The Movies, Films and Flix Podcast – Episode 563 – Oppenheimer, Christopher Nolan and Cillian Murphy
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Mark and Niall discuss the 2023 historical drama Oppenheimer. Directed by Christopher Nolan, and starring Cillian Murphy, Emily Blunt, Robert Downey Jr., and about 3,000 other excellent character actors, the Academy Award winning blockbuster is a technical marvel on every level. In this episode, they also talk about Christopherr Nolan’s filmography, Cillian Murphy’s hat, and excellent biopics. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome.
Mark and Nick share their Criterion Closet selections and pick three movies they’d love to see added to the Criterion collection. In this episode, they also talk about Criterion’s long history, DVD commentaries, and Swedish erotic dramas. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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Exhuma (2024) – Review
Quick Thoughts – B+ – Directed by K-occult master Jang Jae-hyun (The Priests, Svaha: The Sixth Finger), the wildly successful Exhuma is a solid example of slow burn storytelling that expertly blends South Korean history with gnarly action scenes involving people being ripped apart by ghosts.
While writing Exhuma during the pandemic, director and writer Jang Jae-hyun decided to write an entertaining film that turned away from safe options and focused on shamanism, feng shui and funerals. His idea to create a fun genre experience was successful as Exhuma is the highest grossing South Korean film of 2024 (so far) and has gained positive buzz all around the world. After pulling in $85 million, it joins the ranks of other successful South Korean horror films like Train to Busan, A Tale of Two Sisters, The Wailing and Dr. Cheon and the Lost Talisman. It’s been compared to The Wailing (listen to our pod episode about it!), but I’ve found the comparison to be lazy as Exhuma is a more mainstream experience that won’t punch your soul in the face and make you seek sunshine and fresh air to soothe your frazzled nerves. Exhuma has found success because it’s moderately scary, well-acted, and features a twisty plot that turns the screws on the likable characters and audience.
Exhuma Focuses on a feng-shui expert, an undertaker, and two young shaman exorcists who get in over their heads when they accept a job from a well-meaning businessman who wants to save his newborn son from a “Graves Call” curse that’s being perpetrated by an ancestor’s vengeful spirit. It’s an unusual job because it requires the digging up of a body located on the top of a sinister mountain near the North Korea border. At first, Kim Sang-deok (Choi Min-sik), a feng shui master and geomancer wants nothing to do with the gravesite because it’s’ clearly home to something horrible. However, he’s talked into completing the job by his mortician friend Yeong-geun (Yoo Hae-jin) and a pair of Shaman named Lee Hwa-rim (Kim Go-eun) and Yoon Bong-girl (Lee Do-hyun). After a successful ritual sees that coffin being lifted out of the grave without any horrible Raiders of the Lost Ark-esque catastrophes, a series of unfortunate events unfold and lead to more unfortunate events that force the group to solve the mystery before an ancient evil murders many people. I really don’t want to give away more of the plot because a big part of the fun is not knowing where everything is headed (and then researching South Korean history to fully understand what was happening). The most important thing is that the always incredible Choi Min-Sik (listen to our I Saw the Devil pod episode) is in the movie and he delivers a warm and likable performance that showcases his digging skills and ability to look believable while battling a giant ghost.
If you’re looking for an entertaining supernatural tale that blends jump scares, mysteries and South Korean history into a compelling story, I totally recommend that you check out Exhuma.
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The Movies, Films and Flix Podcast – Episode 561: The Social Network, David Fincher and Aaron Sorkin
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome.
Mark and Phil discuss the 2010 classic The Social Network. Directed by David Fincher, and starring Jesse Eisenberg, Andrew Garfield, Justin Timberlake and lots of Aaron Sorkin dialogue, the movie focuses on the creation of Facebook and all the lawsuits that came with it. In this episode, they also talk about Fincher’s filmography, excellent dialogue, and fictionalized true stories.
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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MFF Data – Ryan Gosling and his Jackets
Ryan Gosling loves jackets. Between Drive, Blade Runner 2049, Crazy, Stupid, Love, Blue Valentine, Lars and the Real Girl, The Nice Guys, and Barbie – he’s worn some iconic jackets in wildly different movies – and looked great in all of them. Between Gosling wearing five different jackets/coats/dusters in The Fall Guy (The Miami Vice jacket is an all-timer Gosling jacket) and Shea Serrano’s book about Gosling (A Real Human Being – It’s wonderful and I was lucky enough to help out with some research) I was inspired to rewatch his movies, pull the timestamps of all his jacket wearing and figure out if there is an ideal amount of Gosling jacket time.
Quick Notes
- I pulled the timestamps by finding scenes where he wears a jacket. It would’ve taken forever to only count his screen time, so I pulled the time of the entire scene. For instance, in Blade Runner 2049 Gosling wears his jacket during the attack on Deckard’s home scene. He isn’t always on screen, but he’s in the scene (if that makes sense).
- I included the hoodie from The United States of Leland because it’s like an extension of his character
- In Stay, he wears a suit coat type jacket to stay warm. I counted this as a jacket/coat.
- I’m very happy I scanned the montage scenes in Remember the Titans.
- Suit coat time wasn’t counted. I also didn’t count Gosling’s gym hoodie in The Big Short.
Gosling Jacket Stats
- Percentage of time Gosling wears a jacket in his 26 movies – 16.6%
Gosling’s most jacket heavy roles
- Blade Runner 2049 – 60%
- Drive – 53%
- The Gray Man – 45%
- The Believer – 44%
- The Slaughter Rule – 43%
Quick Note – The Fall Guy falls in this category. I just don’t have exact times.
Five Gosling Movies With the Least Amount of jacket wearing
- Song to Song – 1%
- First Man – 1%
- Remember the Titans – .05% – He wears a jacket in the hospital and during a montage scene
- Only God Forgives – 0%
- The Big Short – 0%
Gosling has been nominated for three acting Oscars
- Barbie, Half Nelson, La La Land – Average amount of jacket wearing time – 7%
Gosling has been in three films nominated for Best Picture
- La La Land, Barbie, The Big Short – Average amount of jacket wearing time – 4.6%
Average stats for his films with jacket wearing time of 50% or more
- Tomatometer – 91% – Highest average
- IMDb – 7.9 – Highest average
- Letterboxd – 4 – Highest average
- Worldwide Box Office – $169.5 million average
- Two Movies – Drive – Blade Runner 2049
With the inclusion of The Fall Guy, the numbers drop to 87.6% (RT), 7.7 (IMDb), and 3.86. They are still legit numbers.
40 – 49%
- Tomatometer – 67%
- IMDb – 6.5
- Letterboxd – 3
- Worldwide Box Office – NA – The Gray Man (Netflix) and Believer/The Slaughter Rule didn’t have wide releases
- Three Movies – The Gray Man, The Believer, The Slaughter Rule
30 – 39%
- Tomatometer – 81%
- IMDb – 7.3
- Letterboxd – 3.8
- Worldwide Box Office – $11.2 million
- One Movie – Lars and the Real Girl
20% – 29%
- Tomatometer – 67%
- IMDb – 7
- Letterboxd – 3.5.
- Worldwide Box Office – $47.1 million
- Three Movies – The Nice Guys, Stay, The Ides of March
10% – 19%
- Tomatometer – 66%
- IMDb – 7
- Letterboxd – 3.52
- Worldwide Box Office – $342 million (Barbie helps a lot)
- Five Movies – Murder by Numbers, Barbie, The Notebook, Fracture, Blue Valentine
Average stats for his films with jacket wearing time of less than 10%
- Tomatometer – 64%
- IMDb – 7
- Letterboxd – 3.45
- Worldwide Box Office – $93 million
- 12 Movies – Half Nelson, The United States of Leland, The Place Beyond the Pines, All Good Things, La La Land, Gangster Squad, Crazy, Stupid, Love, Song to Song, First Man, Remember the Titans, Only God Forgives, The Big Short
Overall Stats For Gosling’s 26 films (for reference)
- Tomatometer – 68%
- IMDb -7
- Letterboxd – 3.4
- Box office – $138 million
Ideal Amount of Jacket Wearing for Gosling – There are three percentage ranges to pick from.
50% or more – Between Blade Runner 2049 (amazing jacket) and Drive (iconic jacket), both movies feature him wearing super cool jackets for long periods of time. To pull this off the jackets have to feel organic and become almost a character. The only caveat is that he needs to be mostly silent, mortally wounded (or stabbed real good), and alone at the end.
- Drive and Blade Runner 2049 have the best critic/user score average, and the jacket in Drive is an all-timer jacket.
- Drive is his second all-around highest rated film (93% Tomatometer – 7.8 IMDb – 3.9 Letterboxd)
- Blade Runner 2049 is his third highest rated film (88% – 8 – 4.1)
7% – 12% – Half Nelson (7%), Blue Valentine (10%), Fracture (10%), Barbie (12%) and The Notebook (12%) fall in this range. They are some heavy hitters that feature excellent coats and iconic Gosling performances.
- Barbie and Half Nelson make up two of his three Oscar nominations.
- The Notebook won him the coveted MTV Best Kiss Award
- His first Oscar nomination was for Half Nelson
- Golden Globe nominated for Blue Valentine
- Barbie is his highest grossing film
2% – His “Emma Stone” trilogy (Crazy, Stupid, Love – Gangster Squad – La La Land) all feature him wearing a jacket for 2% of the film’s running time. It’s a fun coincidence.
- La La Land won Best Picture for about three seconds
- La La Land is second highest grossing film
- La La Land is his best all-around rated film (91- Tomatometer – 8 IMDb – 4.1 Metacritic)
Overall winner
If its directed by an auteur the 50%+ range is cool. BUT, he’s able to showcase more range in Barbie, Half Nelson, The Notebook, and Blue Valentine. It’s because of this that I’ll go for the 7% to 12% range.
Top five jackets
- Drive – The scorpion jacket works on several levels
- Blade Runner 2049 – It’s functional and cool looking
- Lars and the Real Girl – I love a good puffer jacket.
- The Place Beyond the Pines – The red jacket is wonderful and it improves upon his red jacket work in Murder by Numbers.
- Barbie – It’s big, bold and important to the plot
I hope you enjoyed this incredibly random data post. Make sure to buy Shea Serrano’s new book!
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John’s Horror Corner: Quarantine (2008), the “found footage” remake of the Spanish horror film [REC] (2007).
MY CALL: This high-energy, found footage zombie movie is blessed with great characters, tactful direction, just enough gore, and some jumpy surprises. Exquisitely made, deeply cast, and definitely a higher tier found footage horror film. MORE MOVIES LIKE Quarantine: For more building-confined infestations, try Shivers (1975), Demons (1985), Demons 2 (1986), Infested (2023) or Evil Dead Rise (2023). Also one must go back to [REC 1-3] (2007, 2009, 2012), although I’d give a hard pass recommendation on [REC] 4: Apocalypse (2014).
During a tour of a local Los Angeles firehouse for a public interest piece, news reporter Angela (Jennifer Carpenter; Dexter, The Exorcism of Emily Rose) spends the evening with at the station in hopes of catching some action. On a routine emergency call, Angela joins the fire crew on a 911 call to an apartment building. Apparently, an elderly woman may be hurt, locked in her apartment. When they get in, Mrs. Espinosa is foaming at the mouth, has blood on her nightgown, and is hysterical—eerrrr, wild? One wrong twitch and she’s biting and tearing stretchy bloody chunks out of some poor city cop’s neck! But they can’t get the cop to emergency services… because for some reason, the doors to the apartment building are barricaded. Meanwhile, Mrs. Espinosa has become increasingly feral, harmed more people, and is appropriately draped in blood.
Our fire team takes stock of the buildings tenants and finds more individuals with Espinosa’s symptoms… more who are infected. Among the tenants is a veterinarian (Greg Germann; Child’s Play 2), who likens the combination of symptoms to, of all things, rabies. Their efforts to escape the building are blocked by SWAT and the CDC, who are actively barricading and quarantining the building. Subsequent attempts to escape from windows or balconies are met with assault rifles, riot gear, and interrupted phone service. Meanwhile, the local newsfeed is airing CDC reps declaring that the building has been evacuated.
As the dominos of tension and danger begin to topple down, the close-quarters filming style and shaking-running camera style does well to unease our nerves. Lots of panicked running in the dark, and sprinting scrambling zombie attacks. The direction and general filmmaking execution of this film are impressive.
The writing and characters are all great. This is definitely a higher tier “found footage” film. The firemen (incl. Jay Hernandez; Hostel I-II, Joy Ride, Ladder 49) are all very likable, the reporter and her rapport with the firehouse crew is congenial, and everything feels nice and natural. The apartment tenants include characters played by the capable Marin Hinkle (The Marvelous Ms. Maisel), Dania Ramirez (Heroes, Lycan), Rade Serbedzija (The Eye, Stigmata), Denis O’Hare (American Horror Story, True Blood, The Town that Dreaded Sundown, The Pyramid) and Elaine Kagan (Innocent Blood).
The gore isn’t much in the sense that this is not a “gorefest”, but it’s enough. This film relies more on its surprises and the characters’ behavior and reactions and panic. Like when someone (Johnathon Schaech; Laid to Rest, Flight 7500,Prom Night, Suitable Flesh) abruptly falls down several stories to the lobby floor, an infected tries to walk (partially zombified) on a broken protruding tibia, or a zombie is beaten with a still-recording camera.
Many of the typical zombie movie tropes run their course. Were you bitten? She lied about being bitten! That little girl just attacked her dad! He’s turning. But everything is done tactfully and without the standard zombie nomenclature. Everything develops nicely until the last 10-15 minutes, which are the most frantic and tense.
Director John Erick Dowdle (As Above So Below, Devil, The Poughkeepsie Tapes) is an expert in making his audiences uneasy. This movie is a horror delight! Excellent pacing, great characters, and solid execution of all things unnerving.
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In a Violent Nature (2024) – Review
Quick Thoughts – Grade – A – In a Violent Nature is a thrilling horror experience that features several outstanding moments and will award viewers who appreciate the experiment.
Directed and written by Chris Nash, In A Violent Nature is being described as an “ambient horror” movie that uses long takes, natural sounds, and the wooded settings of the Algoma District near Ontario to create a truly unique slasher experience. Drawing inspiration from Gus Van Sant’s “Death Trilogy” which is made up of Gerry (2002), Elephant (2003) and Last Days (2005), the film follows an occasionally masked killed named Johnny (Ry Barrett), who awakens from his slumber when a group of college kids steal a necklace from his burial site.
What separates In a Violent Nature from typical slasher movies is that the focus isn’t on one-note college kids (thank goodness) who do their absolute best to get sliced and diced. The focus rests squarely on the burly shoulders of Johnny, who strolls around the woods and occasionally traverses the bottom of a lake to get to his victims. Cinematographer Pierce Derks (Psycho Gorman, Mandy, The Void) must’ve logged miles following Barrett as they shot scenes involving the obliteration of a yoga enthusiast or a nighttime stroll that ends with a decapitated head being used to open a door.The best thing about the cinematography is that it never feels precious or forced. The shot selection is inspired and never afraid to linger on a soon-to-be doomed swimmer for several minutes as Johnny trudges (unseen) across the bottom of the lake to get to their position. In a lesser film the cinematography would’ve felt forced or precious, but the shot selection and 1.33:1 aspect ratio work because they make sense for the story and don’t feel like they were added because they looked cool. The night shoots must’ve pushed the camera’s gain settings to new heights as very little outside lighting sources are used, which is refreshing because it adds to the voyeuristic style that relies on naturalism.
I’m a big fan of Gus Van Sant’s “Death Trilogy,” which features death (obviously), lots of walking, and methodical camerawork that lingers with the characters as they walk through a desert or high school hallway. I remember watching the Palme D’or winning Elephant at a cool arthouse movie theater in Tallahassee, and having the entire theater to myself as the chaos unfolded on the screen. The good news is that In a Violent Nature has its own personality and isn’t trying to recreate an experience. My biggest complaint is the handling of the college kid victims who were purposefully written as one-note characters. I get that keeping them one-dimensional left more room for Johnny, but there’s a campfire dialogue scene that is a chore to get through because the characters are wildly unlikable and their dialogue doesn’t help them much. It’s easy to understand why the victim’s personalities are an afterthought, but a little more care with their dialogue and performances would’ve helped. That being said, I completely understand why they aren’t fleshed out characters (so Johnny can have more time tearing their flesh apart).
In a Violent Nature is the type of film that should be embraced because it’s an independent production that embraces creativity and is reaping the rewards. It most certainly won’t be for everyone, but it will find an audience amongst cinephiles who love a big swing.
Final thoughts – Watch it. It’s a great time.
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John’s Horror Corner: Laid to Rest (2009), viciously gory with truly innovative death scenes.
MY CALL: This movie’s death scenes are outrageously awesome. If you’ve bypassed this movie thinking “yeah, it doesn’t look that great” and you like gory death scenes, you need a strong course-correction. Because that’s what this movie is: a last dying breath of innovative “death scene” fresh air. MORE MOVIES LIKE Laid to Rest: For another gory, mean, pleasant surprises from the 2000s slasher genre, consider The Hills Run Red (2009).
After waking up in a casket, a woman (Bobbi Sue Luther; Night of the Demons, The Poughkeepsie Tapes, Happy Horror Days) has no memory of her identity or how she got there. About as quickly as the mortician comes to her aid (a brief appearance by Richard Lynch; Halloween, The Lords of Salem, Necronomicon: Book of the Dead, Puppet Master III, Alligator II) he has rebar plunged through his torso by a Chromeskull-masked slasher (Nick Principe; Xenophobia).
After escaping this murderer, Cindy (Lena Headey; The Purge, Pride and Prejudice and Zombies, Dredd) hesitantly takes her into her home only to have this Chromeskull killer impale his knife through her temple quicker than you can recognize her from Game of Thrones. It’s unapologetically abrupt… and I very much appreciate that.
The gore is… innovative. Chromeskull twists his knife back and forth in Cindy’s skull and we see her eyeball rotate accordingly. And when he yanks it out, the sticky drippy sound effects are a gross delight as fluid dumps out of her gaping headwound. For his next kill, he stabs (Johnathon Schaech; Flight 7500, Prom Night, Suitable Flesh) through both cheeks and then scythes off the entire from half of his skull. It’s awesomely gross! You see everything you could ever want in an effects scene like this.
Our amnesiac final girl keeps recruiting help from strangers, neighbors, gas station attendants and the like, and gets (nearly) all of them horribly butchered. It’s funny how I keep recognizing actors and they end up getting killed right away. This movie is murderously persistent and bloody relentless. The gore packs a memorable punch with the heavily lacerated, bloody flesh of the victims. Chromeskull slits one victim’s throat back and forth so roughly it’s like he was sawing off her head, he explodes a man’s (Sean Whalen; The People Under the Stairs, Hatchet 3, Halloween II, Idle Hands) face with an air can to the ear, and a gunshot detonates a head into raspberry jam. This gore looks sloppy and sounds juicy. I love it!
There is a lot in this movie that could benefit some explanations… like why does Chromeskull literally glue this chrome mask to his face? Why does he have a shoulder-mounted video camera to record his handy work? Why does he have a Chromeskull vanity license plate? Another thing that doesn’t get properly explored or explained is that there are lots of dismembered cadavers of naked women—although I think we’ve now discovered Chromeskull’s hobby. Chromeskull also has a talent for removing bullets (from inside his own body) and suturing his wounds. He probably has a cool backstory. But this movie doesn’t get into it. And the fact that all these questions go unanswered is, well, just fine actually. Because this film is excellent at what it pursues—butchering human flesh in shocking and inspired ways.
The flesh-melting, face-peeling finale is a great gore gag complete with sucking sloppy sounds and a mangled deteriorated skull-face. As this occurs, our amnesiac final girl escapes with passerby (Thomas Dekker; A Nightmare on Elm Street, Village of the Damned) who picked the wrong gas station that day.
This movie was WAY cooler than I expected. For the sake of simply pleasing the gorehound in me, this was truly awesome. The gore was innovative. Not just that, but the acting and production quality were pretty solid even if the plot was very basic. This is among the better modern slashers I’ve seen! I wish director and writer Robert Hall (Fear Clinic, Chromeskull: Laid to Rest 2) had done more movies.
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Furiosa: A Mad Max Saga (2024) – Review
Quick Thoughts – Grade – A – Furiosa: A Mad Max Saga is big, bold and ambitious. It’s cool that a visionary like George Miller was able to get full creative control and a big budget that supported his style of punk rock filmmaking.
It’s been several days since I watched Furiosa: A Mad Max Saga and it’s been tough trying to wrap my head around such an epic film. The $168 million budgeted prequel (which really isn’t all that much nowadays) takes place in five chapters and uses every second of the 148-minute running time to blast your senses with car chases, fight scenes and Chris Hemsworth using big words. It’s not nearly as propulsive as Mad Max: Fury Road, but it’s just as ambitious and loaded with excellent action design by Guy Norris. It took a while to get into the rhythm of Furiosa: A Mad Max Saga because the chapter breaks clash with the muscular editing done by editors Eliot Knapman and Margaret Sixel (once again doing an incredible job for George Miller). However, it’s still a wildly ambitious and beautiful movie that features dedicated performances from Anya Taylor-Joy, Chris Hemsworth, Tom Burke, and Josh Helman (long live Scrotus!).
Furiosa: A Mad Max Saga focuses on the evolution of Furiosa (Anya Taylor- Joy), as she goes from child slave to becoming the most respected driver in the post-apocalyptic wasteland. The first two chapters focus on Furiosa as she’s kidnapped from her idyllic home (The Green Place), and becomes the adopted daughter of a warlord named Dr. Dementus (Chris Hemsworth) after he kills her mom (Mary Jabassa) and separates her from her home. After the death of her mom, the healthy full-life Furiosa stops talking and spends years locked inside a metal cage that goes everywhere Dementus goes. Eventually, his horde comes across the citadel of Immortan Joe (Lachy Hulme), and a massive battle breaks out as Dementus makes a run at controlling the wasteland by taking over Gas Town and forcing an uneasy alliance with Immortan Joe. To finalize the alliance, Dr. Dementus trades Furiosa and the Organic Mechanic (Angus Sampson) to the citadel, and this kicks off the story of how Furiosa became a famous Imperator (driver of Immortan Joe’s War Rig).
At first, Furiosa is intended to be one of Joe’s wives, but after a horrifying ordeal with Immortan Joe’s son Rictus (Nathan Jones), she cuts off her hair, disguises herself as a boy, and becomes part of the mechanic group who built the first war rig. Her mentor is Praetorian Jack (Tom Burke), a decent man who drives the war rig and isn’t a homicidal maniac like every other person in the wasteland. Together, they engage in some beautiful action scenes as they’re forced to deal with the many factions of Dr. Dementus’s horde who find creative ways to scavenge food and water.
It would be a shame to spoil anything else, just know the rest of the film features action scenes that will make your jaw drop. Chris Hemsworth and Anya Taylor-Joy are the standouts here and they expertly inhabit their characters. Hemsworth’s portrayal of Dementus is interesting because he’s clearly a villain (villain Hemsworth is always a good/bad time), but he’s also a broken human who is suffering after the loss of his family. He’s a three-dimensional villain who is dangerous because he is equal parts intelligent and chaotic. On the other side of the post-apocalyptic coin is Furiosa, a survivor who is intelligent, measured and patient. They are totally different, but because of their smarts and ability to survive they find themselves in a years-long battle.
You might need to watch Furiosa: A Mad Max Saga a couple times because there is just so much going on. George Miller throws everything at the screen and his unhindered vision deserves to be watched in the biggest theater possible. It’s a fantastic experience and I can’t wait to watch it again.
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The Movies, Films and Flix Podcast – Episode 560: DeepStar Six, Creature Features, and Blinking Lights
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome.
Mark and David Cross (@ItsMeDavidCross on X) discuss the 1989 creature feature DeepStar Six. Directed by Sean S. Cunningham, and starring Nancy Everhard, Greg Evigan, Miguel Ferrer, and lots of blinking lights, the movie focuses on what happens when a large monster attacks a tiny underwater base. In this episode, they also talk about knockoff creature features, decompression pains, and the perils of underwater drilling. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
Movies, Films & Flix 