Sam's next directing assignment, “Ninja III - The Domination," also starring Kosugi. The film was shot in Phoenix, Arizona and was also tremendously successful.Both Ninja films directed by Sam were sequels to the highly successful “Enter the Ninja” directed by Golan. "Then came a pleasant opportunity," Sam smiles."Golan wanted me to direct ' Breakin 2 - Electric Boogaloo," another sequel, which then made me the king of sequels, but also gave me a break from directing Ninja action films."In fact, each of the sequels directed by Firstenberg resulted in better reviews and box office draws than the originals. “Breakin 2 - Electric Boogaloo " was a musical that featured major dance production numbers, filmed in Los Angeles. Distributed by TRI-STAR it was critically acclaimed; and a box office success, one of the reviews hailed it as"The most exuberant musical of the decade."Soon after the release of " Breakin 2 - Electric Boogaloo " Sam was on his way to the Philippines to direct "American Ninja" a major action picture starring Michael Dudikoff and Steve James, who would team up with Sam for two additional motion pictures, "Avenging Force," shot in New Orleans and the swamps of Louisiana, and "American Ninja II"'Avenging Force' was one of the most physically grueling productions I ever worked on,"comments Sam."We spent days and nights in water, mud up to our waists, with snakes crawling between our legs."The film opened to rave reviews. The LA Times called Firstenberg"... a rockin' young action director who's pulled off a series of rave up pictures for Cannon including ' American Ninja ' and ' Electric Boogaloo,' and now in ' Avenging Force ' shows off his savvy style, which combines a keen sense of pacing with brawny punch...it marks the emergence of a truly gifted movie talent."The next picture for Sam was “Riverbend”, a controversial drama with Steve James and Margaret Avery from "The Color Purple." The picture explored race relations in 1966 Georgia, and was an opportunity for Firstenberg to work with strong dramatic material. In sharp contrast, Sam's next picture was an all-out comedy, “The Day We Met,” which proved to him that his directorial talents were easily extended."Delta Force III” came next, a military action picture with Nick Cassavettes, Eric Douglas, Mike Norris, and Matthew Penn, and was followed with a breakthrough approach to martial arts in “American Samurai” introducing hot young martial artists David Bradley and Marc Dacascos. Firstenberg then got his first taste of TV work with a nighttime crime show for CBS, directing six episodes of “Sweating Bullets"With the creation of Nu Image, principles Avi Lerner and Danny Dimbort recruited Firstenberg to direct their first production, "Cyborg Cop," and then the sequel, "Cyborg Soldier," both sci-fi action flicks with David Bradley. In addition, Firstenberg completed with Bradley and Frank Zagarino the action picture "Blood Warrior." Next came “Operation Delta Force” a military style action / adventure with Ernie Hudson, Jeff Fahey, Joe Lara, Frank Zagarino, and Hall Halbrok.1997 brought Firstenberg to explore new directorial areas; “McCinsey's Island” is a comedy for children, a treasure hunt movie with Hulk Hogan, Robert Vaughn, and Grace Jones, and “Motel Blue” with Sean Young, Soleil Moon Frye, and Seymour Cassel, is a psychological thriller with two women in the lead.Sam and I had an amazing conversation about all things Cannon Films, Ninjas, Break Dancing, and 80's action films. Enjoy!

If you're a fan of eighties action movies, you should know The Cannon Group. Run by Israeli cousins Menahem Golan and Yoram Globus, in the eighties they cranked out a slew of low-budget action movies, most of which were hated by critics. Yet, every once in awhile they made a legitimately great movie that would even make the critics sit up and take notice. One such as this 80's flick directed by Andrei Konchalovsky (who later made "Tango & Cash") and based on a script by Akira Kurosawa who was a legendary filmmaker in his own right. So get yourself all greased up, jump onboard and then hold on tight as Tim Williams and guest co-host JB Huffman from "Manly Movies" Podcast discuss “Runaway Train” from 1985 on this episode of the 80's Flick Flashback Podcast! Here are some additional behind the scenes trivia we were unable to cover in this episode: The film is dedicated to the memory of Richard Holley. Helicopter pilot Rick Holley was killed in a helicopter crash during filming. According to the Alaska Rails website, "his helicopter hit a power line in the canyon north of Tunnel Section". This occurred on March 9, 1985 and was listed as "helicopter accident en route to Alaska filming location”. Sources: Wikipedia, IMDB, Rotten Tomatoes, https://www.joblo.com/runaway-train-1985-revisited-action-movie-review/ Send us an email or reach out to us on social media to let us know what you liked, what you loved, what we may have missed, or what 80's movie we should discuss next! You can also support the podcast by becoming a subsrciption member through "Buy Me A Coffee". Click on the following linktree link for more details and other great extensions of the podcast. https://linktr.ee/80sFlickFlashback --- Send in a voice message: https://anchor.fm/moviviews80sff/message

Remember Cannon Films?  They were an independent production company started in the '70s run by two Israeli cousins (Yoram Globus, Menahem Globus) who wanted to bring their cinematic ambitions to the United States....and they released a LOT of movies, most of which were considered schlock in retrospect.  But every once in a while, they would release a GENUINE quality film and this was one of them. :) Directed by Andrei Konchalovsky, this is a tense action adventure focusing on two escaped convicts of an Alaskan prison who jump on to a nearby train before eventually realizing that its conductor has died and its breaks are not working.  Hence it's a.....RUNAWAY TRAIN. ;) Jon Voight and Eric Roberts star as the two convicts along with Rebecca De Mornay as a rail worker who they encounter on their adventure. Host: Geoff Gershon Editors: 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/

Amis de la Cannon, bonjour ! Vous ne le savez peut-être pas, mais la firme de Menahem Golan et Yoram Globus n'ont pas produit que des films de Jean-Luc Godard et John Cassavetes. Ils ont également fait des tonnes de bis du cinéma d'action, et popularisé à eux seuls la figure du Ninja au cinéma. Immédiatement popularisé, immédiatement ringardisé, il faut bien le dire ! Pour parler de l'un des fleurons de la de la Cannon, à savoir AMERICAN WARRIOR (mais aussi connu sous le titre AMERICAN NINJA) de Sam Firstenberg avec Michael Dudikoff et Steve James, Stéphane Moïssakis a invité le spécialiste es-Ninja de Toulouse, à savoir Yannick Dahan !Pour précommander notre mook CAPTURE MAG 2012 - 2022 : NOTRE DÉCENNIE DE CINÉMA, rendez-vous sur Kiss Kiss Bank Bank : https://www.kisskissbankbank.com/fr/projects/capture-mag-2012-2022Pour nous soutenir, il y a deux adresses.KISS KISS BANK BANK : https://bit.ly/3Svo6kXTIPEEE : https://www.tipeee.com/capture-mag#livre #cinema #crowdfunding Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Après vous avoir narré comment Menahem Golan et Yoram Globus, 2 cousins, roi du cinéma en Israel, ont décidé de conquérir l'Amérique en rachetant une petite société de production pour tenter de se faire une place parmi les grands à Hollywood, nous vous racontons comment, après de nombreuses difficultés, ils sont finalement parvenu à construire un business florissant grâce à leur sens des affaires, avant malheureusement de se laisser déborder par des ambitions trop grandes et des méthodes pas toujours loyales.Bienvenue dans la suite et la fin de l'incroyable histoire de la Cannon.

We're talking Cannon Films on this episode of the Fan2Fan Podcast! Bernie and Pete are joined by Austin Trunick, author of The Cannon Film Guide series. We discuss Austin's passion for Cannon, the 80s video store explosion, and how Cannon Films evolved from the determination and hustle of Menahem Golan and Yoram Globus. We also talk about some of our favorite Cannon Films including the Chuck Norris movies (Missing in Action, Delta Force, Invasion USA), the ninja movies (Revenge of the Ninja, Enter the Ninja, the American Ninja series), Last American Virgin, Avenging Force, the Deathwish series, and more. For more info about the Fan2Fan Podcast, visit: https://linktr.ee/fan2fan

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

Film de 1984 qui ressort en DVD/ Blu-ray, L'Ambassadeur de John Lee Thompson, un réalisateur, scénariste et producteur britannique qui signe cette production israélo-américaine.Un film d'action mâtinée d'enjeux politiques un peu naïf avec des poursuites en voiture, en hélicoptère, des tentatives d'assassinat…et une odieuse vidéo mettant en scène les ébats de la femme de l'ambassadeur avec son amant. Autant d'éléments qui ne détournera pas Robert Mitchum, le fameux ambassadeur, dans sa quête principale : celle de pacifier le Moyen-Orient.Un film produit par la Cannon la société de productions des deux célèbres cousins israéliens Menahem Golan et Yoram Globus qui s'étaient spécialisés spécialisée dans les films populaires et musclés.À signaler aussi que pour notre plus grand bonheur, au casting des personnages secondaires interprétant les Israéliens et les Palestiniens, de jeunes acteurs devenus les grandes vedettes israéliennes d'aujourd'hui comme Sanson Gabaï, Moché Ibgy, Uri Gavriel ou Albert Iluz

Film de 1984 qui ressort en DVD/ Blu-ray, L'Ambassadeur de John Lee Thompson, un réalisateur, scénariste et producteur britannique qui signe cette production israélo-américaine.Un film d'action mâtinée d'enjeux politiques un peu naïf avec des poursuites en voiture, en hélicoptère, des tentatives d'assassinat…et une odieuse vidéo mettant en scène les ébats de la femme de l'ambassadeur avec son amant. Autant d'éléments qui ne détournera pas Robert Mitchum, le fameux ambassadeur, dans sa quête principale : celle de pacifier le Moyen-Orient.Un film produit par la Cannon la société de productions des deux célèbres cousins israéliens Menahem Golan et Yoram Globus qui s'étaient spécialisés spécialisée dans les films populaires et musclés.À signaler aussi que pour notre plus grand bonheur, au casting des personnages secondaires interprétant les Israéliens et les Palestiniens, de jeunes acteurs devenus les grandes vedettes israéliennes d'aujourd'hui comme Sanson Gabaï, Moché Ibgy, Uri Gavriel ou Albert Iluz

Crecimos con ellos y aprendimos a amarlos... y a aborrecerlos. La historia de los primos israelíes Menahem Golan y Yoram Globus es todo un símbolo del exceso cinematográfico y vital de los años 80, aparte de una oportunidad para repasar sus títulos más tronados y sus no pocos aciertos, reivindicados por dos documentales, "Electric Boogaloo" y The Go-Go Boys". Únete a nosotros en Telegram: t.me/marcianosenuntren Con Jose Ceballos, Jose Contreras y Edu Senx Edición: Jose Ceballos Temas de Alan Silvestri, Forever Sunset, Marc Torch, One Two Feet, The Basic Game, August Bust, Daniel Gunnarsson, Jeed Keep, Arlo Young, Falcon Dives, Frank Zappa, Jerry Goldsmith y Henry Mancini Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

It's time for Episode 111 of Adapt or Perish, which also happens to be our very romantic Valentine's Day episode. We wanted to celebrate the day with a very awkward look at the classic Lady Chatterley's Lover. Enjoy! In this episode, we discuss: D.H. Lawrence's original 1928 novel L'Amant de lady Chatterley (1955), directed by Marc Allégret, written by Allégret, Gaston Bonheur, and Philippe de Rothschild, and starring Danielle Darrieux, Erno Crisa, Leo Genn, and Berthe Tissen Lady Chatterley's Lover (1981), directed by Just Jaeckin, written by Jaeckin, Marc Behm, and Christopher Wicking, and starring Sylvia Kristel, Nicholas Clay, Shane Briant, and Ann Mitchell Lady Chatterley (1993), directed by Ken Russell, written by Russell and Michael Haggiag, and starring Joely Richardson, Sean Bean, James Wilby, and Shirley Anne Field Lady Chatterley (2006), directed by Pascale Ferran, written by Ferran and Roger Bohbot, and starring Marina Hands, Jean-Louis Coulloc'h, Hippolyte Girardot, and Hélène Alexandridis Lady Chatterley's Lover (2015), written and directed by Jed Mercurio, and starring Holliday Grainger, Richard Madden, James Norton, and Jodie Comer Footnotes: E.M. Forster's Maurice John Cameron Mitchell's Shortbus (2006) Menahem Golan, Yoram Globus, and Cannon Films Wrotham Park, filming location for both Lady Chatterley's Lover (1981) and Lady Chatterley (1993) You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us and all of our show notes online at adaptorperishcast.com. We're also on Patreon! You can find us at patreon.com/adaptcast. We have multiple reward levels, which include access to a patron-only community and a patron-only, biweekly bonus show! We hope to see you there. If you want to send us a question or comment, you can always email us at adaptorperishcast@gmail.com.

You are in for a treat today. We have legendary 80's action director Sam Firstenberg. At a young age Sam began to "create" movies to entertain his friends. Horrifying his mother, he would cut up books, stringing together the pictures and rolling them up. He would then put the roll into a box with a cut out window, shine a flashlight from behind, and manually pull the roll, revealing the pictures through the window in sequence.Sometimes he would plan a special show in which his sister narrated the "film" based on a script Sam would concoct, and his father would accompany on the violin. As he grew up he found a hobby in photography and by high school had turned his bedroom into a darkroom where he would earn pocket money by developing pictures for his friends.After serving three years in the Israeli army, Sam came to the US in 1971, began to study and work in films, and culminated his studies with “One More Chance," the graduate film thesis which turned into a feature-length film."After Golan bailed us out, our film premiered at the Cannes Film Festival in 1981, then went on to become the official US entry at the prestigious Locarno Film Festival   in Switzerland, and won a Silver Plaque at the 17th Annual Chicago Film Festival. This film became my calling card, and launched my career." recalls Sam.By then Menahem Golan and Yoram Globus had acquired Cannon Films. They hired Sam to direct “Revenge of the Ninja." Sam knew nothing about martial arts, but learned quickly and the film, which starred Sho Kosugi, was shot in Salt Lake City, Utah. Distributed by MGM to a great box-office bonanza, it set the stage for Sam's next directing assignment, “Ninja III - The Domination," also starring Kosugi. The film was shot in Phoenix, Arizona and was also tremendously successful.Both Ninja films directed by Sam were sequels to the highly successful “Enter the Ninja” directed by Golan. "Then came a pleasant opportunity," Sam smiles. "Golan wanted me to direct ' Breakin 2 - Electric Boogaloo," another sequel, which then made me the king of sequels, but also gave me a break from directing Ninja action films."In fact, each of the sequels directed by Firstenberg resulted in better reviews and box office draws than the originals. “Breakin 2 - Electric Boogaloo " was a musical that featured major dance production numbers, filmed in Los Angeles. Distributed by TRI-STAR it was critically acclaimed; and a box office success, one of the reviews hailed it as "The most exuberant musical of the decade."Soon after the release of " Breakin 2 - Electric Boogaloo " Sam was on his way to the Philippines to direct "American Ninja" a major action picture starring Michael Dudikoff and Steve James, who would team up with Sam for two additional motion pictures, "Avenging Force," shot in New Orleans and the swamps of Louisiana, and "American Ninja II"        'Avenging Force' was one of the most physically grueling productions I ever worked on,"comments Sam."We spent days and nights in water, mud up to our waists, with snakes crawling between our legs."The film opened to rave reviews. The LA Times called Firstenberg "... a rockin' young action director who's pulled off a series of rave up pictures for Cannon including ' American Ninja ' and ' Electric Boogaloo,' and now in ' Avenging Force ' shows off his savvy style, which combines a keen sense of pacing with brawny punch...it marks the emergence of a truly gifted movie talent."The next picture for Sam was “Riverbend”, a controversial drama with Steve James and Margaret Avery from "The Color Purple." The picture explored race relations in 1966 Georgia, and was an opportunity for Firstenberg to work with strong dramatic material. In sharp contrast, Sam's next picture was an all-out comedy, “The Day We Met,” which proved to him that his directorial talents were easily extended."Delta Force   III” came next, a military action picture with Nick Cassavettes, Eric Douglas, Mike Norris, and Matthew Penn, and was followed with a breakthrough approach to martial arts in “American Samurai” introducing hot young martial artists David Bradley and Marc Dacascos.  Firstenberg then got his first taste of TV work with a nighttime crime show for CBS, directing six episodes of “Sweating Bullets"With the creation of Nu Image, principles Avi Lerner and Danny Dimbort recruited Firstenberg to direct their first production, "Cyborg Cop," and then the sequel, "Cyborg Soldier," both sci-fi action flicks with David Bradley. In addition, Firstenberg completed with Bradley and Frank Zagarino the action picture "Blood Warrior." Next came “Operation Delta Force” a military style action / adventure with Ernie Hudson, Jeff Fahey, Joe Lara, Frank Zagarino, and Hall Halbrok.1997 brought Firstenberg to explore new directorial areas; “McCinsey's Island” is a comedy for children, a treasure hunt movie with Hulk Hogan, Robert Vaughn, and Grace Jones, and “Motel Blue” with Sean Young, Soleil Moon Frye, and Seymour Cassel, is a psychological thriller with two women in the lead.Sam and I had an amazing conversation about all things Cannon Films, Ninjas, Break Dancing and 80's action films. Enjoy!

Join Cerise and Vicky for a holiday in the dumpster, as they begin their deep dive into the annals of trash history! Does 1980's New Year's Evil hold the key to understanding the philosophy of Yoram Globus, Menahem Golan and the Cannon Film Group? Does 1983's Blood Beat make any sense at all if you hold it sideways and squint at it? Are either of these movies any good? There's only one way to find out, and it's not by staying clean. Listen to the first episode for free at https://www.patreon.com/ceriseandvicky !

Podden återvänder till träsket av gladfilm och snabba granater. I synnerhet till tiden när de israeliska idealisterna Yoram Globus och Menahem Golan producerade billig film på tveksamma manus. Uppenbarligen fanns det publik back then, precis som det finns publik för dessa skönheter även idag. Enligt sägen är American Cyborg: Steel Warrior (1993) dessutom den sista filmen som det legendariska produktionsbolaget Cannon films producerade. Avsnittet gästas av hon som gör huvudrollen i denna rökare, Nicole Hansen, en mäktig jävel med oerhört spännande stories från inspelningarna i Israel. Som bonus har vi oxo lagt ut hela halvtimmen med henne på vår Patreon-kanal. Tetsa gärna förbi. Saint Tropeeeeeez! Hitta oss här: Soundcloud - https://soundcloud.com/8595podcast iTunes - http://tinyurl.com/jkezzwz Acast - https://www.acast.com/8595 Facebook - www.facebook.com/8595podcast/ Instagram - www.instagram.com/8595_podcast/ Patreon - https://www.patreon.com/8595podcast 8595podcast@gmail.com

In the late 1970s two Israeli immigrants with movie making dreams would set their sights on the land of glitz and glamour known as Hollywood. By the early 1980s they had carved out a cinematic niche' that 40 years later has get to be filled. Tonight we salute the American Dream and the duo who chose to chase it at all cost- Menahem Golan, Yoram Globus and the insane films they produced- Tonight we Crown a champion, tonight we decide which film wins THE CANNON CUP.

In a post Rocky world America turns to its sweatiest past times: Arm Wrestling and Long Haul Trucking in this heartwarmingly Over the Top story father and son will meet...HALFWAY. The guys (Ben, Bosco, Bracken, Nate and producer, Danny) visit the world of arm wrestling truck drivers as Sylvester Stallone goes in for the paycheck in this Kelly Loggins song filled movie of the 1980's. Once again asking the question is this movie worth watching with your friends? Listen to find out. Follow us on Instagram @ExceptionallyBad and Twitter @XceptionallyBad or email us at theguys@exceptionallybad.com or check out our website at exceptionallybad.com Over the Top (1987) was Directed by Menahem Golan, Produced by James D Brubaker, Yoram Globus, Menahem Golan, and Tony Munafo, Written By Gary Conway, David Engelbach, Stirling Silliphant, and Sylvester Stallone.

[Revelation spoilers from 07:47 - 14:30] By the power of 1987, we have the power... to watch bad movies! Masters of the Universe, released August 7th, is the live-action adaption of the classic He-Man TV show that was made to sell the toys this entire franchise is based on. We give it a watch, as well as briefly discussing that new revival show that just came out. Join the Bad Porridge Club on Patreon for TWO bonus episodes each month! https://www.patreon.com/oldiebutagoodiepod Follow the show! Instagram: https://www.instagram.com/oldiebutagoodiepod/  Facebook: https://fb.me/oldiebutagoodiepod Youtube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA  Podcast Platforms: https://linktr.ee/oldiebutagoodiepod  Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Nerd-Out Podcast: https://anchor.fm/nerd-out-podcast  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

After he was a henchman in A View to A Kill and after he was Ivan Drago in Rocky IV but before he was in Red Scorpion and before he was in Kindergarten Cop 2 Dolph Lundgren was He-Man! The guys (Ben, Blade, Bracken, Nate and broducer, Danny) visit the world of He-Man in this Dolph Lundgren star vehicle. What do we think of Frank Langella as Skeletor and Courtney Cox in one of her earlier film roles as Julie Winston? The guys will cast judgement on whether or not this movie is worth watching with your friends. Follow us on Instagram @ExceptionallyBad and Twitter @XceptionallyBad or email us at theguys@exceptionallybad.com or check out our website at exceptionallybad.com Masters of the Universe (1987) was Directed by Gary Goddard, Produced by Michael Flynn, Yoram Globus, Menahem Golan, Evzen Kolar, Edward R. Pressman, and Elliot Schick, Written By David Odell, Stephen Tolkin, and Gary Goddard.

Two movies this week, both objectively two of the worst films released in 1987. We're talking about Superman IV: The Quest for Peace, released July 24th back in '87, and because we're gluttons for punishment, we're also reviewing Jaws: The Revenge, which was an alternate option on last week's episode. Joining us is horror streamer Skorn! 0:05:32 - Superman IV review 0:30:42 - Jaws: The Revenge review 0:46:46 - Bonus Battle segment 1:02:31 - Raving Reviews segment Join the Bad Porridge Club on Patreon for TWO bonus episodes each month! https://www.patreon.com/oldiebutagoodiepod Follow Skorn! Twitch: https://www.twitch.tv/skorngaming/  YouTube: https://www.youtube.com/channel/UCYfesFDSMmrIy0OWB4_U3MQ/  Instagram: https://www.instagram.com/skorngaming/  Twitter: https://twitter.com/skorngaming/  Follow the show! Instagram: https://www.instagram.com/oldiebutagoodiepod/  Facebook: https://fb.me/oldiebutagoodiepod Youtube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA  Podcast Platforms: https://linktr.ee/oldiebutagoodiepod  Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Nerd-Out Podcast: https://anchor.fm/nerd-out-podcast  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

In 1987, the cinematic big screen was lit up with the arrival of the Masters of the Universe. Dolph Lundgren stepped into the role of He Man as the team travelled to 20th Century Earth to stop Skeletor from capturing the cosmic key. Join Chris Vint and the team as they provide a commentary on the movie itself. Masters of the Universe (stylized as Masters of the Universe: The Motion Picture) is a 1987 American science fantasy action film directed by Gary Goddard, produced by Yoram Globus and by Menahem Golan and written by David Odell. The film stars Dolph Lundgren, Frank Langella, Jon Cypher, Chelsea Field, Billy Barty, Courteney Cox, Robert Duncan McNeill, and Meg Foster. It is based on the Mattel toy line of the same name and tells the story of two teenagers who meet the mighty He-Man, who arrived on Earth by chance from planet Eternia and now goes on a mission to save the universe from the mighty evil Skeletor, his nemesis. Masters of the Universe was released theatrically in the United States on August 7, 1987. It was a critical and commercial failure, grossing $17 million worldwide against a budget of $22 million, but is now regarded as a classic cult film --- Send in a voice message: https://anchor.fm/retrochatpodcast/message

Original Airdate 3/4/14Pat Mullin joins Mark Radulich to throw roundhouse kicks and talk a #ChuckNorris classic trilogy, #MissinginAction! It is the first of a series of Rambo: First Blood Part II-inspired POW rescue fantasies themed around the #VietnamWar POW/MIA issue that were produced by Menahem Golan and Yoram Globus and released under their Cannon Films banner.

Original Airdate 3/4/14 Pat Mullin joins Mark Radulich to throw roundhouse kicks and talk a #ChuckNorris classic trilogy, #MissinginAction! It is the first of a series of Rambo: First Blood Part II-inspired POW rescue fantasies themed around the #VietnamWar POW/MIA issue that were produced by Menahem Golan and Yoram Globus and released under their Cannon Films banner.

Hola chicos, ¿Cómo estáis? Cada vez que los 80 se han pasado por nuestro Garaje casi siempre hemos acabado dejando caer la idea de dedicarle un buen Especial a esa compañía que parió muchas de las películas que nos encantaron de esa década. Y tanto va el cántaro a la fuente... ¡que finalmente aquí estamos! Hablar de la CANNON FILMS (y por supuesto de las cabezas detrás de ella, Menahem Golan y Yoram Globus) es para nosotros sinónimo de nostalgia: volver a nuestra infancia, a los videoclubs, a esas películas sin ningún tipo de filtro que ahora mismo sería imposible que se pudieran hacer... Y es que la historia de estos dos soñadores que trataron de tocar a su modo el cielo con los dedos es cuanto menos interesante. Podrán gustarte más o menos sus manera de hacer películas, pero es indudable el legado que dejaron en toda una generación... De sus inicios cuando Golan y Globus se hicieron con la compañía en 1979 hasta su desaparición casi a mitad de los 90 es de lo que vamos a hablar hoy. Absoluta Serie B en vena amigos, ¿Os apuntáis? Preparad los VHS y las palomitas ¡que esto empieza en cuanto le deis al Play!

Stallone has a greater deal of features that fit into the NinetyForChill.com parameters. He is very aware of what films he is doing for a paycheck, and which one he is trying to be an artist with. When it comes to the art, he is usually involved with the script or is helming the feature. Of the movies I watched, "Cobra" was the only one which he penned, but it was produced by Menahem Golan and Yoram Globus. In other words, it is a Cannon feature and you need to listen to the Screen Drafts CANNON podcast to find the art they offered. What we get this week is my visceral takes on the following Sylvester Stallone features: "Nighthawks" from 1981: This is Rutger Hauer's introduction to the podcast. "Cobra" from 1986: This was originally suppose to be "Beverly Hills Cop", and you can kind of tell, if you look pass the subtle fascism. "Over the Top" from 1987: Menahem Golan gets behind the camera to make you ponder the trauma of his childhood and how arm wrestling is suppose to fix it. "Escape Plan: The Extractors" from 2019: Stallone probably did it with an assurance that everyone would keep their voices' volume down to his level.

On this month's special interview episode, prolific writer and director, Stephen Tolkin joins the show! Stephen Tolkin has had a storied career for almost 40 years where he's written, directed, and produced dozens of TV shows and movies. In his early days, Tolkin worked for the notorious and wild studio, Cannon Films, where he had a hand in contributing an uncredited rewrite of the 1987 classic, Masters of the Universe! In this fun discussion, Tolkin fills me in on what it was like working with Menham Golan and Yoram Globus at Cannon, as well as his experiences writing Masters of the Universe and the unproduced sequel! Tolkin also allows me to take a slight detour and we chat his approach to adapting the star-spangled superhero of Marvel Comics, Captain America for the (in my opinion underrated!) 1990 Captain America film! Major thanks to Stephen Tolkin for his time! Please feel free to rate and review the show on iTunes, Stitcher, or wherever else you go to subscribe! Opening intro. and outro. music is "Sports Action" by Audionautix. Be sure to follow the show's Facebook page: www.facebook.com/imustbreakthispodcast Also, be sure to check out the Last of the Action Heroes Podcast Network, where you can find new episodes of not just this show, but other fellow podcasts that examine action movies and their stars!

On this month's special interview episode, prolific writer and director, Stephen Tolkin joins the show! Stephen Tolkin has had a storied career for almost 40 years where he's written, directed, and produced dozens of TV shows and movies. In his early days, Tolkin worked for the notorious and wild studio, Cannon Films, where he had a hand in contributing an uncredited rewrite of the 1987 classic, Masters of the Universe! In this fun discussion, Tolkin fills me in on what it was like working with Menham Golan and Yoram Globus at Cannon, as well as his experiences writing Masters of the Universe and the unproduced sequel! Tolkin also allows me to take a slight detour and we chat his approach to adapting the star-spangled superhero of Marvel Comics, Captain America for the (in my opinion underrated!) 1990 Captain America film! Major thanks to Stephen Tolkin for his time! Please feel free to rate and review the show on iTunes, Stitcher, or wherever else you go to subscribe! Opening intro. and outro. music is "Sports Action" by Audionautix. Be sure to follow the show's Facebook page: www.facebook.com/imustbreakthispodcast. Also, be sure to check out the Last of the Action Heroes Podcast Network, where you can find new episodes of not just this show, but other fellow podcasts that examine action movies and their stars!

Wow, do we have a movie for you this week! The Barbarian Brothers in The Barbarians, released March in 1987, is a sword and sorcery movie that just might have the most plot holes out of every film we've covered on this show. It's wild. We have a lot of fun in this episode tearing it apart. Join the Dead Dad Club on Patreon for TWO bonus episodes each month! https://www.patreon.com/oldiebutagoodiepod Follow the show! Instagram: https://www.instagram.com/oldiebutagoodiepod/  Facebook: https://fb.me/oldiebutagoodiepod Youtube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA  Podcast Platforms: https://linktr.ee/oldiebutagoodiepod  Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Nerd-Out Podcast: https://anchor.fm/nerd-out-podcast  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

Each year, we always make sure to check in with film icon Sylvester Stallone, and the movie he put out in 1987 is a special one. Over the Top, released February 13th, is an arm wrestling sports film that also really wants to be a father-and-son bonding movie. We're joined by comedian Mitch Garling to see how it stacks up against the other two bad Stallone films we've covered. Join the Dead Dad Club on Patreon for TWO bonus episodes each month! https://www.patreon.com/oldiebutagoodiepod Follow Mitch Garling! Instagram: https://www.instagram.com/mitchgarling/ Twitter: https://twitter.com/snitchgarling/ TikTok: https://www.tiktok.com/@mitchgarling/ Dead Dad Society Podcast: https://www.instagram.com/deaddadssociety/ Follow the show! Instagram: https://www.instagram.com/oldiebutagoodiepod/  Facebook: https://fb.me/oldiebutagoodiepod Youtube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA  Podcast Platforms: https://linktr.ee/oldiebutagoodiepod  Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Nerd-Out Podcast: https://anchor.fm/nerd-out-podcast  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

It's 1987's first sequel! Allan Quatermain and the Lost City of Gold, released January 30th, is the follow-up to a movie called King Solomon's Mines. They're adventure-comedy movies that are adaptations of books from the 1880s, and you can tell. The films we had to watch this week were very hard to get through. Join the Dead Dad Club on Patreon for TWO bonus episodes each month! https://www.patreon.com/oldiebutagoodiepod Follow the show! Instagram: https://www.instagram.com/oldiebutagoodiepod/  Facebook: https://fb.me/oldiebutagoodiepod Youtube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA  Podcast Platforms: https://linktr.ee/oldiebutagoodiepod  Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Nerd-Out Podcast: https://anchor.fm/nerd-out-podcast  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

For our final movie of the year, we head back to the hip-hop fueled dance world of Breakin' for the sequel with the name everyone's been making fun of for decades: Electric Boogaloo. It's cheesy, silly, and not as good at the first one; the perfect way to wrap up both 1984 and 2020. Follow the show! Facebook: https://fb.me/oldiebutagoodiepod Omny: https://omny.fm/shows/oldie-but-a-goodie YouTube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA Songs from 1984 Playlist: https://open.spotify.com/playlist/39v1MbWf849XD8aau0yA52 Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Nerd-Out Podcast: https://omny.fm/shows/nerdout  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

Hey everybody, we're the Cannon Cruisers! On March 16th, 1990 , Yoram Globus and Cannon Films attempted to cash in on the latest dance craze sweeping the nation by releasing "Lambada" (1990). The above information is important, remember that for next week. Goodbye!

[VOTE FOR WHAT YEAR WE COVER IN 2021: https://www.surveymonkey.com/r/HPLW5SX] Chuck Norris is an action hero that both of us aren't that familiar with. We've heard a lot about him but never seen one of his films. This week, we changed that! It's Missing in Action, released November 16th in 1984. It's a war movie about sneaking around and slowly setting up explosives. Follow the show! Facebook: https://fb.me/oldiebutagoodiepod Omny: https://omny.fm/shows/oldie-but-a-goodie YouTube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA Songs from 1984 Playlist: https://open.spotify.com/playlist/39v1MbWf849XD8aau0yA52 Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Nerd-Out Podcast: https://omny.fm/shows/nerdout  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

Devin & James have done it again! This week's topic, an examination of 80's cinema from the CANNON FILM GROUP, has proven too big to contain in one podcast. After discussing ninjas, disco and hip hop musicals, holiday slashers, and the Two Chucks (Bronson and Norris), there still wasn't enough time to get near the full scope of what producers Menahem Golan and Yoram Globus delivered to eager popcorn lovers throughout the decade. Enjoy our nostalgic look back at the early years of one of the most iconic and prolific independent movie studios to ever print on celluloid, and check back later this week for the sequel!

On this episode of the Men of action podcast we begin a four part deep dive into the action films of 80’s and 90’s production powerhouse Cannon Films. Through these films we will be looking at some of the key action heroes and movie producing tropes that helped make  Menahem Golan and Yoram Globus the kings of the Hollywood B-movies in the 80’s. We are starting with the 1986 Chuck Norris film The Delta Force. A movie neither Graham or Crupi had seen before.   Content Warning: This film The Delta Force contains scenes and content related to Anti-Semitism, Holocaust trauma and Islamophobia, as such this episode contains discussions around and about those subjects.    Would you like to know more about the film? Checkout the The Delta Force IMDB Page      Here is also the link to Vox Media podcast Today, Explained  Like what you hear? Why not subscribe to the Men Of Action Podcast on itunes or Stitcher or Spotify

Movie Meltdown - Episode 530 This episode we talk with Austin Trunick, author of “The Cannon Film Guide”, an in-depth series of books about the legendary 1980s B-movie studio, The Cannon Group.  And as we discuss the art and influence of Menahem Golan and Yoram Globus, we also address… The Apple, renting horror movies, Death Wish 2, Frank Langella, Exterminator 2, Sho Kosugi, Vestron Video, there’s so much craziness going on there, Chuck Norris, a post-apocalyptic universe, 10 to Midnight, the yellow Power Ranger, Michael Dudikoff, Masters of the Universe, William Sachs, Enter the Ninja, has one of the higher body counts, Charles Bronson, Avenging Force, a healthy supply of guys who could do flips, Flashdance, they’re dressed… basically as The Village People, unrelated ninja, Skeletor, re-dubbing European porno movies, the hero shoots the villain point-blank… with a bazooka, Dolph Lundgren, he had already moved on to another project, Franco Nero, Breakin', violent action movies, that was based on a stage-musical written in Israel… in Hebrew, there are so many ninja movies, Empire International Pictures, Invasion U.S.A., Mario Van Peebles, with a dubbed Texas accent, you travel five-thousand miles… around that corner, Ninja III: The Domination, the threads of society are falling apart as the years go on, River Of Death, Revenge of the Ninja, and during the screening… the audience actually boo’ed, Death Wish 3, Robert Ginty, high confidence in the product he was producing, Christopher Walken, wearing a crazy leather-studded outfit and at least make it releasable.  “...yeah, they were very, very good at selling - their movies.” For more on the book, go to: http://www.cannonfilmguide.com/ On Facebook: https://www.facebook.com/CannonFilmGuide/  And Twitter: https://twitter.com/CannonFilmGuide

Acesse a página e contribua com a nossa campanha no APOIA.se: apoia.se/formigaeletrica Acesse nosso SITE: goo.gl/hDQkSw / FACEBOOK: goo.gl/3mGhfd TWITTER: bit.ly/2Jxx9Ba INSTAGRAM: bit.ly/2KXJf8s Todo mundo tem seu guilty pleasure em matéria de Cinema. Quem cresceu durante as décadas 1980 e 90, com certeza tem alguns que vieram ao mundo graças à Cannon Films, a produtora dos israelenses Menahem Golan e Yoram Globus, que fizeram filmes aos montes de uma forma um tanto quanto peculiar. Já envolvidos com a Sétima Arte quando ainda moravam em Tel Aviv, os dois primos desembarcaram no EUA para deixar sua marca indelével em Hollywood. De uma forma pouco gloriosa, mas deixaram. Atirando para todos os lados e sempre tentando lucrar com a moda da vez, a Cannon atingiu marcas inimagináveis em quantidade,  e diametralmente opostas em matéria de qualidade. O que dizer de uma empresa que no mesmo ano em que emplacou um sucesso com o filme Breakin', aproveitando a onda da dança e lançando uma continuação no mesmo ano, tinha um documentário sobre John Cassavettes? Isso em meio à avalanche de filmes de ação baratos que produziam a toque de caixa. Muitos deles, aproveitando gente famosa em momentos menos afortunados da carreira. Neste espírito, a Cannon fez de Charles Bronson uma das caras da empresa, lançando uma continuação tardia do ótimo Desejo de Matar, que ainda ganharia mais três continuações, piorando a cada filme. Além de contar com Chuck Norris como uma de suas grandes atrações e lançar Jean-Claude Van Damme para o mundo, com O Grande Dragão Branco, existem histórias inúmeras histórias por trás desta trajetória maluca de duas pessoas apaixonadas por cinema. Tem algum detalhe ou qualquer outra coisa que você mencionaria e esquecemos? Alguma coisa fundamental ficou de fora? Quer discordar de forma veemente e furiosa? Fique à vontade para nos dizer. Conte para nós o que achou deste programa e do formato geral dos nossos podcasts, pois queremos muito saber. Mande sua opinião sobre esse episódio ou mesmo uma sugestão de tema para os próximos programas aí nos comentários ou pelo email podcast@formigaeletrica.com.br. Voltamos com mais uma conversa legal em quinze dias. Não perca e até lá!

In de Zwartekat podcast kijken we wekelijks met Freek de Jonge terug op zijn shows, in chronologische volgorde. Dit keer is dat de oudejaarsconference De Finale uit 1985. We hebben het over de voorstelling, zijn tijd in het Wintercircus in Eindhoven, de film De Kkkomediant die hij met Cannon Films maakte en twee desastreuze optredens in Duitsland (aangemoedigd door Ramses Shaffy) en Engeland. De aanleiding is dat De Jonge zijn complete solo-oeuvre op Youtube aan het plaatsen is. Hij maakte tientallen grote shows, oudejaars- en nieuwjaarsconferences, verkiezingsconferences en gelegenheidsvoorstellingen. Het overgrote deel daarvan is vastgelegd en komt op zijn Youtube-kanaal. De Finale is hier te bekijken. Freek als clown in het Wintercircus van Eindhoven in 1985. De film De Kkkomediant is hier te bekijken. Over Cannon Films van Menahem Golan en Yoram Globus, waarmee Freek De Kkkomediant maakte, is een geweldige documentaire gemaakt: Electric Boogaloo: The Wild, Untold Story of Cannon Films. Bekijk de trailer. Foto van Freek in de Comedystore in Londen. Music: www.bensound.com Meer weten over Zwartekat? Check Zwartekat.nl

Podcasting's baddest Bad Boyz return to tackle the rise and fall of the CANNON FILM GROUP! Super Special Guest E.K. Wimmer of the Laser Graves podcast joins Jon and David to discuss the mega-producers Menahem Golan and Yoram Globus and how Cannon disrupted Hollywood throughout the 80s! They run down Cannon's huge output of films throughout the decade, both the amazing and not-so-amazing, and what the company's lasting impact has been since their demise. Plus, the gang shares their affection for the company that highlighted stars like Charles Bronson, Chuck Norris, Michael Dudikoff and even Sylvester Stallone! It's the home of high-powered, high-voltage entertainment... it's The Rise & Fall of Cannon Films! Twitter/IG: @reconcinemationfacebook.com/reconcinemationCover and Episode Art by Curtis Moore (IG: curt986)Theme by E.K. Wimmer (ekwimmer.com)

Listen to Analog Jones with special guest Sarah Foresman discuss another Canon Pictures VHS. This week we watched Allan Quatermain and the Lost City of Gold.  Directed by Gary Nelson Produced by Yoram Globus and Menahem Golan Starring Richard Chamberlain as Allan Quatermain Sharon Stone as Jesse Huston James Earl Jones as Umslopogaas Henry Silva as Agon Robert Donner as Swarma Doghmi Larbi as Nasta Aileen Marson as Queen Nyleptha Cassandra Peterson as Queen Sorais How to find Analog Jones Discuss these movies and more on our Facebook page. You can also listen to us on iTunes, Podbean, and Youtube! Email us at analogjonestof@gmail.com with any comments or questions!

Episode 61: Pat & Jason grab their cosmic key and travel back to the heyday of Cannon Films for a Feature Presentation Review of Masters of the Universe (1987). One of 3 movies that effectively bankrupted the studio. Did the movie deserve to flop decades ago and did it leave any lasting impressions on the fantasy or superhero genres? Pat & Jason seek to find out.Hosts: Pat & Jason  Producer: Combat Jones   Master of the Universe (1987) The heroic warrior He-Man battles against the evil lord Skeletor and his armies of darkness for control of Castle Grayskull. Directed by Gary Goddard Produced by Yoram Globus, Menahem Golan, Edward R. Pressman Written by David Odell Based on Masters of the Universe by Mattel Starring Dolph LundgrenFrank LangellaCourteney CoxJames TolkanChristina PicklesMeg Foster Distributed by Cannon Films Release date August 7, 1987 Running time 106 minutesBudget $22 millionBox office $17.3 million

On Episode 4 of the Bulletproof Podcast, your hosts Chris The Brain and Chad Cruise are joined by Todd Gaines as they countdown the Top 10 movies produced by beloved schlockmeisters, Menahem Golan and Yoram Globus. Who takes the top spot on the Cannon Countdown? Chuck Norris? Sho Kosugi? Michael Dudikoff? Sylvester Stallone? Dolph Lundgren? Charles Bronson? Speaking of Bronson, was Todd really foolish enough to insult Bronson in the presence of CTB!?! Finally... The Cannon celebration continues when Chad and Todd compete in a Cannon Quotes Contest!

Steven Lambert is one of the most famous stuntmen to have ever worked in movies. He never dreamt of being a Hollywood star when he grew up on streets of Brooklyn, NY in the 1950's. After moving to California it was his practice and training in the martial arts, first with Taekwondo, and then onto Kung-Fu, that paved the way for his Hollywood journey. In this episode he talks to Marc Zirogiannis about his new book, From The Streets Of Brooklyn To The Halls Of Hollywood, which chronicles his life and career. His mastery of the martial arts lead him to work with and beside screen legends such as Chuck Norris, Arnold Schwarzenegger, Sho Kosugi, Sylvester Stallone, Steven Seagal, Jean-Claude Van Damme, Harrison Ford, Al Pacino, Robert DeNiro, and James Woods, and filmmakers such as Steven Spielberg, James Cameron, Martin Scorsese, and Roland Emmerich, and the infamous producers Menahem Golan and Yoram Globus of the infamous Cannon Group. Steven Lambert is a film and martial arts legend. His good natured and candid approach to Hollywood's inside made this a fun conversation to have and to hear.To Purchase Steven's Book:From the Streets of Brooklyn to the Halls of HollywoodSupport the show (https://squareup.com/store/tae-kwon-do-life-magazine/item/podcast-support-donation)

It's time for a retro rewind! On this weeks installment, we take a look inside the wild world of Cannon Films for our first ANNUAL special! To help break down all their top picks, Mancrush and Marc James brought in a couple friends to talk Cannon! We go Over The Top and break down all the madness and mayhem that Menahen Golan and his cousin Yoram Globus bestowed upon the silver screen. Find out why they were an improbable match with American Cinema. The crew go around and draft their top flicks from The Cannon Group. How many have you seen? What are some of your favs? We hear about Ninjas, Break Dancers, Explosions, Boobs, Terrorists, more Explosions, Chainsaws, Plenty of Groin Stretching, a few more Ninjas, Arm Wrestling more Boobs, Bad parenting skills and a lot of salt thrown in people's eyes! Listen as the crew give expert analysis on the “stretching” scene from Kickboxer or was it Bloodsport!? With special guest commentary from Last American Virgin's own Diane Franklin, and Shabba Doo from Breakin! Either way you don't want to miss this high octane adrenaline rush brought to you this week by Blue Chew! Use code DECADES for a discount!

¡Bienvenidos camaradas a un nuevo episodio de El Calabozo del Reverendo Wilson! Nos sumergimos en las profundidades de la Cannon, el teatro de los sueños de los 80, para rescatar uno de sus títulos más estrambóticos y sensacionales: “Ninja III: La Dominación”, dirigida por uno de los más fieles artesanos de la compañía comandada por Menahem Golan y Yoram Globus, Sam Firstenberg. Tercera parte de una de las sagas protagonizadas por ninjas de la infatigable productora, responsable del boom occidental que catapultó a los guerreros de las sombras en todo un emblema para la contracultura. Ninjas, posesiones, ecos de “Flashdance” y más especialmente de algunos de los megahits del terror de la época… Todo eso y mucho más en “Ninja III: La Dominación”, un producto que reúne además una anarquía intrínseca que la ha erigido como una de las películas de la década con más oficio y personalidad, destinada a convertirse en una de las grandes obras del culto de los 80. Acompaña al Reverendo el analista cinematográfico y musical Xavi Sánchez Pons, adentrándose entre barrotes para vanagloriar una obra esencial. Enjoy the cvlt!

This week on Doghair Presents, Rory presents the wild production company that was Cannon films. And he's joined by Harry. Who is a wonderful guest who used to host podcasts, I think. Harry isn't a host of A Podcast For Everyone, but he chose to plug it in the show and it's a great show so you should check it out. I don't know what the other thing he plugged was, I wouldn't seek it out. Links Mentioned in the show: Reel Comics Heroes - Superman IV: http://reelpodcastnetwork.libsyn.com/reel-comic-heroes-066-superman-iv-the-quest-for-peace Reel Comic Heroes - Masters of the Universe: http://reelpodcastnetwork.libsyn.com/reel-comic-heroes-067-masters-of-the-universe If you want get in touch with the show for any reason, tweet us @doghairnetwork or Rory @RoryMSpence or email us thedognetwork@gmail.com Go to https://www.doghairnetwork.com for everything you've ever wanted out of life* You can also buy some sweet Doghair Network merch at https://www.teepublic.com/user/thedoghairnetwork or support us on patreon at https://www.patreon.com/doghair *provided all you've ever wanted is podcasts

· Para quejas y comentarios de haters: bdcinepodcast@gmail.com · Twitter: @BenandDeans · Facebook: @BenandDeans https://www.facebook.com/BenandDeans/ ________________________________________ Reunidos de nuevo, el Coronel Dutch, el Sr. Ben y el Sr. Deans para adentrarnos en un nuevo monográfico. En esta ocasión, el Coronel dirigirá un recorrido cronológico a través de la historia de la productora Cannon Films, en el que también nos detendremos para comentar algunos de sus títulos. Cannon Films produjo una línea distintiva de películas de bajo a mediano presupuesto, hasta 1994. [3] El extenso grupo también era propietario, entre otros, de una gran cadena internacional de cine y una compañía de películas de video que invirtió fuertemente en el mercado de videos, comprando los derechos de video internacionales de varias bibliotecas de películas clásicas. En 1979 Cannon había alcanzado serias dificultades financieras, y Friedland y Dewey vendieron Cannon a los primos israelíes Menahem Golan y Yoram Globus por 500,000$. Los dos primos forjaron un modelo de negocio para comprar guiones de fondo de armario y producirlos. Actores como Chuck Norris, Charles Bronson, Michael Dudikoff, Sylvester Stallone, Sylvia Kristel, Richard Chamberlain o Jean Claude Van Damme fueron algun@s de las estrellas de esta famosa productora. ________________________________________ Playlist del programa: · "Whiskey Shipping" | 12 Bar Pirates (Tema CABECERA del programa) · "Chuck Norris Radio Mix", del álbum "Disco's Hit" Música de fondo: · "Trips", de la audiolibreria libre de derechos Youtube · "Best of FM Attack", de "Best of Synthwave And Retro Electro Music Mix"

· Para quejas y comentarios de haters: bdcinepodcast@gmail.com · Twitter: @BenandDeans · Facebook: @BenandDeans https://www.facebook.com/BenandDeans/ ________________________________________ Reunidos de nuevo, el Coronel Dutch, el Sr. Ben y el Sr. Deans para adentrarnos en un nuevo monográfico. En esta ocasión, el Coronel dirigirá un recorrido cronológico a través de la historia de la productora Cannon Films, en el que también nos detendremos para comentar algunos de sus títulos. Cannon Films produjo una línea distintiva de películas de bajo a mediano presupuesto, hasta 1994. [3] El extenso grupo también era propietario, entre otros, de una gran cadena internacional de cine y una compañía de películas de video que invirtió fuertemente en el mercado de videos, comprando los derechos de video internacionales de varias bibliotecas de películas clásicas. En 1979 Cannon había alcanzado serias dificultades financieras, y Friedland y Dewey vendieron Cannon a los primos israelíes Menahem Golan y Yoram Globus por 500,000$. Los dos primos forjaron un modelo de negocio para comprar guiones de fondo de armario y producirlos. Actores como Chuck Norris, Charles Bronson, Michael Dudikoff, Sylvester Stallone, Sylvia Kristel, Richard Chamberlain o Jean Claude Van Damme fueron algun@s de las estrellas de esta famosa productora. ________________________________________ Playlist del programa: · "Whiskey Shipping" | 12 Bar Pirates (Tema CABECERA del programa) · "Chuck Norris Radio Mix", del álbum "Disco's Hit" Música de fondo: · "Trips", de la audiolibreria libre de derechos Youtube · "Best of FM Attack", de "Best of Synthwave And Retro Electro Music Mix"

En nuestro octavo programo hemos decido ponernos la capa a la espalda y volar hacia nuestro primer monográfico. Un monográfico dedicado a la considerada la primera saga cinematográfica de Superhéroes: SUPERMAN. Reunidos el Sr. Ben y el Sr. Dean con el Coronel Dutch, le cedemos la batuta de kriptonita a este último para que nos ilustre con los problemas de producción que tuvo esta saga. Solo por detallar, en el programa analizamos solo las 4 películas detalladas a continuación: · Superman, la película (1978) Basada en el personaje de cómics Superman, dirigida por Richard Donner y protagonizada por Christopher Reeve, Marlon Brando, Gene Hackman y Margot Kidder, entre otros. Es la primera de la serie fílmica de Superman estadounidense, y fue candidata a tres Óscar y obtuvo un premio especial de la Academia por los efectos especiales. · · Superman II (1980) Dirigida por Richard Lester y protagonizada por Christopher Reeve, Gene Hackman, Margot Kidder, Ned Beatty, Jackie Cooper, Terence Stamp y Sarah Douglas. · Superman III (1983) Dirigida por Richard Lester y producida por Alexander Salkind, contiene un guion que busca explotar el humor con una visión muy distinta de las primeras dos películas, tras ver una entrevista en "The Tonight Show", donde Richard Pryor recreó de manera humorística, sus escenas favoritas de Superman: la película. · Superman IV, en busca de la paz (1987) Cuarta y última película de la saga original basada en el superhéroe. Esta película es la única de las cuatro de Superman que no fue realizada por Alexander Salkind, sino por la productora de serie B Cannon Group, de los israelíes Menahem Golan y Yoram Globus. · Para quejas y comentarios de haters: bdcinepodcast@gmail.com

En nuestro octavo programo hemos decido ponernos la capa a la espalda y volar hacia nuestro primer monográfico. Un monográfico dedicado a la considerada la primera saga cinematográfica de Superhéroes: SUPERMAN. Reunidos el Sr. Ben y el Sr. Dean con el Coronel Dutch, le cedemos la batuta de kriptonita a este último para que nos ilustre con los problemas de producción que tuvo esta saga. Solo por detallar, en el programa analizamos solo las 4 películas detalladas a continuación: · Superman, la película (1978) Basada en el personaje de cómics Superman, dirigida por Richard Donner y protagonizada por Christopher Reeve, Marlon Brando, Gene Hackman y Margot Kidder, entre otros. Es la primera de la serie fílmica de Superman estadounidense, y fue candidata a tres Óscar y obtuvo un premio especial de la Academia por los efectos especiales. · · Superman II (1980) Dirigida por Richard Lester y protagonizada por Christopher Reeve, Gene Hackman, Margot Kidder, Ned Beatty, Jackie Cooper, Terence Stamp y Sarah Douglas. · Superman III (1983) Dirigida por Richard Lester y producida por Alexander Salkind, contiene un guion que busca explotar el humor con una visión muy distinta de las primeras dos películas, tras ver una entrevista en "The Tonight Show", donde Richard Pryor recreó de manera humorística, sus escenas favoritas de Superman: la película. · Superman IV, en busca de la paz (1987) Cuarta y última película de la saga original basada en el superhéroe. Esta película es la única de las cuatro de Superman que no fue realizada por Alexander Salkind, sino por la productora de serie B Cannon Group, de los israelíes Menahem Golan y Yoram Globus. · Para quejas y comentarios de haters: bdcinepodcast@gmail.com

Kaum ein anderes Werk aus dem reichhaltigen Fundus des umtriebigen Duos Menahem Golan und Yoram Globus fängt den psychotronischen Wahnsinn des Cannon Films Oeuvres so gut ein wie NINJA III: THE DOMINATION (Die Herrschaft der Ninja, 1984). Patrick spricht mit Cannon-Experte und Lucinda Dickey-Fan André über die Geschichte des legendären Studios, das uns B-Perlen wie COBRA, DEATH WISH 3, LIFEFORCE, RUNAWAY TRAIN und OVER THE TOP schenkte. Bei der anschließenden Filmrezension wird es durchaus emotional, wenn sich Patrick und sein Gast am Können der Hauptdarstellerin in gleichem Maße erfreuen wie sie sich über das aufgeweichte Milchbrötchen ärgern, das ihren Love Interest gibt.

Story: Verschleppt, versklavt und in Rache vereint: Jahre, nachdem sie vom tyrannischen Kadar entführt worden sind, gelingt den muskelbepackten Barbarenzwillingen Kutchek und Gore die Flucht. Gemeinsam mit der schönen Ismene machen sie sich auf den Weg, den magischen Rubin wiederzufinden, der ihrem Volk Friede und Glück bringen soll. Doch der Weg dorthin führt nur über den Sieg gegen das Böse, das in Kadar seinen fähigsten Handlanger hat... Mediabook: 22.03.2018 (Koch Media GmbH) The Barbariens Genre: Fantasy, Komödie, Trash, Action, Barbaren Land: USA 1987 Laufzeit: ca. 87 Min. FSK: 16 Regie: Ruggero Deodato Drehbuch: Alberto Piferi, James R. Silke Kamera: Gianlorenzo Battaglia Musik: Pino Donaggio Produzenten: John Thompson, Yoram Globus, Menahem Golan Mit: Peter Paul, David Paul, Richard Lynch, Michael Berryman, George Eastman, Eva LaRue, Virginia Bryant, ... https://youtu.be/IoNBGjiQ0SA