Episode 22 - Love, Hate, and Incest: A Vinegar Syndrome Roundtable - Punk Vacation: An Unofficial Vinegar Syndrome Podcast

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
You are now listening to the Someone's Favorite Productions podcast network.

Speaker 2 (00:47):
Hello, y'all, welcome back to Punk Vacation, an unofficial Vinegar
Syndrome podcast. This is episode twenty two. Now. I'm Chris.
I started this as a way of finding joy and
unfettered create, which I think ties well into the way
that I see Vinegar Syndrome. Trying to make this into
a podcast dedicated to bringing awareness and context to movies

(01:08):
of any budget, from anywhere and during any time. So
I want to do something different today. I kind of
tease this and I'm excited that it actually came together.
One of the interesting things it's for me that's been
interesting and talking to so many different people so far
in twenty one episodes, is that there's a lot of
different opinions of what Vinegar Syndrome is. And I think

(01:31):
a lot of that is defined as when you kind
of came into the company and when you kind of
started collecting or well, I should say watching movies and
then collecting, although the order is sometimes switched. So I
wanted to try something different. It's Partner month, there's no
new releases coming out, and I thought it'd be a
good time to get a bunch of different personalities together

(01:54):
that all have a different experience with why they're part
of Vinegar syndrome community and some capacity. It's not a
total coincidence that everyone here is on the Vinegar syndrome discord,
but they all found the discord itself, even at different
times and through different means. So I think this is
a wide diversity of people, and I'm excited to kind

(02:16):
of introduce everyone, give them a chance to introduce themselves
and what they're into outside of the Vineger syndrome discussion,
and then we can jump in. So just on my
camera going left to right. The next one, The first
one up is Robert. Robert, you want to introduce yourself
and your podcast, and then Matt as well.

Speaker 3 (02:32):
Yeah, I'm a mi names Robert Schneider. I'm out of DC.
I host a podcast with Matt called Grindhouse Cheek and
we talk about sleezy movies, sometimes not so sleezy movies,
and whatever is on our mind, including politics. But I'm
gonna I'm gonna hand it over to Matt.

Speaker 4 (02:53):
Yeah, I'm Matt. I'm out of Ohio. Closest city probably Cleveland.
Like Robert said, we host a podcast called grindhouse chic.
We started as a kind of a Vinegar Syndrome live
show every Sunday, and it kind of morphed into something
completely different, but still mostly talk vinegar Syndrome.

Speaker 2 (03:17):
And before we go on to Jayden, I just want
to call out Robert. I hope you don't mind, but
go ahead. This is the second time now I've seen you,
although there's no video associated with the podcast, And I
love the fact that you record like a Roman emperor,
just like almost fully stretched out, comfy make in hand.
It's awesome.

Speaker 3 (03:35):
It's mostly because of my back.

Speaker 2 (03:37):
Oh okay, all right, well.

Speaker 4 (03:39):
All with grapes on the table next to you, I.

Speaker 2 (03:42):
Wish being fed by Matt Jayden.

Speaker 5 (03:48):
All right, you guys have heard me before, but I'm
Jaden Christopher. I'm out of Boston and I actually have
something I can plug now. I have a podcast called
pod Goblins on the Lost River Drive in on YouTube.

Speaker 2 (04:03):
We mostly talk.

Speaker 5 (04:03):
About like mainstream horror coming out in like big franchises
and stuff.

Speaker 2 (04:07):
But yeah, and you're are you complete on Scream Factory
Collector's editions yet?

Speaker 5 (04:13):
Oh dude, I'll never I'll never be.

Speaker 2 (04:17):
Awesome.

Speaker 6 (04:18):
Eli Hey, Eli Olsburg also I've heard me on the
pot a couple of times, which is always a pleasure
to be back. And I'm based out of Los Angeles.
The only stuff I have to promote is more local,
so hopefully if anyone's listening from LA, I host something
called Pussycat Theater Night where we show software cuts of
golden age stuff, mostly from Vinegar Syndrome, and having a

(04:41):
new one this month that's actually going to be hardcore,
a double feature. We were briefly talking about this before recording,
but a double feature of bat, pussy and Gums, which
we can get into later if you want about the
during if we talk about partner releases. But that'll be
on Friday, the twenty seventh of June, eight pm at
one third Space in Highland Park, And oh, I guess,

(05:04):
depending on when this goes up the og. Pussycat Theater
Night is on Wednesday the eighteenth, This upcoming Wednesday, so
if it drops before then, I'll be showing Radley Metzger's score,
which is one of the few non VS releases, but
probably Radley Metzger's best movie, depending on who you talk to.

Speaker 2 (05:23):
Man, I just saw Naked Came a Stranger, which is
my first Raley Metzker film, right, is the rest of
his stuff like that?

Speaker 6 (05:30):
Uh yeah, I think so. They're also like kind of surrealist,
but not like in a you know, not like it,
not like to like a Bunuel standard, but you could
tell he influenced him. Barbara Broadcasts is like a total
surrealist comedy for the first like half hour in a
restaurant where you order people essentially to fucking suck. But like, yeah,

(05:51):
I think they're all like really his top tier stuff
is really like idiosyncratic and that good. So I would say,
if you haven't seen anything else of his, definitely jump
on those mellow scene orders. I think the image might
be his. To me, it's his weakest of the bunch,
and that's still like better than most other Golden Age,

(06:11):
like better than a lot of other movies period.

Speaker 3 (06:14):
Yeah, I would say Misty Beethoven is his best film. That.

Speaker 6 (06:18):
Yeah, I wouldn't argue against that. I actually programmed that
a couple months ago and it played like fucking gangbusters.
It fucking killed with an audience, so did Uh Oh,
we'll talk about this one later because I have it
for one of your questions. But uh yeah, that one
fuck fucking killed. So did Barbara Broadcast. I've shown almost
everything from the Melu scene line, even Tiffany Lust, which

(06:39):
he like directed kind of a like he didn't credit
himself as a director. He only directed some of the scenes.
That's still like the crowd loved it that I showed
it to. It was like probably one of the lighter nights,
and it's still fucking killed.

Speaker 2 (06:53):
There's that like kind of half joke about like watching
point for the plot, but like mESC movies, if it's
anything like what I've just make, it came a stranger
like you could legitimately say you're watching that for the
artistry and like the way that the movie shot and
like the artistic choices. The movie was so good.

Speaker 6 (07:12):
It's so good. Yeah. And his softcore cuts. I'm assuming
you watched the hardcore version, right, yeah, yeah, yeah, His
softcore cuts are actually mostly way different. You'll actually get
a totally different experience watching them. You won't get off.
I'm just kidding, you won't. Like most of the time
he intentionally shoots extra and you're right, Robert opening a

(07:33):
Misty Beethoven is probably the best adult film, maybe his
best film, But I think because score is more like
even the hardcore there's like maybe not even ten minutes
of hardcore in that, whereas like Opening a Misty Beethoven
is a real hardcore film. But even those movies all
have like the running times are totally different, and there's
usually extra scenes or voiceovers in the softcore cuts that

(07:53):
you wouldn't get in the hardcore version. So you definitely
get your money's worth on those Maluccene releases or Strippicks
ones before they went malosine mode, And like, you get
a lot of good stuff beyond like the features, and
you get two totally different movies, similar to the Dirty
Work release, but instead of the dirtier cuts, it's the
less dirtier cuts.

Speaker 2 (08:13):
Awesome. Well, this is a perfect sort of natural intro
to why I brought you all in the pod. So
my assumption is that each of y'all have sort of
a different entry point to Vineger Syndrome and a different
reason why you love it. So maybe going in reverse
order now from the intros, eli, what was your what
was the way that you like? What got you into

(08:34):
vinegar syndrome initially?

Speaker 6 (08:35):
So I got up I'm a bit spoiled because I
live in LA and so we have a lot of
repertory theaters here, like literally a dozen within like a
seven miles, and so I had known about vinegar syndrome
since probably twenty thirteen, twenty fourteen, just like knowing who
they were, but I wasn't collecting physical media at the time.
I was like pretty like ingrained in trying to tour

(08:59):
as much as p possible and you know, just kind
of get my ten thousand hours for lack of a
better term, in terms of like stand up and that
kind of stuff. But I got an old ed TV
in twenty twenty two, and that's when I knew. As
soon as I did that, I held off as long
as possible because I bought a four K player right
after that. I went broke, buying so many fucking four k's,

(09:22):
mostly studio shit at the time. And I don't know
if people remember this, but like up until like maybe
early twenty twenty three, you could they were four k's
were relatively more affordable outside of a few I think
the big boom was happening right about that time. I
could be wrong about that. I might have been a
little bit later, but I mean, you know, at the time,
it was like a little steeper to pay even forty

(09:43):
bucks for stuff. So I was buying a lot of shit.
And the first thing I got from Vinegar Syndrome was
the thriller and Yeah, and so I remember thinking, holy shit,
this got a four K. And I already knew about
like obviously Blue Underground even like other companies like like
Severn and stuff from back in the day. But it

(10:05):
just kind of snowballed from there where I started buying
kind of their more accessible titles. I didn't I didn't
start going through their directly to their website or through
like Orbit and stuff until just a little later, probably
closer to like twenty twenty three. And from there that's
when I actually started buying through them directly or trying

(10:26):
to at least maybe get things secondhand, even though like
out of print Boom for lack of a better term,
wasn't huge by that point, like you could still get
VSAs pretty reasonable. I got champagne and bullets for sixty bucks,
like that is unheard of now, I think, so like
I would. Still, that's about the time I got into it,
And that's also the point where I got into the

(10:48):
curation of it, where I was like, oh, this looks good.
I'll just blind by this or I knew they restored
this a few years ago, and I never got around
to seeing it when it screened like on a repertory
circuit here in like twenty fifteen. And that's that's how
that's how I got into it.

Speaker 2 (11:07):
All right, jam, what will you?

Speaker 5 (11:09):
Yeah? So I first started collecting physical media probably around
like twenty twenty one, like around the summer spring, and
I would just collect pretty basic, like mainstream horror movies
because that's what I grew up with.

Speaker 2 (11:21):
Like, is that like COVID checks.

Speaker 5 (11:23):
Yeah, yeah, for sure, all that went towards that. But yeah, so,
like Scream Factory and Era were the first two boutique
labels I knew of because of that. But around mid
year twenty twenty two, I remember tuning into a live
stream of somebody who's infamous in our server for different reasons,
but Master Chaos, and I tuned into his stream because

(11:46):
he was doing a vinegar syndrome stream, and yeah, that
kind of introduced me to the label, and I was like, Wow,
they got a lot of weird horror movies I've never
heard of, So I placed a big order. I probably
watched like half of the titles. Since then, I got
a massive backlog. But ever since then, dude, I don't know.
I've been all in like and sometimes, you know, different

(12:09):
months have different levels of interest from me, but overall, like,
I'd become a big fan of Vinegar Syndrome and getting
to know the community has been really cool too.

Speaker 6 (12:18):
Yeah, and sorry, sorry to interrupt. I just wanted to say.
I guess I should say. I have been subscribing since
like about a year, since twenty twenty three, that's when
I became a subscriber. Prior to that, it was mostly
the subscription. Sorry, wait, what's this your twenty twenty five? No, sorry,
I was a halfway subscriber last year.

Speaker 3 (12:35):
Yeah.

Speaker 6 (12:35):
Up until that point when they used to allow you
to order two things, I had a buddy who was
a subscriber, so I would just pay him to order
some shit at cheaper prices. And sometimes I wouldn't if
he if it was something where if it had been
like something that had already passed, I would still just
just to get the free shipping, I would. I'd give
him the dough.

Speaker 2 (12:58):
And Jane, we give you a hard time for being
thirteen years old. It's been been nice to see your
maturity here as you as you hit puberty, appreciate it,
not what about you.

Speaker 4 (13:12):
Uh, kind of the same. I've been collecting probably since
my teens. I'm in my forties now, so pretty pretty
long time. I've sold my collection off I don't know,
half a dozen times maybe and ended up like going
back to it. But then kind of the same thing.

Speaker 2 (13:32):
I was.

Speaker 4 (13:32):
Uh, it was COVID. I was laid off, had way
too much time, and didn't really know what to do
with it. I got pretty sucked into YouTube, and for
some reason, a guy named Michael Keane popped up on
my on my feed one day and he was doing
a video about this new four K release of beast Master,

(13:57):
and I was like, whoa beast Master. I haven't seen
that in forever. So I went to this to the website,
checked it out, and I was looking around and I
was like, Oh, They've got a bunch of weird stuff
on here I haven't heard of. So I put an
order in. I got beast Master, Fade to Black, Let
my Puppets come and dial Code Santa Claus. Yeah, got those,

(14:17):
watched them and I was like, Okay, I'm I'm into this.
Went back, I went back through my oars to see
what my next step was. I got the April package
and then from there I just kind of, as you said,
got those COVID checks and kind of just dived into it.

(14:37):
I think I've been subscribed since twenty twenty three. Also,
I did, I did the half year in twenty twenty two,
and then finally took the plunge. But yeah, I think
it just it scratches an itch for me where I
used to love going into you know, best buy, you
know whatever video stores and blind buying movies, and you know,

(15:00):
you can't really do that anymore, and vinegar syndrome kind
of filled that void for me, and I haven't been
able to look back.

Speaker 2 (15:07):
I think if vinegar syndrome is giving you an itch,
you may want to get it checked out eventually, but
probably well.

Speaker 3 (15:18):
I so I heard about vinegar Syndrome in twenty thirteen.
I had just moved to Kansas City at the time,
and there was a film collective that's now known as
the Stray Cat and they would have monthly showings and
weird places, and one of the people who ran it
named Jackie. They kept on saying, you gotta check out
vinegar syndrome. So I went to their website and I

(15:41):
saw the first adult movie that I had ever seen
they were selling in twenty fourteen was Oriental Hawaii My
Lynn versus Serena. So I laugh, I know that meant
so I ordered it and I was excited because nostalgia.
And as I watched it or at Hawaii again after

(16:04):
many many years, I realized they did not film the
movie Hawaii lying best and I kind of just went
from there. I started really going into the drive in
collection and the adult titles, and then by the time
they made the switch over to Blu Ray, I was hooked.

(16:24):
So I could say I've been with them mainly from
the beginning.

Speaker 2 (16:28):
That's crazy. How was their e commerce experience back then?
Like was it?

Speaker 3 (16:31):
Oh it was miserable? Yeah, yeah, okay, it was miserable. Yeah.
The site well, like on big sales when they started
doing the Black Friday sale, the site would constantly crash.
But they were better like giving up free stuff like
a conventions. I was able to get the cutthroats and

(16:52):
murder on the Emerald cy on DVD, and to me,
they that made them the most fan friendly label compared
to the ones at the time, like seven and synaps, yeah.

Speaker 2 (17:03):
They barrow Sinnaps has always been expensive, which is interesting.
I mean, I know that they're a small shop and
they do all the work themselves, and like they put
a lot of love into it. But I was collecting
syneps back in like two thousand and three, four and even.

Speaker 6 (17:16):
Yeah, same, same, yeah, yeah. I mean my big my
big physical media was when I was sixteen till about
twenty two when I which is when I moved to
LA But like, yeah, there, mostly I would get synaps
secondhand because it was so fucking expensive. And luckily there
was a used shop where I grew up in Fort
Lauderdale that had a lot of their shit, and but

(17:39):
it was mostly an anchor bay. Two could be if
you if you went on their let's call it their VSUS,
it could be really expensive, which by the way, their
VSU was not a box. It was a fucking tin can,
a literal big. I still have one. It's like I'd
have to go into storage, but I have a evil
dead two tin can, this huge tin thing that has

(18:00):
like posters like all they it comes with all the shit.
But the funniest thing is the actual DVD itself is
in a blank jewel case. And that's not like a
secondhand thing, that's just how they fucking designed it. Yeah,
and it still costs like fifty bucks.

Speaker 3 (18:16):
I was lucky enough because Anchor Bay was in Troy, Michigan,
and Synaps was downriver. There was the best Buy in Southfield,
Michigan that carried tons of Anchor Bays and tons of
Snaps DVD's.

Speaker 2 (18:31):
That's cool, Yeah, that's really cool. No, those Anchor Bay
limited editions I have. Eventually the stupid completionist in me.
I eventually found them all and I'm never letting them go,
Like those are gonna get buried with me.

Speaker 6 (18:43):
Yeah, as they should.

Speaker 2 (18:44):
Yeah, the only thing that's obnoxious is my dumbass. There
was the oh, what's the What's the car? Movie? They
put out, the famous one with all the musicians in it.
Tulian Blacktop was one of them. I had had a
key chain, it's part of the special features it and
I used it like a dumbass, my key chain, and
then lost it. But oh well, yeah, it's funny.

Speaker 3 (19:05):
Back then, you didn't think of anything going out of print.

Speaker 2 (19:08):
No, I mean it was like it was so readily available.

Speaker 6 (19:11):
And they hand numbered them too, but you still would
see them everywhere you fucking went. You're like, these numbers
are just made up. They definitely have made more than
six thousand or whatever it was that they Some of them, also,
by the way, were way bigger numbers. I think it
was like the Deep Red Special Edition. I remember it
set out of like thirty thousand.

Speaker 2 (19:27):
So some of them were like ninety thousand, Like they
had the Army of Darkness and stuff was like these
massive Numbers's.

Speaker 6 (19:34):
That's the one.

Speaker 3 (19:35):
Could they do numbering for their Evil Dead Evil Dead
two necker? I can't pronounce deckermount of competitions.

Speaker 2 (19:42):
I'm trying to think, are you talking about the ones
that are falling apart now? The ones the ones that
were the book, Yeah, like the like the late Texas.
I don't think those numbers.

Speaker 6 (19:49):
Yeah, no, because those were later. What happened was the
Anchor Bay was really good at like quadruple dipping. They
I can't I don't know how many versions of Evil
Dead they put out Any Dead too, And same thing
with the Army of Darkness. I remember I bought a
clamshell Army of Darkness that had like the downer ending
and it was also hand numbered, and then they put

(20:10):
it out on DVD literally like a year later, and
then a year after that they put out one called
like a Boomstick. Addition, it was infuri I would and
I worked at a Best Buy and I would see
it every fucking six months. I would be stocking them.
It was so infuriating. It was Uh they were shameless
about it, and funnily enough, there's a label called that now.
But they were absolutely had no compunction about milking everybody

(20:34):
they could that would buy it.

Speaker 3 (20:37):
But at least they only put out one edition of
Condor Man.

Speaker 6 (20:42):
Thank you, Anchor Bay.

Speaker 2 (20:45):
Yeah, my my intro to the whole universe of vinegar
Syndrome was through Action USA. I've told that story before,
I think, But I used to work in a When
I used to go to from my college town to
like all the house theaters in Dallas was like a
forty minute drive, and next to one of them was
this amazing video store, Premiere Video in Dallas. Shout out

(21:07):
if you're still around, I hope you are. And the
guy that ran Premiere had this cool thing where he
had his regular video store that had DVDs at the time,
and then he had let's call it like five or
six level high bookshelf that went around the whole length
of the store, like above the store. So it was like,
let's say, like it would be the equivalent of like

(21:28):
a second story of the building. And this thing had
I mean, I don't know, he must have had thirty
thousand VHS tapes. They were all book ended and just
wrapped around. And I was talking to him one day
and his foreign films that he had to rent or
by didn't have any translation on him. He was getting

(21:48):
him like straight from the source. And I was like, dude,
this is super obnoxious, Like I don't even know what
movies these are. He's like, yeah, it's a huge problem.
I was like, can I just translate it for you?
He's like, oh, dude, I would love that. What do
you want to do? And I was like I don't know,
Like can I just get free rentals? He's like no,
but if you want, you can get free rentals of
the VHS stuff. I was like fine. So I still

(22:08):
had a VCR at that time, and so I just
started I literally I didn't know what to do. So
I just started watching in a and like just went forward.
I saw the wackiest shit some horrible movies. But I
would rent like ten at a time, and I go
down there once a week with all his translations printed
out that I could put in the back of the
movie and mented on more VHS and I and the

(22:29):
jewel of that for me was actually USA. And I
watched that VHS probably eight times before I got it
back then and showed all my friends and then yeah,
vs A, I guess put it out. I was like,
hold up. Then I went and I like did a
rabbit hole. Then I found vinegar syndrome. At that time,

(22:50):
they didn't have a lot of sub labels. I found
vinegar syndrome. And then anyways, it just sort of spialed
very quickly from there because they had so much stuff
that I loved. But yeah, I think this is kind
of so the summary, like this is why I brought
you all on. So, like Robert Eli, y'all have kind
of been there from the beginning, and you love the
porn side as well as a lot of the exploitation side. Matt,

(23:13):
you're coming around at it from more of just like
a like an archaeological discovery kind of like you're interested
in like all the crazy shit that's there. If I'm
if I'm summarizing it correctly. And then Jayden, like you're
you're interested in a lot of the new stuff. You
didn't mention a lot of the newer films that are
coming out or that they're putting out, But that's where
you tend to get most excited about right recently. Yeah,

(23:37):
I think so yeah, yeah, okay, so awesome, y'all. That's
exactly That's exactly what I what I was wanted by
way of intro. So we're we're a little bit down
in the hobby now, y'all. Have I've been here for
at least a few years, You've had a chance to
see a lot of what Veneer Syndrome is put out?

(23:59):
What are some what are some favorite movies you'all have
from there? Like, let's get to know your personalities a
little bit. What do you what's the stuff you really love?
I don't care in terms of order, I guess.

Speaker 4 (24:08):
Matt, Yeah, I'm kind of all over the place. I
I love blaxploitation film, so I've got a couple of
those in there. Welcome Home, Brother Charles. I watched on
a whim one day and it was just kind of like,
I don't know if I was blown away that how
good of a movie it was, but I was blown
away of kind of like how experimental it was and

(24:30):
how much I loved it.

Speaker 3 (24:32):
Any movie where a weapon is a dick, yeah, yeah, automatic.

Speaker 6 (24:37):
Cock is yeah. Yeah. His the fact that they put
out all of it, I'm pretty sure just not his
entire filmography. It's very small JAMAFANAKA, but like the big hits.
They have like four of his movies on between three discs,
and they're all fucking bangers.

Speaker 3 (24:53):
Yeah. I actually put off watching MMA until last year.
My act actually like it more than Welcome Home, Brother Charles,
which I absolutely love.

Speaker 6 (25:04):
Yeah, I do too nice.

Speaker 4 (25:06):
Yeah, I haven't watched that. When you need to put
the disc back in and check that out. The Telephone
Book I watched randomly.

Speaker 2 (25:14):
And all that.

Speaker 4 (25:16):
Yeah, I just didn't really know what to expect, and
I guess what I watched, you know, I could have
never expected, but just kind of really stuck with me.

Speaker 3 (25:25):
Peter P. D.

Speaker 4 (25:26):
Wheat Straw just of a very funny, Rudy Raymore kind
of I don't know, slapstick horror kind of.

Speaker 2 (25:36):
Yeah, there's a whole there's an amazing episode loving on
Rudy ray Moore from Aero's Plus Massacre and from Sam
Degan and just in general. I that guy is just
I can't believe he's not spoken of in the same
realm as like Eddie Murphy or any of these people,
any of these like famous black comedians. He was amazing

(25:57):
as an entertainer.

Speaker 3 (25:58):
I got the pro was to see him live twice
before his death at the Magic Bag Theater in Detroit.
The first time was when the Night Tupac the day
Tupac was shot of the day after, and for some
reason he gave me this frame picture that I no
longer own because I think my roommate took it of

(26:19):
all these hip hop stars and he was just painted
on it as well. And he would do his comedy
he would do. He would watch a movie first and
then he would show that he would do a comedy set.
And the first movie we saw that he did was
the original Dolomite, and he did this thing called the
Alphabet where he would come up and ask members for

(26:42):
the to do for a letter. So I said V.
He just looked at me and when V is for
the ladies, and then just walked away. And then when
a girl gave him that letter it is all about virginity,
and I'm like, yeah, that wasn't for me.

Speaker 2 (26:57):
He's amazing.

Speaker 3 (26:59):
And the second one was a bet you just go
Godfather the second time like a year later.

Speaker 4 (27:03):
Oh cool, nice last one I have on here. I
just one we kind of just recently talked about. It's
a newer release, but Her Vengeance, Yeah, big rikio fan.
And I saw he directed this and went in a
complete opposite direction with it, and I thought it was incredible.

Speaker 3 (27:20):
I mean he gave us wheelchair fou.

Speaker 2 (27:23):
Yeah, I love. I want to just quickly say the
latest episode of Grindhouse Chica. I was listening to it
and y'all had the exact same reaction I did that
it's just basically like an adult home alone.

Speaker 4 (27:36):
Yeah.

Speaker 2 (27:37):
So the kills are just so bad, shaped, crazy, and
like contrived anyway. Yeah, uh cool. Well I guess Robert,
what about you?

Speaker 3 (27:47):
So I'm gonna go a little bit different. Matt, thank
you for saying Her Vengeance so I can take it
off my list. So I'm basically saying, these are the
ones Vinegar Syndrome introduced me to. Matt Simbers, The Candy
Tangerine Man and Lady Cocoa.

Speaker 6 (28:01):
That's a fucking mind melter.

Speaker 3 (28:04):
Yeah, and George buck Flower just making random appearances in
both of them. But they're just great movies. The Caller
from Charles Brand.

Speaker 2 (28:16):
That was on my list.

Speaker 3 (28:17):
Yeah, unbelievable massage Parlor Murders, and this is a DVD
Sweet Trash and The Hang Up by John Hayes. Who
else did Baby Rosemary and Hot Lunch? These are these
two are begging for a blue ray upgrade. They're just
so good.

Speaker 6 (28:35):
Yeah, they're on They're on one of the I believe
they're on volume four, the five Years five films. They
threw one of them, yeah, I believe on not on
the obviously on volume one and three those are the
adult ones. But yeah, it's that. I have Volumes two
and four and I still haven't gotten around to that.

Speaker 3 (28:54):
You should watch. It's really good. And then finally this one,
just because it was free, The Vinegar Syndrome, Spring twenty
seventeen catalog of film DVD. Oh hours and hours of
trailers of all the movies they released up until that point.

Speaker 2 (29:10):
Oh, no way, I wonder if that's something you can
even get now. I guess just on EVA I.

Speaker 3 (29:14):
Saw it like for ninety dollars on eBay.

Speaker 6 (29:16):
Whoa, it's weird because I saw it once for like
really a couple of times. I've also seen it go
the other way where people are like selling it for
like twenty bucks and I and then when I realized
what it was, it just didn't as much as I
like the collect shit that that didn't appeal to me.
But it uh, because you know, I've already seen all
those movies and trailer comps are all over YouTube.

Speaker 2 (29:35):
But yeah, yeah, that's crazy. I do want to just
like go back to The Caller for a second, because
that was an early one that I saw it kind
of by coincidence. I think. I can't remember exactly how
it was an early one I saw, maybe because it
had Malcolm mcdell and it. I can't remember why I
was drawn to it. But that's just one of these
movies that, like you watch it and you're like, okay, interesting,

(29:57):
like what's going on? And then the last ten minutes
you're just like holy fuck.

Speaker 3 (30:01):
Like what this is? Like?

Speaker 2 (30:04):
How is this not more popular? I don't know hose
to say it. It's like it's very similar to You
Are Alone that just came out through Saturn's score where
it's just like when it hits, it just completely changes everything.

Speaker 3 (30:16):
It's like a really good Twilight Zone movie.

Speaker 2 (30:19):
Yeah, yeah, that's exactly it. What did I just watch
last night?

Speaker 3 (30:24):
Oh?

Speaker 2 (30:24):
I just watched The Dark Half last night, which is
sort of like a mediocre Twilight Zone movie.

Speaker 3 (30:31):
The movie is called The Dull Half.

Speaker 6 (30:33):
Yeah, just so boring.

Speaker 2 (30:36):
I mean it was okay, but yeah, I was hoping
for a little more.

Speaker 6 (30:40):
That's one of those movies like The Nesting, where you
could probably justify it a little more if it was
ninety minutes. But then when you realize you're an hour in,
You're like, I'm prisoner for another hour of this, And
that's where it kind of like that's where you lose,
because I thought I remember watching The Nesting and I
was like, oh, this is you know what, but this
is no better or worse than any other regional thing

(31:00):
they may have put out. That's like more of a
near miss. And then I realized, I'm like, I looked
at the I paused it to get up to go piss,
and then I was like, oh, I'm forty five minutes in.
I have over an hour to go this fucking get
me you know, and like at that point, I can
only sit in those textures for so long.

Speaker 3 (31:17):
The dark Half is interesting because there was a time
in my life where if a movie was on the
back of a comic book, I would probably go see it,
and the dark half was always on there. I'm like, Okay,
Stephen King, Georgia Merrow, I need to go see it.
And it's one of the few Stephen King adaptations that
I wanted to gouge my eyes out in the theater.

Speaker 2 (31:39):
Wait, I want to hear Jayden defend it. Je I'm
assuming you're going to defend it.

Speaker 5 (31:44):
I actually do like that one.

Speaker 4 (31:45):
Yeah, but.

Speaker 5 (31:48):
I'm pretty apologetic when it comes to Georgia Mehra. But
I don't know, I wasn't as bored by it. I
don't love the hokey parts of it. Like I kind
of like the build up, but then once you get
to like the evil Twin or whatever, he's kind of corny.
So I'm not a big fan of that.

Speaker 2 (32:04):
But the only thing that that well, okay, not to
go too much into the dark cap but the only
thing that I was just like frustrated by was they
never really like bridged the like they tried it, like
they went like halfway with the explanation, but they never
really fully went there, Like he there with their whole explanation.
What is he just like willed this guy into existence?

(32:25):
But then yeah, when the birds fly off at the end,
I mean spoiler alert, I guess for an average movie,
But when the birds fly off in the end, they
go off into some like alternate dimension. So I'm thinking,
like in the book, maybe there's another dimension because Stephen
King likes to do that weird shit like that. But
the movie just did know, like there was nothing in
there that like bridged this world, no note at all.

(32:48):
I was like, damn it, but I'm going to defend
The Nesting. I have to defend The Nesting because it
has a Looney Tune style car chase that goes on
for like ten minutes too long in the middle of it,
and like, I'm here for anything that they make creative
decisions like, but does it top the.

Speaker 3 (33:02):
Car chase in the Instructor?

Speaker 6 (33:05):
No, nothing nothing can top that. That's like the best though.
I will say on the adult side, there was a
super rare, very limited pressing they did of a movie
called Mary Mary that also inexplicably has a car chase
in the middle of the movie. And I'm not talking
about like a small it is a full like there

(33:25):
is property damage.

Speaker 4 (33:27):
It it it.

Speaker 6 (33:29):
You wonder how this got poured it into this movie.
It's like so fucking crazy that there's this, that there's
this like basically a porno that just has the usual
flourishes of a golden age porno. And then suddenly they
get in a cop car chase.

Speaker 2 (33:42):
The movie is called Mary Mary.

Speaker 6 (33:43):
Yeah, there's two exclamation points.

Speaker 3 (33:46):
The stars, constance money. It's actually really good, it is.

Speaker 2 (33:49):
Yeah.

Speaker 6 (33:50):
Yeah, it's a great movie. It's very psychedelic and weird
and yeah, it's strangely, I think the director was a
one and done and is also his sun shot the
car chase scene. He's credited as like the second unit director,
which is hilarious that it's a family affair AnyWho.

Speaker 2 (34:08):
So there'd be a good double feature with the Nesting then,
because the Nesting is like a horror movie with the
car chase for no reason.

Speaker 6 (34:13):
So right, and it's a lot shorter, it's the inverse
of it. It's like seventy five minutes.

Speaker 2 (34:18):
Well you know, I guess you want to go next
to them?

Speaker 6 (34:20):
Oh sure, So thank you for also saying the telephone book,
so I could take that one out. What I'll just
say is that I played that at Pussycat Theater night
and that was hands down the I'd mentioned how all
of these played like fucking gangbusters, but this one in
particular really really bought the house down, like in a
way that just everybody. Everybody came up to me afterwards

(34:42):
was telling me how much they loved it, and even
at the next screening, people were coming up to me
still telling me that they were thinking about that movie.
So anyway, my picks are Thriller a Cruel picture, just
because it was the first one that I saw from
Vinegar Syndrome at home, and it's just such a great
fucking release. The fact that they put out the uncensored

(35:03):
and the the or i'm sorry, the uncut the regular version,
and that they call her one I cut in four
K is really cool. Pigs, which is one that I
just saw recently, and as an older title, is a
Troma acquisition from the seventies. Really just I don't know,
there's just not not much like it in terms of

(35:24):
like that really low fi regional horror type movie, and
it's it's a weird. It's also packed with great features
of like alternate takes and titles and like an opening
that the producer shot like five years later. I think
it's like really emblematic of the company in terms of
their like preservation style and kind of like the commitment

(35:46):
to like restoring it as good as possible and that
kind of stuff. Also very weird movie because the guy
who shot it also direct or I'm sorry, stars in
it with his daughter, and if you know what the
movie's about, that makes things extra textually weird. Let me
see what else I got here? Sorry, this just closed

(36:08):
on me. Oh there. It is a Blood Games that's
a fucking great release. Highly highly recommend it. It was
also a one and done director and it was shot
by a woman. And I'd only say that because it's
a great revenge movie that very specifically you can tell

(36:29):
how that differs from like if a guy shot at
and Sudden Fury. That one's out of print, but fucking
great Cohen style, like kind of a cat and mouse game.
It's very similar to Blood Simple, but it came out
like ten years before and it was just shot in
like Ontario, Canada. Really really good and oh this one

(36:55):
I just saw for the first time about three months ago,
and it blew my fucking it just blew my mind
in the cold of the night. It's another one that's
out of print, but did anyone here see that I've
seen it. It's directed by Nico Mastarrakas, and if you
know that name, you know what you're in for. It's
basically a speaking of our fifty minute movies. Like it's

(37:16):
a soft core like Skinemax style movie. But the friend
I saw it with made a point that, like, it's
unlike a Skinemax movie that has that kind of like
the Joel Silver rule, if you know what that is.
In all of Joel Silver's action movies, every ten minutes
the screenplay had to have action. Skinemax movies had the
same thing. Every ten minutes, someone had to start getting down.

(37:37):
This doesn't have that. It like he clearly didn't have
to answer it any kind of like executive. So it
is the most unhinged soft porn you'll ever see in
your life. It even though you feel the length, it's
never boring. It has a weird bed waterbed that has
a light installed inside of it while people fuck. There's

(37:58):
like a sex scene with marble that just get mashed
up against a woman's tits and it has a cameo
from Tippy Hedron and her character is scared of birds.
It's just a weird fucking movie. And again like beautifully
restored and just who else would have put that out?
It Like it's a great, great release. So those are

(38:20):
my I think that's what I had for all on
my list.

Speaker 3 (38:25):
Yeah, it's been a while since I watched that one.
But that also does have, I recall correctly, some steamy
sax music in it.

Speaker 6 (38:32):
Yoh, everything about a soft core thriller that you would
normally associate with it. It's turned up to eleven, so
the saxophone is like no, it's it's like insistent. It
keeps going. It's got fog everywhere for some reason, even
when there doesn't need to be fog.

Speaker 2 (38:48):
It has.

Speaker 6 (38:49):
At one point, they ride a motorcycle into their house
like as the guy and the girl and pull it
right up to the bed and just start getting down.

Speaker 3 (38:57):
I mean, who hasn't done that at least?

Speaker 6 (39:00):
Yeah if you if you haven't done it just because
you haven't been in love. Yeah, but that was uh
and then oh one more blood beat, Uh just a
fucking that's like a classic VS release. And I also,
just for the hell of it, want to say what
I think is the worst VS release? Well, okay, what's

(39:22):
death roat game show? I fucking wanted to kill myself
kind of movie? I hate it. I think it's so
painfully unfun. Well, it could be easy to say most
people default to like Master of the World. I think
when I talk to people, that's the one they tend
to like, really hate. That's an easy choice. I don't
want to go for easy choices. I want to go
for like, like something that I just remember watching it,

(39:42):
just finding even the humor so painful. It's like, I
don't know how else to describe it other than like
and now, Yeah, there's nothing to describe it. I just
I remember when it was over, I was just I
I literally took it out, put it in the case,
and immediately listed it on eBay. I ever done it
that quickly.

Speaker 3 (40:02):
You got to turn your immaturity level up to like
fifteen to enjoy it that one truly.

Speaker 6 (40:08):
Yeah, that's just a fun I mean, obviously it's I
still think that should be preserved. But yeah, I just
picked all mainline stuff. But like you know, a lot
of the sub label stuff I could have easily thrown
in there, obviously sit like Champagne and Bullets or like
even up to like Who Killed Teddy Bear and Little Darlings,
but I kept it to mainline stuff.

Speaker 2 (40:27):
If we're talking about sacks scenes in an erotic movie,
I have to call out Devil's Honey. I don't think
it's the VS release.

Speaker 6 (40:36):
But the sax scene of all time it has It
is like the best.

Speaker 2 (40:41):
Sack scene of all time, right like fascinated to see
if you can have a woman reach climax. They're just
extra hard sax blood.

Speaker 3 (40:50):
I'm pretty sure when they were wearing that movie was saying,
has anyone ever had an orgasm by saxophone? And more importantly,
as anyone ever put it on screen before?

Speaker 2 (41:03):
Probably know to both you get it he did, because
goddamn it, it needs to be on screen. And then
the other one. I just want to call out with
Niko for Nico Mastrakis if anybody hasn't seen Island of Death,
just like I mean of you all or anybody you
know listening, just like take a breath, watch one of

(41:24):
the most fucked up like the plot of that movie
just gets weirder and weirder and weirder, and I have
no idea what I was watching half the time. I
think that's an arrow release.

Speaker 3 (41:34):
It's it's it's an extremely messed up movie. I will
say a Serbian film is more casual than that movie.

Speaker 2 (41:47):
Watch Serbian film was like a palate cleanser. Jayden, will
you all right?

Speaker 3 (41:55):
I got a couple with me?

Speaker 5 (41:56):
But Christmas Evil that's one of the earliest ones. That
movie so much, it's it like shocked me with how
good it was. I thought it was just gonna be
like a schlocky slasher movie, but it's like a psychological
thriller and it's like Insane Perfect Strangers, which is a
Larry Cohen film. I love Larry Cohen's works, So that

(42:16):
was like, it's like a it's not an erotic thriller,
Like there are parts of it that are, but like
it's mostly just a thriller with bizarre acting like every
Larry Cohen film.

Speaker 3 (42:27):
That's kind of what makes it entertaining.

Speaker 5 (42:29):
Zombie five Killing Birds, which a lot of people. A
lot of people hate this movie, but I don't know, man,
I vibe with it, like I love Italian horror. I
love zombie flicks, and I think Zombie four is the
worst of those late zombie sequels.

Speaker 3 (42:47):
Yes, Zombie four has Jeff Striker in it, that's true.

Speaker 5 (42:51):
Yeah yeah yeah, and Ninja's and then Texas Shane Saw too,
which is like from when I came in. I feel
like that was the first mainstream release that got controversy
for being a mainstream release because some people were kind
of pissed that it was coming out. But I love
Texas Shansaw too, and I think the Vinegar Syndrome release
is very good.

Speaker 3 (43:12):
So I think out of all the Shout Factory, Vineger
Cinder upgrades from Beyond and Texas Chainsaw Massacre two were
the most necessary because they had been out of print,
and I think they they're just overall just the best

(43:32):
ones because they look beautiful and the features are great.

Speaker 2 (43:35):
Yeah for sure. Well, y'all are calling out a lot
of the ones on my list, so I'll keep it
pretty short. I mean, this is the thing that I
will say, like, this is the thing I love about
Vineger Syndrome though. Just think about like the genres, the countries,
like everything that was just represented in these lists, Like

(43:56):
I just I don't know, I love it, and then
I'm gonna call out the tenant. I don't know if
it's necessarily like a favorite, like I wouldn't know if
I would put it in my top five. But it
was the first Roman Polanski movie I'd seen because fuck him,
and I have to admit, like it made me really
curious to see more of his movies. Like that movie
was amazing, and it was before I was getting into exploitation.

(44:20):
I was kind of coming through that art house scene
like that was the beginning of my film journey, and
like that would have been something that I would have
seen and recommended my whole life. Like I just it's
just a fantastic movie. It's just so so good.

Speaker 6 (44:33):
And then look until you see Repulsion.

Speaker 2 (44:36):
Ben I like, I am gonna do it. I it
might take like boutique companies putting out more of his
movies for me to do it quickly, but I know
Chinatown is supposed to be amazing and Repulsion I keep
hearing about, And what's the one. Is it Rosemary's Baby
or something?

Speaker 3 (44:54):
Yeah, you've never seen Rosemary's Baby.

Speaker 2 (44:57):
I've never seen any of his movie.

Speaker 3 (44:59):
Oh the fuck all yourself a movie fan and not
see Rosemary Bag.

Speaker 2 (45:03):
I know, I know, and it's on like the top
of every list, and like I get it, but like
I don't know it was you know, like I didn't
like that dude. It's trying to avoid his movies for
a while.

Speaker 3 (45:13):
He's a horrible person, but at some point, like everyone has,
everyone of these films and filmmakers that we love, has
done something horrible.

Speaker 2 (45:26):
No, I'm not gonna. I look, I'm separating the art
from the artist here right, Like the tenant was amazing,
So I'm gonna. I'm gonna do it, Like I get it.
It's not like he's really seeing royalties from this stuff anyway.
It's fine, Like, so I'll get there. Rosemary's Babies and
Repulsion are the next two on my list, and then
eventually Chinatown because I'm kind of like neutral on noir overall,

(45:50):
although I've heard it's a mussy looking for mister Goodbar's
one that just absolutely blew my mind recently. Yeah, I
just I would have never seen that movie otherwise. The
plot itself just didn't interest me a ton in terms
of me expecting it to be that good. And I
love like big budget movies, whether it's Hollywood or like

(46:13):
just movies that come from a studio system that really
just do something new and unique. And I can't believe
that movie got made and financed.

Speaker 3 (46:23):
And what's crazy about it is the Age Crisis was
a few years after the movie came out, right, but
it was the last time that we truly saw sexual
freedom in a mainstream, mainstream movie.

Speaker 2 (46:38):
Oh, I like that, that's a great take. You're right that.

Speaker 6 (46:41):
Also what's crazy about that movie is that when I so,
I saw it in theaters for the first time, because
it the only way you could really see it outside
of that DVD was in repertory theaters because of the
music rights, and so I finally waited for them to
get They screened it on like thirty five a few
years ago, and I remember thinking, I'm like, man, this
ending feels so regressive and like, you know, just as

(47:04):
like a morality tale that women shouldn't sleep around or something.

Speaker 2 (47:07):
You know.

Speaker 6 (47:07):
I didn't, I didn't get that simplistic about it, but
it did feel like I'm like, oh, this is good
until it isn't. And then I learned that that's actually
the real story. That is exactly how it happened. That
it was like the guy was like a hustler, and
it just it was like this cocktail of just the wrong,
you know, And then that made me revisit it in

(47:27):
a little bit of a different light to like it
even more than I already did.

Speaker 2 (47:30):
Yeah, it's crazy. By the way, in case ja all
are wondering, I'm calling out newer titles because Telephone Book,
The Collar and Evil or on my list from before,
and so I had a separate list in case I
think there's a chance that y'all might have covered some
of the older ones. Do have to call it the
Rudy Ray Moore Box that, in my opinion, that that's

(47:50):
my favorite box that that I own of anything. It's
just unbelievable. Every single movie Peter reachstraws in the top
one of my top movies of all time. Just I
love Ruddy raymore so much the other There was a month,
a month or two back to back that had Chinese Torture,
Chamber Story and Intrepido's Punk And I just want to

(48:12):
shout out that month if it was one month or two,
but like that was just a fantastic.

Speaker 6 (48:17):
Same same month because that's the month I did the
I started the halfway subscription last okay, okay, it was
it was those two and Reptilicus.

Speaker 2 (48:25):
Yeah, which is fine.

Speaker 6 (48:27):
That's a that's a nice way.

Speaker 2 (48:28):
Yeah, boring, it's fine, Chris.

Speaker 3 (48:31):
I love Intrepido's Punk and the other movie on the set. Yeah,
And the first time I watched it, I was going,
why does the main gang member look like and feel
like a pro wrestler? And as I was watching the
second one, I was like, holy, all right, I learned
that was Santo's w W wrestler, Santos Escabar's father.

Speaker 2 (48:50):
Yeah, yeah, no, he was an actual wrestler. Yeah, yeah, no,
that that whole thing is amazing and really like there, Yeah,
there's a different discussion we're probably not having today. But
the way they go into countries and have like Mexican
cinema or now Hong Kong cinema, Like, that's another thing
that I love about their their catalog, and I'm hoping

(49:10):
there's gonna be a lot more Mexican cinema coming out.
I've heard I've heard there might be. So yeah, yeah,
well relatively quickly, because I want I do want to
get into the the heart of this discussion. But is
there a sub label that y'all are drawn to that
you really love and is there one that you would
would throw away if you if you could have a

(49:32):
choice to get rid of it. Oh, yeah, go for it.
The essay is which one.

Speaker 3 (49:38):
The one I love? Because I mean they kind of
strayed from what they originally were supposed to be, like
a videos you know, deep dies at the video store
at to Hong Kong Action. But with the exception of
a few recent ones, everything they've released, in my opinion,
had just been a winner about I don't get rid

(50:01):
of cinema, cinema, I can't pronounce cinematograph, Okay, I I
think I think this is just for one person's ego.
There's no need for every release to be deluxe feature
and I don't know there their releases have been really

(50:23):
hit and miss to films from films that nobody wants
two films that are loved, like Swimming to Cambodia. It's
a fantastic movie. So it was Little Darlings and Red
Rock West, and then up until the point where Who
Killed Teddy Bear was released, it was just some really

(50:43):
dull stuff.

Speaker 2 (50:45):
And be like, I'm gonna keep wanting. So there's one
tab for a VSA for keep and so far one
tap for Cinematograph to get kicked out. Uh, let's see,
uh Jane, what about you?

Speaker 5 (50:59):
So this might be controversial, but my favorite is probably VSU.

Speaker 6 (51:05):
I love.

Speaker 5 (51:07):
Yeah, I love big dumb mainstream movies, and they do
a lot of those, like Congo, Like I grew up
watching that, so I have a lot of love for
that movie. But one I would get rid of maybe
VSL because I was originally in on VSL, Like, those
first couple of releases were really interesting to me, and
then they kind of just put out random stuff in

(51:28):
that line now and I don't know if it really
has that big of an identity compared to some of
the others.

Speaker 3 (51:34):
So yeah, I think the only reason why VSL started
because the first four titles I think were supposed to
be seven releases from Universal and they lost the rights
to them, much like Drop Dead Fred and Viniger Shandrow
picked them up. Oh interesting, interesting, wow, But like.

Speaker 2 (51:51):
They were at first, it seemed like VSL was going
to be more of a line of like classic movies,
which was super interesting idea. Right, you just kind of
become anything. But uh, let's see, Matt, what about you?

Speaker 4 (52:06):
Jade Nu'm with you, though. The one I am gonna
keep is VSU. I think it's I think a lot
of these other sub labels, if you know they went away,
they could kind of just easily roll right in with
the with the mainline Vinegar Syndrome stuff. But I like
the I like the VSU. I like that I can
get you know, these these mainstream movies, you know, given

(52:31):
some attention to them because you know, virtuosity. Is it
a is it a a blow away like gotta have
it moved?

Speaker 6 (52:39):
Yes, yes, it is. Absolutely. I saw that movie in
theaters twice when I was ten. It blew my fucking mind.
And yeah that I am arrested development about it. But yes,
oh no, I mean I don't.

Speaker 4 (52:53):
I don't think it's one that everyone is just like
if if the studio put it out, people are gonna
go clamor to it. But if you know a company
like Vinegar Syndrome, you know, does their restoration, you know,
it gives time to get these get these uh special
features in and stuff like that. People are gonna get it.
It's gonna it's gonna be something that's that's worthwhile, you know.

(53:14):
So I think I think Vinegar syndrome is my or
vinegar syndrome. Aultro is my is my keep my throwaway.
I I was going back and forth between the two,
but I went with VSP. There's been a couple in
there that I have really enjoyed. But again, I think
it's something that they could kind of just roll in
with the main line stuff, and I think a lot

(53:38):
of that could happen. I think maybe we'll get into
this talk later, but I think it's just kind of
a you know, they've got the rights to all these movies,
they spend money restoring them, preserving them, and you know
they're they don't want to include them in the subscription costs,
so they want to, you know, recoup some money elsewhere.
So yeah, VSU, keep VSP, get out of here.

Speaker 6 (54:03):
Yeah, I'm gonna go with Robert and keep VSA. I
think that line is more invaluable in terms of I mean, yeah,
they have straight a little, but I would even argue
to me, Hong Kong films actually are part of the
VHS experience. I grew up on that. But the thing
about him is they were usually terribly subtitled in pan

(54:25):
and scan. They look like shit, and you know, like
there's this great boom with them that like everything from
a Bruce plaitation box set to you know, like even
smaller companies doing these like really off the you know,
like off the wall kind of releases with Hong Kong stuff,
and like obviously everybody's trying to get anything with the

(54:45):
name Shaw on it. Like it's crazy how many companies
have that now. But I just think VSA in general,
it really hits my lizer brain in a way that yeah,
it just if like, yeah, it's a great line. Even
this up that another run in for one of the
worst releases that I would have put by Death Row

(55:06):
Game Show is Evil Town. It no other timeline do
we live on where something called as bad as Evil
Town is going for like one hundred and fifty bucks
on the third party market. But even that, it's cool
that it's it got saved and that you know, you
get to see that and Evils of the Night on
two different lines within the Vineergarar syndrome for people who
don't know, those are essentially the same movie, kind of

(55:29):
bifurcated by the producers kind of that's the cliffs Notes version.

Speaker 3 (55:33):
But I'm gonna say Evil by Night is better because
it answers the age old question what would a movie
be like with Julie newmart and Amber Len in it.

Speaker 6 (55:43):
Yeah, right, and there's a reason that one's on the
main line and the evil Town isn't, I would argue,
So that's why, Yeah, I think VSA is definitely the
keeper for me. I do agree wholeheartedly that, like VSU
is one of those lines where it's like you would think, well,
whatever studio is licensing these out, they probably would have

(56:04):
put them out anyways. Like I think a four K
of Roadhouse or Showgirls would have been inevitable by MGM
or Paramount or whoever's got you know, Golden Child, but
they probably would have been DNR to hell and look
like shit. And so that's that's still a pretty invaluable service,
even for stuff like you know, Sidekicks or Southern Comfort,
and for the most part, they still kind of meet

(56:25):
the vinegar syndrome ethos by usually picking stuff that's like
a little more off the wall, even within more mainstream.
But yeah, VSA is the keeper and the one I
would also kick out. I'm with Matt, I would get
rid of VSP.

Speaker 3 (56:39):
I just.

Speaker 6 (56:41):
I don't know the hit and miss ratios to it
really really wobbles outside of like Black Eyed Susan and
maybe sick of myself. I'm like almost every other one
I've seen. If I've liked it, I haven't thought about
it since I left the theater or you know, or
when I shut off my Blue ray play. And I

(57:02):
get why they're doing it same thing. It's like it's
just another way to kind of keep the lights on
but U and also kind of put themselves out there
in terms of, you know, producing movies or helping them
get out there. But yeah, they could just those can
go direct to shutter, you know what I mean, like
which they do. You know, they call her Death's been
on shutter for like a month, but uh, you know.

(57:25):
And I that one was was fine, but I just
in general, that's the one I would have to get.
I would have to kick to the curb. Because even BSL,
which is a weird label, I agree wholeheartedly, like it
went from kind of being like sort of classics to
just kind of clearly what they can't put out on
any of their other labels. But I don't know. Sometimes

(57:46):
like neither the Scene nor the sand Great Watch, I
really enjoyed it. I haven't gotten to Charlie one I yet,
but that's one that when I saw it, I perked
up and I talked about this, I think called one
of the last episodes that you had me on. But like,
Bloodline is a super fascinating artifact, one of the worst
things I've ever seen. Just an awful movie, and Ciskel

(58:10):
and Ebert zero star worst of the year by the way.
But like, also again for that reason, who else would
preserve that that does need to be I think that
still needs to be cataloged in some capacity. So I
think VSL is a good line for that, even if
sometimes they're they're not the best choices, but sometimes they are.
Flesh and fantasy rocks, great movie.

Speaker 2 (58:32):
Yeah, I'm all in on VSA. So that's three VSA
wins by one vote here in the panel. I just
for me, like they have the worst movie in the
in the lineup, which is Doctor Jekyl's Dungeon.

Speaker 6 (58:46):
Of I forgot about that. Oh but I was doing Mainline,
that's why. But yeah, that's right there. That's actually worse
than Death roat Game Show for sure.

Speaker 3 (58:54):
I like, now I've never seen it sober.

Speaker 2 (59:03):
But ah god, it's bad. It's just like it doesn't
make any sense. It's like the worst kind of loop
like movie, like where movie where they just play the
same scene on loop with that weird dungeon fighting sequence,
the scenes that are not the exact same fighting sequences

(59:23):
just played over and over again where they have the
mad Professor or whatever. I guess doctor jekylin Like, I
guess they're artistically shot. There's something there, but fuck, it's
so bad.

Speaker 6 (59:35):
No, it's so bad. But what you what I would
say is that, like what you're saying about it being
artistically shot, that's a great example of time being a
friend of things because now everything's shot digitally, right, So
even one frame of that movie, whether it's that or
even the worst I'm trying to think of, like one
of the pornos I hated the most from that Benner
Gersondry put out. But oh, I guess like Little ore

(59:57):
Annie takes Manhattan again, that movie fucking bored me. And
I still was like, oh, it was shot block lit
for film, so it looks better than ninety eight percent
of all new releases. Unequivocally. I don't even say that
as like a dig at new releases, but I kind
of do. But you know what I mean, Like it
just it's like one of those things where while you're
watching it and you're like, this doesn't look like shit

(01:00:17):
visually as a movie. It's looks worse than shit and
smells worse than it.

Speaker 2 (01:00:21):
But like, yeah, no, yeah, I fully agree, and I
think there's I'm glad it's preserved and all of that,
but madam never well, gonna watch it again. Yeah, but
that same line has like they just put out Ego
and the Lunatics, which like I love. I think that
we're gonna be able to step back in another two years,
let's say when VSA is getting close to one hundred

(01:00:43):
releases and see like a vision of just like okay,
like it's it's literally just like walking through a video
story and you've got different sections and you've got different
stuff that you can watch and pull out, and I
love that and I'm here for it. It's really tough
for me on what to get rid of. I want
to include VSL on the list, but they have so

(01:01:04):
many of like the best releases of Vinegar Syndrome, like
what is it called The Apocalypse Tetrology? Yeah, I mean, yeah,
that's every single movie in that set is an all timer.
They have guest House Paradisio, great great British comedy, right
Sex Mission. No one talks about it, but that movie's
really good, really funny. I don't know.

Speaker 3 (01:01:24):
Interrogation. The Interrogation is really good, y'all.

Speaker 2 (01:01:28):
I'm gonna get shipped for this. But I thought the
Interrogation was over overhyped. I didn't like it done much.

Speaker 6 (01:01:32):
I didn't see it yet. It's still That was when
I subscribed, when that came out, and so that's that
was their first subscription sale, a halfway sale where stuff
like Guest House, Paradiso and these other titles were like
ten to twelve bucks for some of them. So I
have this stack. I wish I could move my laptop
so you could see the literal boxes I have that
I haven't even been able because my rule is if

(01:01:53):
I don't if I haven't watched it yet and it's
not a keeper, I keep it in a box so
I can get so I know whether I'm gonna whether
it's gonna make the show all or not. Basically, it's
like an easy way for my brain not to get overwhelmed.

Speaker 2 (01:02:04):
Literally everybody looked it. I feel like an asshole, Like
it's everybody considers it great. I just it was all
right for me. I don't know. I would have rather
seen the way that interrogation played out. There's an old
movie from Tong Tikberok called Heaven that I would rather watch.
I just think I know the movie.

Speaker 6 (01:02:19):
Yeah, yeah, I know the one you're talking about.

Speaker 2 (01:02:21):
Yeah, but it's uh, I mean it's a beautifully shot movie,
don't get me wrong. Like I understand why people like it.
And I loved Manchin a Madness is another one that
came out recently on BSL that I love. So there's
just too many movies like that. I can't get rid
of it. Sorry, sorry, Justin, but I'm gonna have to
get rid of cinematograph too, as much as they have.

(01:02:42):
Like here's the problem. Though, every single thing in Vinegar
Syndrome has movies that I love, Like Shanks is an
all timer for me, like I will, I am so
glad that movie came out. I just think that when
I saw Breakfast released, I was like, God damn it
because it's just there's there's this reputation that it has
of being like specifically competitions for fun City, and I

(01:03:06):
don't know if that's totally fair as a critique. I
don't know behind the scenes not claiming to, but Breathless
is like, come on, like can you be anywhere on
the nose with that with that critique right?

Speaker 3 (01:03:18):
Well, For first of all, fun City is a better
label that puts out better stuff.

Speaker 2 (01:03:25):
I am a huge fan of what Jonathan's doing. I
love Fun City. I had him. He was my first
repeat guest on They Live By Film when I was
doing all the partner label interviews. Huge fan of that label.

Speaker 6 (01:03:37):
Yeah, I mean, yeah, they put out HEV only bodies.
That's right there. That's all time or status for a label. Man,
that's a great fucking that's a great release. And yeah,
I think that. Uh that's the only reason I also
like when I was ranking which labels, it's just they
have put out too many bangers And you could probably
make the argument that those that those four ks could

(01:03:58):
get put out in like a they could even do
a VSL four K for I don't know, little Darlings
or something, you know what I mean, some or even
put that on VSU or But you know, and I'm
surprised who killed Teddy Bear didn't just get a regular
four k from like on the main line because it
does feel but yeah, there's just too many and you're right,

(01:04:18):
there's some misses, but there's also been some surprises for
me personally. I think joy Ride was one of the
one of my favorite surprises. I think female perversions like
what a you know, like there's a there's some stuff
that even if they're not like uh, you know, four
or five star releases on let's say the letterbox metric,

(01:04:41):
they're still like they were really worthwhile to me. Whereas like,
I think the only ones that really really truly missed
were like Going South and there's no way in this
life or the next that I'll watch Last of the
Red Hot Lovers because I just do not like the
team behind that. It just doesn't they don't do much
for me. So but I don't know, like when you

(01:05:01):
get into that argument, it's like you could say the
same for all the other labels. It's just I think
because it's also a newer label and it's getting a
lot of love, it does it does make you wonder
like where you could port those things right like in
other labels there, I think.

Speaker 3 (01:05:13):
Their biggest problem is they released too many titles yeah,
that's at that price point. I think it's ridiculous. And Chris,
I was listening to her episode where you're talking about
after about how Swimming to Cambodia the book edition sold out.
I think a lot of people order that one by
mistake because as the first one that popped up on
the screen one.

Speaker 2 (01:05:33):
Or okay, and I ordered, I don't read the book, yeah,
I mean yeah. See, this is the problem with with
the argument of getting rid of it though, because I'm
so happy Swimming to Cambodia came out, so like, I
don't I still want those movies to come out. But
we're going to get into this topic in just a second.
But like, I just think that the labels have become

(01:05:55):
kind of muddy a little bit, and you could easily
knock out one or two and still have the same
experiences as a customer and just not feel like I'm
I'm trying to keep up with the cinematagraph releases because
of the podcast, and it's just too much. Man, It's
like like a lot of months, there's two of them.
I don't know, it's too much.

Speaker 6 (01:06:16):
That's just a bigger tax right off, baby, I wish.

Speaker 3 (01:06:22):
I think they both like VF you and VFP are
okay because they don't put out that much per year,
maybe three release for v F you VFP. I don't
think it's even reached ten releases overall.

Speaker 2 (01:06:37):
Two year, two or three years.

Speaker 6 (01:06:38):
That's a fair metric. Yeah, yeah, I get what you're saying.
That does make sense as so, like why like in comparison,
that totally makes sense. I just when I think, I
guess I thought about it more in the sense of
like what I'm what I'm prime to watch? And not
only that, but like, because you know, the older you get,
You're only have so much time on this planets, You're like,
what am I going to watch? And not only that,

(01:07:00):
I'm fucking overloaded here with like so many repertory theaters.
So I what does make it easier for me is
to think, oh do I this will probably play here?
So I can hold off of watching it, and that
does help with a lot of the decisions.

Speaker 2 (01:07:16):
Yeah, I'm just trying to think of we we kind
of missed introducing all the sub labels, but I can't
imagine anybody listening to episode twenty two upunk Vacation. We
need that, right, I think we're probably good absolutely.

Speaker 4 (01:07:31):
I'm gonna say I'm a little surprised there's no uh
the Gazer Throwaways. I was just like going back and
forth so much like, I don't don't think I've watched
a single one of these movies.

Speaker 6 (01:07:40):
That's oh, that's a good but I think most people
forget it's there because it's also fairly infrequent. But what
I what I'll say about that label, particularly for me,
is that you're right. I mean, look, it's like, even
though these all are getting at home, you could think like, well,
Degaser is like we have Saturn Score at home, or
we have VHS Fest at home. But I actually think

(01:08:01):
all three of those labels, and I say this as
a huge SOOV junkie, they all provide different things because
I think with vinegar syndrome, you know, it has to
have some typically some kind of origin in if not
being originally shot on film, something involved with that, and
they it's clearly stuff that they have already in there

(01:08:23):
that they finally can like unload from their arsenal right,
and so like, yeah, I personally thirty eight ESPACIALA was
a little rough for me, but even that, I'm like,
I'm glad I saw it and I also Blood Cult.
I watched it with a friend. If I had watched
it by myself, I don't know if I'd be alive

(01:08:44):
and here to talk about it, I would have been
bored to death. But like, we watched it together and
we could not stop laughing at how ridiculously bad the
movie was. Like, that's what that was made for. But yeah,
that's probably not too far away from the bottom of
the list.

Speaker 3 (01:09:02):
For me.

Speaker 6 (01:09:03):
But like just because of how good Saturn's Core and
VHS hit Fest are, yeah, yeah, I mean.

Speaker 2 (01:09:11):
And no one brought up to strip Picks, But I
don't think anybody's getting rid of it anyways. I mean,
it's that's so core to kind of what YES is.
I don't think any anybody on a panel of talking
about veneerver syndrome would would dump it. The only thing
we haven't spent a lot of time talking about. And
it's tricky because there's a whole another three hour podcast
just on OCN. But just by way of getting to

(01:09:33):
see the way that y'all think about this, I'd love
to hear maybe like one or two OCN labels that
you really love either past or Present or what's it called,
Either past or present uh and uh and one that
you just don't don't ever buy or have no interest in,
or you know, just just don't like for some reason.
So I don't know, Jayden, you want to go first.

Speaker 5 (01:09:55):
Yeah, I'll go first. I feel like I'm on an
island a bit because I don't have like a huge
love for partners in general.

Speaker 2 (01:10:03):
But like you like to go life solo, like you're
just not a partner game.

Speaker 5 (01:10:06):
Yeah, exactly now, But like I'm trying to think, like
I'd say, past Terror Vision was probably the most interesting
for me, and I mean like I me and Elive
talked like I subscribed to them. I think we both have, Yeah,
and that's been fun. But other than them, like Canadian

(01:10:26):
International Pictures, Like not that I necessarily am like super
in love with the label, but they just have happened
to release a couple of films that I'm interested in
or would want to own, like they did the Brett
Hart documentary and they did they did the Amityville movie.
That's in between the ones that Vinegar Syndrome released, which
is so like weird. But as for ones I'd get

(01:10:47):
rid of, I don't really know if I'd get rid
of any there's none where I've seen a film that
I truly hated. I feel like Shutter maybe is the
most like unnecessary because I feel like they would have
just released those anyways, And I don't really care to
own much of that stuff. But yeah, I don't know.

Speaker 2 (01:11:10):
Let's see, Matt.

Speaker 4 (01:11:14):
A couple that i'd keep or that I always find
myself buying. I feel like AGFA is from what I've seen,
everyone's kind of go to. I wasn't like super into
them at first, but the more I got them and
started watching these things, I was just like, you know,
these are things that I would never find anywhere else.

(01:11:35):
Like this kind of stuff is like who would have
vought that I would have ever in my life watched
bat Pussy Like you know, it's just it's just that
kind of stuff. It's you know, forgotten or you know,
never known stuff like that. So I would definitely have
to keep that one. And another one, Jane, you said,

(01:11:58):
Terror Vision, that's that one was all listen sadly they're gone.
Another one that's gone that I loved was Deaf Crocodile
so good. Yeah, just the the Russian fantasy films, the
Uh Pied Piper, the like Romanian seventies animation just you know,
such out there stuff that you know, no one's putting

(01:12:21):
that out the specifically those Russian fantasy films. Like I've
been trying to get Robert to watch uh Ilia Murra
Metz for like two years now and just such a
such a good movie. And I I know that they're
still kind of doing their thing, but they're just kind
of like they're kind of disconnected from you know, the
main the main vinegar syndrome thing, and I and I

(01:12:43):
forget about them a lot now, and I I did
a I did a sub of them, but they're just
so expensive now that they've kind of gone on their own.
But yeah, one that I guess I would get rid of.
I feel like there's so many I would love to do,
just get rid of a lot of them because I
have like O C D where I have to like,

(01:13:05):
if I have bought one movie from them, I need
to then get the rest of them.

Speaker 3 (01:13:10):
Okay, I don't know.

Speaker 4 (01:13:13):
I guess one that I haven't really connected too much
is like the film movement labels, the film movement, film
movement classics. I know they've got some really good important
films in there, but yeah, I just haven't really connected
with them that much.

Speaker 2 (01:13:29):
Fair Fair, there's a yeah, we're gonna talk a little
bit about some of what you just mentioned here in
a minute, But yeah, I think that to me, like
AGFA is, I don't even know if they could make
it on their own in the same way that they
are making it with Vinegar Syndrome. I think they might

(01:13:50):
be able to do at this point because they have
so many loyal fans. But this is the interesting thing
about Vinegar Syndrome, and I'll kind of tease this question
for later here in just a minute, but like they are,
you know, there's a question of Jade said, if shutter
Woight exists without them, or Film Movement or some of
the labels that have left. There's a lot of critique
about Vineger Syndrome, which I think is fair. But they

(01:14:13):
do operate as a very good platform for people to
put out physical media, and I think it's that transition
into them as something that was standalone to then like
a platform for releasing physical media I think is difficult
as a long for like longtime fans, it's difficult to
see them as more than just a standalone thing. And

(01:14:35):
I totally get that but I do appreciate the ability
to go on log in to one URL and get
like films from all over the world and like different
genres and stuff. That's that's something that I don't know anyways.
We'll address that more in a second, but that is
one thing that I mean, there's the whole monopoly argument,
which we can we can certainly get into that, and

(01:14:56):
I think there's a fair critique inside that, but damn
it's convenient and it's really cool to see all the
different stuff I've discovered just through them.

Speaker 3 (01:15:04):
So I'm sorry to interrupt you, Chris, but I think
I come to them from a very different standpoint. I
don't think with the exceptional Shutter in IFC, who were
releasing movies before, I don't think the Vinegars platform is
helping any of the newer labels grow, as we can
see that the majority of them just go on set,

(01:15:25):
go will be of, will be quickly about, will quickly
go on sale, or they won't release much. I think
when you have AGFA, you have when you had fun
City Culture Shock and I can't what I can't probably
Altered Innocence, and the one label Matt was just talking
about ter So Terror Vision. I hated under Vinegar Syndrome

(01:15:50):
because they released that horrible documentary Blood I think it's
called Blood and Sunshine, which was just a commercial for
movies made in Florida. But I think once they left
they became much better more with more releases. I think
Fun City became better as well once they left. But
they were there early on, and they're the ones who

(01:16:11):
are going to who are reaping the benefits of it,
something like x y Z. I can't tell you what
they release, nor do I care well.

Speaker 6 (01:16:20):
I would argue that with some of those partner labels.
That's kind of the issue I have with them, is
like if it is one like and I guess I'll
get into this more in the elimination part of it
when when it's my term, But like I do think, yeah,
if they're companies like like Yellow Veil or x y

(01:16:43):
Z or you know, I looked at what they've put out,
and a lot of them are ones that they've probably
played in some kind of limited theatricality too, or on shutter. Yeah,
something where it's like readily available or something I can
easily find. I do tend to move away from those
like I won't look at them as much and like, yeah,

(01:17:04):
so I guess I'll save the rest for when I
when when I'm up. But like that, I kind of
feel that that same way where it's like if it's
a company that's just kind of here because they need
a place to PLoP their physical I feel like that's
stuff that probably would get released in some other capacity anyways,
even if it's on like just a generic blue case
blu ray. You know that you could just get on
Amazon for ten bucks. But here it just I think

(01:17:25):
gives them a little bit more of a uniqueness. But
you're right, you can see it because some of them
only get like they'll get five hundred slips or whatever,
you know, if you're a slipcover person. But like you know,
they're a little more limited in their production because of
their interest, and it doesn't necessarily help. I don't know
if it hurts either.

Speaker 2 (01:17:41):
Though, Well good, why don't you go next? Then? In then?

Speaker 6 (01:17:45):
Oh oh yeah, sorry, I thought we were okay, yeah, okay, cool,
So uh I guess I would Well, I would keep
back for no question about it. I agree. I think
it's the closest to vinegar syndrome in terms of like
what their kind of curations dial is and they always
do a great job of putting in like when you
get the movie, you also they'll scan some second movie

(01:18:07):
in there or have some kind of cool and their
mixtapes are always great. I rarely have I don't think
I've seen a single mixtape from them that didn't rock
to just watch either Stoned or even just like to
put on in the background, like those intermission ones. And
then I think Saturn'score and VHS at Fest would be
my second and third place because the sov curation on

(01:18:29):
both of them are fucking great. And then I, yeah,
it's hard to pick one to eliminate, because I also
think that these are such small companies that I'm not
sure that they necessarily like you know, they're they're just
they're just trying to get out somehow. But I was
looking at what ones exist. I don't even know if

(01:18:51):
they are making new stuff, but Gunpowder and Sky, I
was like, why is this here? They just put stuff
out theatrically, like I feel like they could easily just
put out blu rays on their own of their movies,
because I even look at their stuff and I think
outside of Summer of eighty four, all those movies I
really didn't have any kind of particular interest in watching anyway,

(01:19:13):
Like on physical media, I would have seen them in
theaters or it would have been a COVID watch when
like stuff was just getting dropped on like Shutter or
you know whoever acquired the rights to something like on
Max or whatever.

Speaker 2 (01:19:25):
Yeah, Robert, I want to end with you, but I
want to go next because I think I'm curious to
hear you're taken in a little bit more detail. So
for me, like my favorite of if you look about
Past or Present, Altered Innocence for me is just one
that every single release, like I found so many new

(01:19:47):
filmmakers from there. I think We've talked about this a
little bit either in the discord maybe some on the
podcast as well, but I have a bias against new movies.
I know, shame on me, but like I just like
there's so much history of good cinema to watch. I
just feel like for a new filmmaker to kind of
catch my interest to where I'd go to the theater
to watch them or go to a festival to watch them,

(01:20:08):
they have to be doing something really interesting. And it's
not totally fair, but like it's just a bias I have,
and the work that young Gonzalez is doing, or the
work that What's the Wild Boys director Bertrand Mandico is doing.
Like some of these people that Altered Innocent showed me
to I'm forever in, you know, in gratitude for that.

(01:20:30):
And is there a big one Connie for me? I
just had prol on and I'm like, I just am
obsessed with the types of movies they find. Obviously Aga
is a big one, and I'm a huge fan. To me,
Utopia has two personalities. There's the narrative stuff, which no offense. Kyle,

(01:20:51):
if you're listening, forgive me. Not a big fan of
the narrative stuff they put out, but the docks they've
put out are the best docs. I think that anything
on Greeninger Syndrome is done. Like Martha Extra Story. Nobody
really talks about that, but that movie's fucking awesome. Like like,
there was a woman named Martha. I can't I forgot
her last name, but she was like a photographer who
was there for the beginning of graffiti movement and like

(01:21:13):
there for the beginning of hip hop in New York,
and she captured it all and she kept every picture
so she just has these like negatives in her house
or apartment, like thousands and thousands and thousands of negative
documenting these movements, and like, how are people not talking
about the documentary? It's amazing.

Speaker 6 (01:21:28):
That speaks to what you were. Sorry to interrupt, I
just want to say that speaks to kind of what
you're talking about with Like, it's hard because and I
didn't the only reason I didn't count like Deaf Crocodile
and Fun City. I tried to just go with one
of the more more recent ones. Like, but those are
great fucking label. I mean they're they're like even when
they were there, they were really on top for me

(01:21:50):
as well. But like I think part of that has
to do with because I was looking at like Factory
twenty five. That's a label i've never even I've never
looked at. And they just put out something this month
called Kill the Moonlight that I was reading up on.
I'm like, this sounds fucking great, and so I picked
it up. I haven't watched it yet, but like it
just keeps happening, Like you know, I think it was

(01:22:11):
Yellow Veil that put out we Kill for Love that documentary.
I haven't really looked much at their stuff outside of
the the the Saragosa Manuscript, the filmmaker that did those
three yea, yeah, yeah, yeah, yeah, yeah, Like I picked
up those. So sometimes they'll be like these months where
I don't even look at them, but then all of
a sudden, I see something there or other people start

(01:22:34):
talking to me about it. They're like, oh, yeah, you
should get this, or you should you know, and yeah,
I think film movement and film movement classics especially, it's
a lot of that's the stuff they've already put out,
just with the slip cover. But sometimes they didn't get
around of those, so like you know, like the reflecting skin.
I know a friend of mine had it and he's like, oh, yeah,
I'm not going to get It's just the same transfer

(01:22:55):
in a different box. So but yeah, it's it's tough
because sometimes there's there and you're just like all right, yeah,
I'll plunk down the money.

Speaker 2 (01:23:04):
Jane. You're actually a film major, right, like you're actually
going to school for that.

Speaker 3 (01:23:10):
Yeah.

Speaker 2 (01:23:11):
See, this is where like I wish I was you
at and I now we're joking about your age, but
I think you're like kind of mid twenties right, like
early mid twenties and like, I wish I was you
having access to something like Vinegar Syndrome now, because this
is where like to eli to your point, like the
discovery that you can do just on that one website,
to me is just it's just fucking crazy between the

(01:23:32):
hardcore exploitation stuff, the genre stuff, the horror stuff, and
getting into like art house cinema like I love film
movement classic man, like I love those, especially the Hong
Kong stuff they did. So I don't know, I don't
know if as you I'd be curious to track see
if you get in more into OCN as you goes,
because yeah, there's just so much crazy shit there that's like,

(01:23:53):
I don't know, like foundational cinema.

Speaker 5 (01:23:56):
Film Movement Classics also put out Bent, which is like
I love that movie and I did like a whole
research paper on it like years ago.

Speaker 2 (01:24:04):
That's awesome, cool, very cool. Yeah, And as far as
the ones to get rid of, I hate to say this,
but like all the all the labels that focus on
new festival stuff, I just they kind of blend together
and I don't know, man, I just can't like it's
just not super interesting to me. And again that's just
my personal bias. And then etr media, I don't get it,

(01:24:27):
Like I just don't get it, Like it's like I
never was you know what it is to me, y'all.
Mostly y'all are old enough to remember when VHS just
had all these like talking heads going going on about
the nineties or going on about the eighties, all these
like nostalgia porn kind of things.

Speaker 6 (01:24:43):
Oh yeah, yeah, the VH one thing. Yes, yes, yes,
what did I say, VHSVHS yeah, pH one.

Speaker 2 (01:24:49):
Yeah. I never liked that, Like I never. I would
watch it every once in a while if I was
super bored for like ten minutes, and that's just like
I don't care, and it's just to me. Etr media
is like a generation of that, like another generation of that.

Speaker 6 (01:25:00):
Yeah, I agree, I agree, it's even the only difference
is that like that that was the peak. The reason
those shows were kind of annoying was because it was
so they were trying so hard to be funny, and
it was in the mid two thousands in particular, when
comedy was especially like mean spirited. So you would see
them talk about point break in the way that irony

(01:25:20):
chamber that it was stuck in for like ten fifteen
years or like Roadhouse where they were laughing at it
and that kind of stuff. And then like now the
inverse of that is these like softball documentaries that are
like just have the people that were in the movies
that are just reciting the Wikipedia facts that Wikipedia got
from these actors. So, yeah, I know exactly what you mean.

(01:25:43):
There's something you watch on YouTube to zone out.

Speaker 2 (01:25:45):
Essentially, Yeah, that's a good way of saying it. Like,
look how cool game Boy was. Yeah, it was great.

Speaker 3 (01:25:54):
Those shows were the end of gen X because millennials
were just starting to really come up and it was
just putting the coffin next nostalgia.

Speaker 6 (01:26:04):
That's a great, great observation. Absolutely, that's super a stupid,
that's so spot on.

Speaker 3 (01:26:09):
Man.

Speaker 4 (01:26:10):
They're a weird one to get into, I think, because
you know, you go on your page a first glance,
you're like, okay, this company puts out documentaries, and you know,
you go through it is it is like ninety ninety
five percent documentary. But for some reason they just have
you know, normal movies strewn about in here, and you
don't really know what to make of it.

Speaker 3 (01:26:29):
EHTI released the worst movie that I think i've ever
seen the documentary on the company that released the Billy
Blanks action films, Okay, which was nothing more than a
commercial for Trauma.

Speaker 6 (01:26:43):
I thought, oh I saw that. Yeah, I also thought
the same thing, but I watched it on like a
streaming thing because I was like, oh, I'll check this out,
and I remember thinking the same thing. I'm like, what
the fuck is this what they just paid Lloyd Kaufman
to or did Lloyd Kaufman pay them? Like it was
a very strange that he was involved in, Like talking
about a few movies that you could get the same

(01:27:04):
info from by the special features on like the Tiger
Claus VSA, you know what I mean, Like, oh, yeah,
it's it's it was a strange and they're all like
an hour long. I don't know. It's just like I
I'm not going to knock anybody for doing you know whatever.
If he's doing business and he's doing good business, more
power to him. But like I am, if I'm going
to spend twenty bucks in subscriber money, if I'm going

(01:27:27):
to spend twenty one dollars or whatever, it's definitely going
to be on something else. Just because I only have
so much I can spend and so much time, and
it wouldn't it wouldn't be on that, that's for sure. Yeah,
I agree.

Speaker 3 (01:27:39):
I actually after him that I have a hatred for
Cloyd Kaufman when he was doing a book to where
I was working at Borders while while was in grad school,
and he was the biggest asshole I've ever met, really
like I just felt demean the entire day.

Speaker 2 (01:27:59):
Then dismissed it like he dismissed you or he was.

Speaker 3 (01:28:02):
Just an asshole. He just wanted me to get shipped
for him. And then he came out and did his
little spiel about the book, questions answers. He was all friendly,
and then once we got back into the manager's area
in the back rooms, he was just once to get
an asshole.

Speaker 2 (01:28:18):
Oh interesting.

Speaker 6 (01:28:19):
Can I ask what year that was? Roughly if you remember,
it was two thousand and two. Yep. He when he
stopped at Orders in Fort Lauderdale, he signed my copy
of All I Learned from filmmaking or whatever all I
needed to know with the Toxic Avenger book. That was
that same tour, and the Trauma girls were all just
local women like they kind of got like I guess

(01:28:42):
girls answered a a it sounded like and because there
were trumets. I don't know if anyone remember, we did
not have them at our store. Yeah, they were called troumets,
and they were like kind of the the girls that
would show up with like toxi or whatever. But that's
because they were known from like, you know, people who
would be in trauma movies. I don't remember if de
Wie Rashan was like a proper tromet, but you know

(01:29:03):
it was from that that line.

Speaker 2 (01:29:04):
But yeah, they were one of the first to jump
on forget about content, they were one of the first
ones to jump onto live TV, like like Trouma TV
was around basically as soon as they got out of
dial up internet. It was crazy, like you could just
go online and watch whatever fart jokes they were doing
that day with like girls in bikinis.

Speaker 5 (01:29:24):
Yeah.

Speaker 2 (01:29:25):
Yeah, it was crazy because it was like super ahead
of their time in some ways as well.

Speaker 6 (01:29:29):
Yeah, it's it's weird how like certain parts I remember
when their movies kind of left when they left the
when the nineties were over and they started making movies
in like the two thousands, like poultry Geist and stuff.
They clearly didn't evolve artistically beyond that point, like they
kind of did all they could with like like like
being kind of pushing the limits of like bad taste

(01:29:49):
and but like to slup it back around of vinegar syndrome.
One thing I'll say, I used to write off their
acquisitions outside of Death by Temptation, which is their best
movie by five miles, outside of like a TOXI movie, probably.

Speaker 3 (01:30:02):
But.

Speaker 6 (01:30:04):
That's what I used to think. And then VS started
putting out all these movies that Trauma had acquired from
like the seventies, like Pigs or I haven't seen Sugar
Cookies yet. I actually just bought it during the last sale.
But that's like a Trauma one from the seventies, and
I just saw for the first time a few months ago.
The Children that fucking rocked.

Speaker 3 (01:30:25):
Like it.

Speaker 6 (01:30:25):
It's crazy that like I didn't know those were Trauma movies,
and if and if I did from way back in
the day when I was collecting their DVDs as like
a young trauma phile, I would have passed on it.
Because once I watched Deaf by Temptation, I loved it.
But then I watched Surf Nazis Must Die and unfortunately,
as good as that title is and as weirdly prescient

(01:30:46):
as it is, it's a very boring movie. It's actually not.
It does not. It's trailer. If you ever want to
see one of the greatest trailers of all time, watch
the Surf Nazis Must Die trailer.

Speaker 3 (01:30:56):
It's great.

Speaker 6 (01:30:58):
The movie itself unfortunately doesn't live up to it. But
like that's another great example of like when VS signed
that deal with Trauma, the fact that they like actually
went in rather than trying to get like the most
obvious titles, which they did get like Deaf Bye Temptation,
they also got like, you know, these titles like Pigs
and the Children, and they actually preserve them from like

(01:31:18):
really interesting elements that they could for the best elements
they could find and got great like special features on
them too.

Speaker 3 (01:31:25):
Yeah, and they are putting out Sergeant Sergeant Kabuki Man
in August.

Speaker 6 (01:31:31):
It's getting a four K.

Speaker 3 (01:31:32):
Yeah, I'm not excited.

Speaker 2 (01:31:34):
About y'all can hate on Trauma you want, I'm gonna
die with them.

Speaker 6 (01:31:39):
Well, I'm not hating on them, no, No, I was
just speaking all of this as like someone who loved them,
but like it did get the ID but like it is, uh,
the acquisition side of it. Sometimes the main releases a.

Speaker 3 (01:31:51):
Movie like Rabid Grammies is fantastic, Okay, but.

Speaker 2 (01:31:56):
I Robert, I mean, you can't speak if you had
a bad experience. I know that. I I went to
their headquarters. It's like an old gas station, I mean
old fire station that they converted to their studios, and
I just there was like an intern downstairs smoking, and
I asked if we could get a tour, and he
was really confused that I wanted a tour, but he
was like sure, and they walked me through, and I like,

(01:32:17):
you know, it was an amazing tour for me because
I got to pick up the script for Cannibal the musical,
and like I got the Whold talks He's Mop and
all that. It was a great tour. And then I
went upstairs and Michael Hurts, right, the mysterious Partner was there,
so I got to see him. He's not He's not
like he's portrayed in the movies. He's just like a
slight of Jewish man. He's there running behind the scenes

(01:32:41):
and him and Lloyd were there, and Lloyd was like amazing.
But but again, he could have been putting on a
show that there was like a fan there, so I'm
not going to claim to know him at all. But
he hit on my wife the appropriate amount, like exactly
what I would have expected. He made a lot of
inappropriate jokes, He took a bunch of pictures, He called
up somebody to come in and like spend time with us,

(01:33:02):
and like answered way more questions than I would have
thought he would have had patients for so I had.
I had a good experience with him. But I mean,
people are I you know, people are what they are.
I mean maybe when he's at work, he's in a
different mode. Sucks. That sucks that you had that experience
with him. It's it's funny. There's a there's a whole

(01:33:22):
nother change in here about Truma, which I guess we
won't get into because we're already running a while. But
like they've financed a lot of movies. There's similar to
Roger Corman in a way that they've financed a lot
of movies and got us distribution for a lot of
international stuff that most people wouldn't think about.

Speaker 3 (01:33:36):
James James Dunne's got got his debut with them for
LOLLI Love.

Speaker 2 (01:33:40):
Yeah, Yeah, yeah, I know it's I mean, they're you know,
he's a that guy's a centophile through and through.

Speaker 6 (01:33:45):
Oh he always tells a story about like he's the
reason Cries and Whispers got us release. He started to
r yeah, yeah, yeah, and he like really, I mean yeah,
he's always been the type, like like Lloyd Coffins always
presented himself as like this cinophile who just kind of
does trauma as a means of like kind of surviving
in the system and transgressing against the studios. That kind

(01:34:08):
of turned him down.

Speaker 2 (01:34:11):
Yeah, real, Robert, we didn't get to your partner.

Speaker 3 (01:34:14):
No, I'll just be really quick so we can move on.
I was a fan of AGFA before they came to
the newer Syndrome and stayed. Culture Shock I think was
the best partner label based on their releases. It was
so sad to see them go, and in that time
they've only released two titles three movies. Fun City was great,

(01:34:38):
I Love Bleeding Skull v Hitfest. They've been really hit
or missed for me that I've bought everything, and their
most recent release, The Killing Tide, is probably one of
my discoveries of the year, and Saturn's score I buy
occasionally pretty much every label I would get rid of, beside.

Speaker 6 (01:34:59):
Those Boom Perfect Bike Drop.

Speaker 2 (01:35:04):
But I do think that's a perfect transition because Robert,
I actually want to ask why, and I think I
know why you're going to say. I think I know
what you're going to say. I could be wrong, but
I am curious to hear why you would drop the
other labels because I think it's tied into the rest
of the discussion.

Speaker 3 (01:35:23):
They're just not interesting to me. I mean I have
picked up stuff from like Element seventy nine and Element
seven whatever, the one that released Skateboarding the movie. They're
just not They just don't put out consistent product for me. Okay,
just stuff I'm not interested in.

Speaker 2 (01:35:40):
Well, okay, never mind, that's different. That's a fair answer
what I thought, which is fine. I was trying to
read your mind, which is dangerous. But where I was
I thought you were going to go based on a
comment you made earlier and which I do think is
actually really true for me. And this is what I'm
trying to figure out, is I think they could do

(01:36:02):
with a lot less partner labels or up to thirty
six on their website now, which to me is crazy.
So this is the core tension of vinegar syndrome. For me,
right now in twenty twenty five, of June of twenty
twenty five, there's thirty six OCN partner labels. There's what
like eight or nine sub labels. There's the main line.

(01:36:25):
If you were to be a completionist, although that's an
insane thing, but if you were to be a completionist,
you could drop five or six hundred dollars a month
just on their website with the subscription, So you put
one thousand dollars at the beginning of the year, then
another five hundred dollars a month on titles, so you
could spend if you were just doing quick math on that.

(01:36:46):
That's one thousand a year plus five hundred six thousand,
so it's like seven thousand dollars a year you could
spend just on their website on movies with the discounts,
right like, that's including the discounts. And I think for me,
they've reached a point where I'm trying to figure out
how to engage with them in the correct way because
I actually don't know because I love what they're doing,

(01:37:07):
I love what they're about and I and I love
the mission of preservation and I love the focus on
restoration and it's not bullshit, Like if you talk to
people that work there, I know, I know people have
like a tenuous relationship with a liberty online right now,
but like the dude is a preservationist, Like he's his
core is is authentic and he you know, you can

(01:37:30):
debate his personality online and all these kind of things,
but like at his core he's doing things for what
I consider the right reasons. And if you talk to
Brandon Upson, like that dude is pure and purely through
like a good cinemaphile or cinophile. And like, you know, anyways,
like the people that work there. Sam Deagan is employed there,
like like she's amazing at this kind of stuff right,

(01:37:51):
like in one on one individually, they're full of people
that I love obviously, Oscar quite. I mean, I could
go on on right but like I think there's a
gap right now for me between the people that work there,
the mission statement of the company and then what they
practically are. And I'm trying to wrap my head around
that that gap right now in June of twenty twenty five.

(01:38:13):
That's that's where I struggle with them right now. I
don't know how to reconcile.

Speaker 3 (01:38:17):
So I'm glad you mentioned that because that's something I
was going to talk about. So one thing is the
mission statement doesn't count for partner labels. That's true, so
let's separate the partner labels from it. I think with
thirty with thirty six labels as partners, it's a marketing nightmare,
especially if you're one that is not getting exposed as

(01:38:40):
much as the acts of Leading Skulls Saturn's Core, which
are considered cornerstones. So you have you're having all these
companies who are spending money with OCN to put their
titles out, packaging and you know, slipcovers, so there's a
good chance they're getting they're getting really lost in the
mix and not making any money for themselves. But they're

(01:39:03):
making money for OCM for what they're spending, and the
more partner labels that they get, the more money they
make as a company. So I don't think they give
a rat task about any of them. They're just happy
to get their money, and that's one of the problems
with them becoming a bigger company.

Speaker 2 (01:39:20):
You're The way that you phrase that is probably on
the more extreme end of what I but it is
something that I feel like. I think you're probably a
little further down the line, but I can't disagree with
you at the core of what you're saying. How do
you differentiate the marketing and the like elevating up thirty

(01:39:40):
six different labels to show them off right, it becomes
functionally impossible.

Speaker 3 (01:39:44):
But I'm going to use an analogy. I collect comics.
There was a time where I collected individual issues, and
when I really started collecting, there was one X Men comic,
just one, and then there became up to twelve. There's
no way I could collect twelve X Men comics without
going broke compared to all the other titles I wanted

(01:40:06):
to collect. And it's it's like that the more labels
they get, the more money they make for themselves. So
and they're what they're currently doing, I think is cannibalizing
their own audience. When you have three SOV labels like Degasser,
Saran's Core, and VH Hit VHS hit Fest, it's like, Okay,

(01:40:29):
there's the people, there's these people who love love SOV movies.
But again, depending on what your budget is per month, Okay,
do I get all of them? Which ones are going
to make it to a sale and whatnot.

Speaker 6 (01:40:47):
Yeah, it would, I would counter with.

Speaker 5 (01:40:52):
Just that.

Speaker 6 (01:40:53):
I agree it does add up, But I also think
that what I've learned, particularly over the last year between
UH forums and discords and that kind of stuff, is
that everybody's palate is so different that I think that's
part of it. I think it does a good job,
and you're right, it gets more people in the door

(01:41:14):
for like something on the more mainstream side, or even
like film Movement classics, which could you could argue maybe
would bring a criterion crowd right just for as an example,
But like I think that even within like Saturn'score and
VHS Hitfest, I think they're the curation between the two
are so radically different.

Speaker 3 (01:41:33):
I agree one hundred percent with that, But you also
have I will I will all say film Movement is
an outlier because they probably brought an audience with them.

Speaker 6 (01:41:45):
Yeah sure, yeah, yeah, absolutely, But but I just mean
in general, like I think because obviously like like just
to this is I'm not sure what other way to
articulate this, so I kind of have to just jump
off and say one thing about like a great example
is with I think it's you can now know that
like in during the Halfway Sale and the Black Friday Sale,

(01:42:06):
that's when you're just gonna get the big titles that
would draw people who otherwise still to this day, aren't
as familiar with Vinegar Syndrome. Right, That's why Dirty Work
dropped during this and that's why you know the dark half.
It's just stuff that would get people's attention up to
a certain point. It's a combination of that and like

(01:42:27):
because even what was in in November, Blood Tracks was
the only one that people probably that felt like more
of like a real vintage Vinegar Syndrome release, Right, So
I think part of that is still bringing people in
to a certain point. But I also agree, I think
there is a line to that, like at one point,
what point are you just kind of because let's scharage

(01:42:47):
just to get a death seem to be a big
problem for a lot of people. Because that was a
fairly recent Blu ray release. I guess I was happy
for the upgrade because I didn't own the other one,
but like, and also great fucking release. I just rewatched it,
like one of the best ones I've seen so far
from the mainline this year. But like, yeah, I don't
know it sometimes I just know when I look at

(01:43:08):
certain movies that they put out, whether it's through a
partner or even a sub label. I've been I have
been playing the game long enough, I guess to know
what is and isn't for me, or like taking a
chance on it because it's like you know, yeah, you're right.
Maybe there's somebody who has like that curation bug where
they have to buy everything from that line, but I

(01:43:29):
think most people don't, and I think most people will,
even if they subscribe, have a pretty good idea of
what they will and we'll not get or later on
down the line they'll find it in a sale. I
think that's where it can get a little more annoying,
is that, like, if you subscribe, most people who subscribe,
it's because they have the means to be able to
get those things. But also is it going to be

(01:43:51):
on sale in six months for sixty percent off instead
of fifty right? Something like that I think could annoy people.
Is probably what's more annoying for subscribers.

Speaker 2 (01:44:02):
Well, there's another layer here that we haven't mentioned, and
I'm just curious for someone like Jaden coming in so Screamscat.
You mentioned Aro and Scream Factory. Yeah, as much as
I should. On Screen Factory. One thing they do well
and that Arrow does well is there's not this mad
rush to have to get the limited edition unless you want,
like the Posters or some shit. But like the additions

(01:44:25):
from most of these labels. Radiance is another one. Most
of these labels you can just like you know that
in six months is going to be there, right. Criterion
is a good example, like they're just when they release
a movie, it's just out there, right. So I think
where this pressure comes from for me, And I'm curious, Jaden,
you're coming in for collecting other labels first, Like it

(01:44:47):
feels to me like everything that we're talking about with
the layer of fomo that they induce in order to
try to drive initial sales, makes it a stressful label
to follow.

Speaker 5 (01:44:57):
Yeah, I'd agree. It does stress me out bit more
when it feels like you have to get a release
right when it comes out. Like I don't think The
Keep is like an amazing movie, but I did want it,
and then that sold out in like ten minutes or
some crazy shit, and like now, I mean, I'll get
a standard if I have to, but it would have

(01:45:17):
been nice to be able to get the like limited edition.

Speaker 3 (01:45:21):
I mean you can still get the imprint one hundred
and fifty six dollars.

Speaker 2 (01:45:26):
Yeah, that's true.

Speaker 5 (01:45:29):
No, but I don't know. I do prefer when labels
like Scream Factory or Criterion, like they have these releases
that are just going to be around and you know
they're going to be around. But I feel like the
FOMO is kind of part of what like helps sell
like a lot of Vinegar Syndrome releases.

Speaker 3 (01:45:47):
Oh like that. I don't think the FOMO for the
most part, at least for me, isn't there because back
in the day when they were, when the slip covers
were one thy, fifteen hundred, they would all out within
two days of going live. For the most part. Now
you're into ten thousand and eight thousand, and with exceptions

(01:46:09):
like Dirty Work the Keep, most of them are going
to sit there for a while, which is.

Speaker 6 (01:46:16):
Why they've lowered them. Like the Forgotten Jolly Box sets
are down to like five thousand now, which is why
that not the one that just came out with the
one before volume seven, which is why it's going for
like insane money in the secondaries, like you know, in
like third party sellers and stuff, and like, I think
that I do think the fomo is part of the
business model, and I think other companies are wise to

(01:46:36):
it because it has happened with Arrow. I mean, look
at the fucking Dollars trilogy isn't even here in the US.
It's strictly an import, which makes it a little scarcer,
I think it just in terms of the numbers, but
it fist full of dollars was gone obviously not in
two days, but fairly quick. And you know sometimes shaw
Scope and stuff like that takes a little while longer

(01:46:56):
to go out.

Speaker 3 (01:46:57):
Of print, but two years for volume one to go
to print.

Speaker 6 (01:47:02):
Oh yeah, so but like you know, some of them sell,
you know, like in the more recent runs like Demolition
Man and Glorious Bastards, those have gone a little quicker,
So I think they're they're wising up to it where
it they probably have lowered the amount of units they sell.
And I think the other thing that also helps with Arrow,
by the way that I'm leaving out, is that they

(01:47:23):
do those half off sales with Barnes and Noble, and
then as a result of that, every other company that
carries Arrow, Target, Walmart, Amazon, Matches, that, and so they
all go way quicker. I think that's part of it too,
But I think with VS it's kind of the other
reason it works is because they also, even though they

(01:47:44):
do sell to boutique companies, they do it all directly
themselves for the most part. And I don't think any
other unless I'm not thinking of one, I don't think
of any other company that's mastered that model that well.
And so like the Key, you know, yeah, I know
a couple other sites got it, you know, like Orbit
and stuff. They got a handful, but like of the

(01:48:04):
twelve thousand they cut, probably ten thousand of those were
directly from the site, if not more.

Speaker 3 (01:48:11):
Well, yeah, I think let's take a comparison of last
year's Black Friday, which had Looking for Mister Goodbar, The Keep, Sliver,
and Blood Tracks. All of those were just like, okay,
two of these movies are were bucket list titles that

(01:48:34):
people wanted. I think everybody was surprised that Sliver was
coming out and it's just not a good movie. But
and then Blood Tracks, which I thought, out of all
of them, was the best release of the month.

Speaker 2 (01:48:52):
And then.

Speaker 3 (01:48:54):
All right, I'm gonna go back because those movies for
the most part, followed Vinegar Syndrome. You know their their
their mission statement of specializing, specializing and preserving, restoring and
releasing obscure movie film genre films. When we got to
this year's halfway to Black Friday, everything was mainstream so

(01:49:23):
or had been released before. I mean, Dirty Work had
a subpow release from all of films. I had never
seen Jade up until this one until this came out.
Left Scare Jessica Death I've seen before. And then what
was the fourth one, Darkas Daras Dark Half, which I

(01:49:43):
got a print? Well you could you could still get
the Blu ray Film Shout Factory for twelve ninety five
on Amazon.

Speaker 6 (01:49:49):
Oh I thought that was the one that was out
of print. Oh okay, well that's my bad then. But
like I oh so, the reason I had said this,
where like May and November were kind of like, you know,
that's they're going to put their big releases. This is
a two parter. One thing I'll say is that they
do make those releases worthwhile. Like the fact that they
did what they did with Dirty Work I thought was

(01:50:09):
pretty incredible, like reconstructing the original cut and or the
dirty or cut or whatever, that they showed at that
test screening, and I think that like the same thing
with Sliver, which not not a good movie, but whatever
the alternative version was certainly, you know, getting Philip Noyce
back involved with it. Unfortunately, whatever restoration efforts can't save

(01:50:32):
the movie itself from being good.

Speaker 3 (01:50:34):
But like.

Speaker 6 (01:50:36):
And then Jade, same thing. It's not a good movie.
It from the job. It's just not good, but the
director's cut. It's one of those rare cases where I
think there's an artifactual value to that, and I think
that that at least when they are doing stuff like this,
they do make those releases worthwhile. But on the flip side,
and this is where it becomes really lose lose for companies,
I think, is that, you know, the flip side of

(01:51:01):
that is you get a month like February where it
was Joel Delaney, The Carpenter and that Jess Franco movie,
and that those all absolutely are maybe with the exception
of Joel Delaney, that's really the kinds of movies you
would expect VS To put out right, And so people
are also like, man, one of the worst months I've
ever seen in the history of physical you know what

(01:51:22):
I mean, like, I know, I'm kind of taking it
to the extreme of like what the Simpsons comic book
guy sounds like, but like you know what I mean,
Like it's kind of that where they're kind of damned
if they do and damned if they don't, and I
don't know that there is a middle ground to that.

Speaker 3 (01:51:34):
I think they.

Speaker 6 (01:51:37):
And maybe they're figuring it out because their company just
keeps getting bigger and bigger. But I think for the
most part, I haven't been unhappy as like a subscriber
in any capacity. All the stuff we're talking about here
is mostly just like you know, obviously we're just talking.
It's like just debatable stuff. But I think that for
the most part, the months that I know that which
months are going to be like the real heavy hitters.

(01:51:58):
But like you know that that halfway sub month when
I subscribed, Yeah, sure, Redtilicus was kind of a snooze,
but fuck man, then we got Chinese Torture Chamber Story
one and two and the Intrepidous Punks and the Vengeance
of the Punks, which was fucking great. And then you
know there's like another month where you got The Tenant
and Forgotten Jolly Volume seven, I don't even remember what

(01:52:18):
the other it's so hard to keep up, but like
it's I don't know. I just think it's a good
cocktail for the most part. And if I think subscribing
probably makes that easier to mentally compartmentalize or be okay with,
I think if not being a sub it's probably a
little easier to take it or leave it.

Speaker 3 (01:52:37):
I agree. I've been a subscriber since they first started
doing them. Like I remember when it was three hundred dollars.

Speaker 6 (01:52:44):
Yeah, that's when I heard the day I heard of
the Days of Old when it was like three Yeah,
that's so wild, but it's funny.

Speaker 3 (01:52:52):
So you can tell how people are thinking of the
month of releases when you go on the one or
two of the Facebook groups that sells it that people
are selling, Like the February stuff, people were selling it
as soon as they got it as subscribers. And I
think this all stems from the fact is there are

(01:53:15):
people who are coming into Viniger syndrome and they see
the novette, they see the Black Friday and halfway to
Black Friday packages, They're like, Okay, I'm going to subscribe
because this next month is going to be great and
July will get a mix of popular mainstream titles and

(01:53:35):
some cool vinegar syndrome titles. But I hope I'm going
on a clear path here, But I think there's a
problem with the two audiences. When they were getting ready
to release The Lost Picture Show, which I think is
an amazing box set, people were on Reddit We're talking
about how what they thought this box set was, and

(01:53:57):
people were excited that it was going to be. They
thought it was going to be all the Children of
the Corn sequels, and I'm like, well, that doesn't add
up to how many discs there are in the set.

Speaker 2 (01:54:06):
But Jayden just got a heart on whim. He said
that no. But like I do want to hear from
Matt and Jadenn because here's this is there's something, There's
a point I want to make. But I'm curious with
all coming in more at a different time like seeks.
Like what Robert and Eli are saying is I think
very consistent with what a lot of people that have

(01:54:28):
been a fan of this label for over ten years
of saying, which is like they're not what they were,
but like, what is what is it represent to y'all?
Like coming in now you don't have that history, right.

Speaker 5 (01:54:40):
No, I feel like I came in almost at like
a transition period, because when I first came in is
when like Thriller in Texas, chains On Roadhouse like just
started coming out, and I feel like that's kind of
the switch that happened. But I guess I'm lucky where
the scream fact or code red titles that are getting

(01:55:02):
upgraded by like seemingly every label, but especially Vinegar Syndrome,
Like I wasn't around to collect those back then, so
I don't have to rebuy a movie that everybody else owns,
and that's probably part of why people are pissed, and
I'll blame them. So I guess that's just a me
situation where I don't mind it because I did want
to see these movies and now some of them are
out of print for like forty two one hundred dollars

(01:55:24):
for a Blu ray and I can just get a
new four K release from Vinegar Syndrome. Yeah.

Speaker 6 (01:55:31):
Well, one thing, you know what, this came up during
when I recorded that separate episode with Celeste where we
were the separate segment and where we talked that we
reviewed some titles and I'm just using this as an
example to that, which is that I think the other
thing that people get upset about is that they also
like having something very exclusive, like something that's out of print,

(01:55:54):
like almost like in an investor mentality, and I don't like,
I don't think that's the right headspace. I think, if
you want to be an investor, go fucking play with
crypto or whatever.

Speaker 3 (01:56:04):
Like.

Speaker 6 (01:56:04):
I don't think that. I think if you're doing it
for movies, it's nice to have those things. But I
think that to some people will get upset. And the
reason I bring up that episode was because there was
a post on Blu ray dot com about this, and
I believe Joe Rubin himself actually responded to it where
people were getting pissed that, like mel you seen was
doing Blu Ray upgrades of DVD titles, and he even

(01:56:27):
said in that post, He's like, it's insane that people
wouldn't want something in an HD format? Why would you
still want it as like this old DVD? And I don't.
I don't get upset at it. I think that I
think he's right, and I think it's great. It also
devalues those five years five movies things, so they don't
go for like two hundred dollars, and I say this

(01:56:48):
to someone, you guys know from the discord. I have
so much shit that I have to constantly sell stuff.
It's also kind of how the subscription pays for itself
for me. But like, if I know I'm not going
to watch something again, I'll take a big fucking pile
and I'll throw it on on up for sale, And
it keeps me sane, it keeps my like collection from
collecting too much dost But like, I just think that

(01:57:10):
it is like one of those things where sometimes people
get too much into a collector's frame of mind where
they're like, oh, well, I guess I should just throw
out this old fucking DVD since it's worthless, Okay, throw
it out. Like I don't understand, you know what I mean.
So I get why people like like what Jaden's saying,
Like I don't think. I do get people getting upset
at like necessarily an upgrade that they wouldn't want to upgrade.

(01:57:31):
But it's another thing where I think also people get
really caught up in the collector's side of it of
like upgrading something that they may have spent too much
money on a few years ago to finally own and
you have to kind of make peace with that. That's
like buying a car and driving it off the lot.
It's gonna lose its value very quickly, or sometimes it'll
take a while, Like can.

Speaker 3 (01:57:49):
We put a pin on the Lee the Lee Jones
thing that he posted? I do you want to come
back to that?

Speaker 6 (01:57:56):
Sure?

Speaker 3 (01:57:58):
I think somebody who liked Vinegar Syndrome the way it was.
A company has to evolve. If it doesn't, it's going
to go out of business. It's going to lose money.
And I think that was what problems like Code Red,
Scorpion and a few other labels have had over the years.

(01:58:19):
Arrow there when they started out, they were selling video
nasties or Italian Italian films like I. It were also
region free, so I was able to pick up like
Don of the Dead, Day of the Dead, The Beyond,
things that I had stuck on DVD at that point
from Anchor Bay. But Arrow has evolved into a company

(01:58:40):
that encompasses everything. And while I don't agree with some
of the releases that they've been putting out, I'm happy
that they're I'm happy that people are enjoying the four
k's of Jason X and Jason goes to Hell the
same thing as Happy on Vinegar Syndrome. I see the
point of re releasing these movies because it's going to

(01:59:06):
bring in more customers, and if a percentage of those
customers stick around and order more, Vinegar Syndrome wins, right, right,
right right.

Speaker 4 (01:59:17):
I think there's another I think there's another side. I
was trying to listen to everyone's stance on to see
exactly where what end of this I was on, and
I think I am. I think something that happens with
a lot of collectors is, you know, they get upset
because they think, you know, Vinegar Syndrome's mission statement should be,
you know, we're going to preserve and restore and release

(01:59:40):
all the movies that Matt Armstrong wants. And it's not.
You know, it's not everyone's going to be happy with
every movie. They're doing this wide range of films for
you know, a film audience, not just a me audience.
And I think that's what a lot of people kind
of take for granted a little bit. And it kind
of goes with with the releases too. It's you know,

(02:00:02):
they get mad when these titles are announced. They get
mad when you know it's something that they didn't want,
or if something doesn't get announced that they did want,
but they're they're not realizing that the first thing in
their mission statement is preserve. Like, yeah, you may think
these movies suck, but they're a preservation company. So I
know I haven't been there from the start, but to me,

(02:00:24):
I think they are absolutely still living up to their
to their mission statement.

Speaker 6 (02:00:29):
Agree wholeheartedly.

Speaker 2 (02:00:30):
Yeah, Yeah, there's a there's a certain bar that is
very low for me. It's very specific. Like I remember
there's an old movie they put out years ago called
Night Train to Terror, and like, for the most part,
that movie sucks, but they have this amazing uh it's
like a series as an anthology movie and in between
each anthology there's a song that comes on when they're

(02:00:50):
on like this train, and they just keep playing that
song throughout the whole movie, and it got it gets
to a point where it's kind of funny because it's
like way overkill on the song. And so then I
ended up liking that stupid.

Speaker 3 (02:01:00):
Movie and like, yeah, Nate, Terror is amazing, Like it
won me, it won.

Speaker 2 (02:01:08):
Me over rights.

Speaker 3 (02:01:10):
It's one of the quintessential vinegar syndrome releases like Raw Force.

Speaker 6 (02:01:14):
Oh I just rewatched that that movie fucking Rips. I
Like it's such a like lo fi. I know why
it didn't become like a like a Miami connection or
instructor level kind of brainbuster, but like that was an
early one that I think people really look to as
like an example of like what VS is all about.

(02:01:35):
But there's only so many Raw Forces in the world,
or so many night trained terrors, And that's the other
problem is like there sort of isn't a ceiling to
like uh boutique stuff, but in a way there sort
of is, depending especially with what elements are available, like
what they what they're capable of restoring. And some people
get caught up in this too, on the malucine side,

(02:01:57):
where they're like, oh, why aren't they putting out like
Vivid's stuff, which is so fun. I can't begin to
tell you why that's ridiculous, but like or like you know,
like late nineties stuff for I guess pirates too, you
know whatever, like dumb the shit that does not need
to be restored or put on like some porn degosser

(02:02:17):
line or whatever, you know what I mean, Like it's
a it's just I think that that's the only like,
I don't know, as much as the sky's the limit,
there's also a ceiling to that in a way.

Speaker 3 (02:02:27):
It's funny about Raw Force. Back when SNAPPS was releasing
their trailer compilations called forty Seconds to Be Forever, the
last one they did was Alamo Drafthouse, and there was
a little special feature on there with the people who
programmed it, and one of them was talking about the
night they debuted Raw Force, which they think only three

(02:02:48):
people saw what it originally came out, and then fifty
more people thought the night they did, and then several
years later Vinegar Syndrome released it and it became a hit. Yeah,
I don't think movies like Nightran and Terror or Raw
Force would be released into intoday into the today from them.

Speaker 2 (02:03:10):
Well yeah, I mean that was kind of that's a
perfect segue because I was thinking about blood tracks coming
out and like they're like that has like a thing
where it's that particular vantage point of the killer and
like a particular way that they killed. It's like interesting
and it has the music in it. It makes it
like hooks you right. And the Carpenters when they released

(02:03:30):
this year, which I think fits to me, fits like
they're they're like I was watching that and I felt like, oh,
hell yeah, like this is a Viniger syndrome movie just
like through and through, like it's so fucking weird, but
like it's it's done with like a vision, and I think, like,
I don't know what that ratio is going to be,
and that's where I have a little bit of anxiety.
But you know, like I don't want just there to

(02:03:51):
be a jade every month like that. I would I
would cancel my subscription next year if it's that. But
if it's like if there's some balance, I think I'm
just kind of or racking my brain around getting used
to there being some balance, and I'm just hoping that
it doesn't go too far into unique MGM titles and
unique Panasonic for.

Speaker 6 (02:04:12):
Oh, Paramount, Yeah, I don't think there will be. Here's
the thing like The Carpenter, for example, from what I
remember seeing in the features about that, that's been in
the works there since like maybe like not pre COVID,
but pretty close to that, And like certain titles they
just are waiting to get a certain leg. Sometimes there's

(02:04:33):
a real missing that's just so bad, they can't do
anything with it, or you know, something along those lines,
and so I think that's part of it. I think
there's still stuff that they've had for a very long
time that you know, between sub labels and maybe figuring
out a way to mainline certain movies. I think that'll
still be happening for a little while. And I also
think that since it's getting closer to like we're already

(02:04:58):
literally halfway into this decade, which now makes the nineties
depending on what you know, twenty five to thirty five
years old, I think that's going to allow more nineties
stuff to have a place in that catalog, because that's
they've said that they do not they they're going to
do more nineties stuff, especially this year, which I think
so far has been pretty true for both the sub

(02:05:21):
label and the main line obviously, but like I think
that is going to allow. But because also since boutique
re releases and stuff are having like you don't have
to indiegogo them anymore, right, That's how a lot of
vinegar syndrome stuff early on, like The Executioner, Blu Ray,
Part Executioner Part two, Blu Ray, or Jackal and Hyde Portfolio,
a lot of those were some of those I know

(02:05:42):
were like kickstartered to some capacity. You don't have to
do that anymore. So now I think like a lot
of directors who made like who were like one and
done' or made like two or three movies in the
eighties and nineties are now like, Oh, someone wants something
with my negatives, here take them, you know what I mean,
Like it's a I actually just went to a screening
last night of a movie be called Don't Go Near
the Park, which was made by the produce It was

(02:06:03):
directed by the producer of Malibu Hi, which was a
Venegar Syndrome release way way back, and it was on
a real fucking faded print, like it was blood red
half the time. But it was like a perfect experience.
And then I looked up, that's not on Blu ray anywhere.
It's not a good movie. It's but it's totally something
that VS or Severin or some company would would put out.

(02:06:27):
So there's still stuff there, and it's just a matter
of like how people would respond to it, and is
it something that could be a mainline really, you know
what I mean, Like, there's just so many options and
so many companies that you know, and they've apparently signed
a deal with something weird, So not that they haven't
already been putting out something weird stuff through tostrib Picks

(02:06:47):
and with AGFA as a partner. But you know from
that Lost Picture Show documentary that warehouse is fucking massive,
so there's I still think there's enough there that they
can do the stuff with like Paramount or MGM or
and lord knows, if they could get Universal or WB
you know, like Demolition Man would have easily been a

(02:07:09):
VSU or you know, any of those things that Aero
puts out Cobra, those would definitely be vs user in
some capacity, something to help keep the lights on. And
I think that if those exist just as a means
to make sure that the Carpenter can still get released,
that's fine by me. I certainly am not a VSU completionist,

(02:07:30):
so you know they can release. I didn't buy the
Golden Child, but I get why they put it out.
I totally get why they put it out.

Speaker 3 (02:07:37):
So we also should talk about that at some point
with more. When it comes to recent films, Vinegar Syndrome
does have a ceiling unless they've changed their mission, because
everything has to have been shot on film for them
for it to be considered a release for them. By
the time we get to the mid two thousands, when

(02:07:58):
shot on video movie started coming into prominence, they're eventually
going to run out of mainstream titles.

Speaker 2 (02:08:06):
Well you say that because there's rumor that they're going
to try to get into some of the V cinema
stuff from Japan.

Speaker 3 (02:08:12):
Right, And if that was shot on a film, wasn't
that I don't know.

Speaker 2 (02:08:17):
Possitively, but I know that it was all directed video stuff.
I mean, it's it's possible that it was shot on
film because it came from a studio.

Speaker 6 (02:08:23):
Oh yeah, most V cinema up until like I think
two thousand was shot on film. And that market is
fucking huge. Like that box set, that box set is
like truly not even scratching the surface. It's like a
it's like a pin in the surface.

Speaker 2 (02:08:39):
No for sure, I mean they were, yeah, they were
releasing them. I forget what it was, but like a
movie a week or a movie on mine. There's just
like there was crazy amount of stuff coming from there
for years and years.

Speaker 6 (02:08:49):
Well, there's also rumors about like either Pink Films or
something or like or like region a Roman pornos supposedly
from Vineger syndrome as well, or something along those lines,
where like, because a lot of those are from eighty
eight films, but they're all mostly Region B. They don't
really they only do the Region A stuff for like

(02:09:09):
certain lines, and it hasn't been for the for the
pinky or the Roman pornos, so I wouldn't be I
think uh Synapse does some of the does some of
the more intense pink us like Star of David, Beauty
Hunter and stuff like that, but I wouldn't be surprised
if VS at some point moves towards that as well,

(02:09:30):
because they clearly.

Speaker 3 (02:09:31):
Sell I think that's what the pink line is, as
much as I wanted to be the malusine version of
the Gosser. Oh yeah, it makes.

Speaker 2 (02:09:42):
Sense though the fact they're calling it a pink line,
it would make sense that it's more the Roman porno
stuff or like some of the pinku stuff, because I
think that's that will absolutely sell out. But anyways, Yeah,
I don't know as far as what they would do
about getting into shoto and video stuff, that's an interesting change,
or like just fully digitally shot films. That's an interesting change,
I guess, but there I also don't know, like I've

(02:10:05):
been thinking about this for years with criteria, and I
don't know what's different about At this point, Vineger syndrome
is kind of a major So they're in that conversation
I think in a big way. Like you know, there
there is not really depending on how you want to
approach it as from a curation perspective, I get that,
but there's not really a limit on films that could
come out. I mean, I guess there's functionally a limit

(02:10:27):
in terms of mathematically, but practically speaking, there's you know,
there are millions of movies that have come out if
you look around the world. I mean, we haven't even
talked about Indian cinema yet, right, and Vinegar Syndrome is
barely scratched the surface on European stuff outside of some
obscure horror things. I mean, there's there are countless movies
that could come out as just sticking between the sixties

(02:10:49):
and the nineties for a lot many years.

Speaker 6 (02:10:53):
One thing that rocks is that a lot of those
companies are all in conversation with each other. I've seen
like like Mondo Macabre and Terror Vision and Severin and
all them, Like, there's a lot of cross I know
some of them, don't. I'm kind of just naming them
off the top of my head, not the ones that
actually work together, but I know that they you know,

(02:11:14):
the way Vinegar Syndrome first started kind of paying their
bills was through scanning, Like they would do a lot
of scanning, and so you'll see their names, particularly, I
believe Joe Rubin especially. I've seen his name on like
stuff from Mondo. I've seen his name on some Severin
stuff in that Bruce Playtation box that. So I think
a lot of them probably are in conversation with each
other of like who should release what and who's okay

(02:11:37):
with like it very rarely, I guess there's I know
there's some controversy I guess with the with the sub labels.
I don't keep up with that as much, but I
know that with some of those, like, I think they
all kind of know who specializes in what, and so
when they do kind of dip their toes in that
particular genre, they probably get help from those other curators.

(02:11:59):
I mean, you know, Severn obviously has Franco on lock
like they have they put out so many, to the
point that there's stuff of his that I don't think
he ever would have known if he knew what a
blu Ray was, that it would go for like, you know,
however much by a Blanca costs or whatever, Like it's
crazy because there's a lot of people who love his stuff.

(02:12:19):
But VS only has put out you know.

Speaker 3 (02:12:22):
They put three franc.

Speaker 6 (02:12:26):
Between two discs.

Speaker 3 (02:12:27):
Yeah, so there was one on the first Spanish set.
Oh that's right, that's right, the double feature, and then
if you count the one Pulse release that went out
of print with an hour going live.

Speaker 2 (02:12:45):
Oh, that's crazy.

Speaker 5 (02:12:46):
They did the fantastic White Cannibal Queen, and that I
hopefully you weren't saying fantastic in a sarcastic town, because
that movie's ath.

Speaker 2 (02:12:59):
I I have to admit I laughed a lot during
White Cannibal Queen. And I don't I don't mean to say, like,
was it like the so bad it is good kind
of stuff. I don't want to necessarily start to throw
movies in that category. But when when these dudes walked
out as cannibals and they were clearly Italian guys with
a little bit of makeup on, I was like, what
this is crazy.

Speaker 3 (02:13:20):
I'm kind I'm kind of obsessed with Al Kliver and
the many voices that dub him.

Speaker 2 (02:13:28):
Yeah, but this is like, this is why I am
still an apologist despite all of the complaints, and a
lot of them I think are valid. You know, there
was all that drama online about how they handle the
situation with refused films and the trauma stuff a few
months back, and like, I don't really know the story,
but like it certainly seems like some shady business behavior,

(02:13:50):
but like all of that kind of behind it seems
drama aside, I'm still an apologist for them because when
I watch White Cannibal Queen, or when I watched Night
Trained to Terror or hell a Fun Book, like I
just feel like these are these are moment these are
like memories like these are like these are things that
not only I enjoy, but I want to go promote
and I like talk to other people about. And I

(02:14:12):
just like I was on a plane the other day
and I watched I know this is an extreme comparison,
but I got to watch fucking the Red Hulk movie
Captain Captain America in the Brave New World. I think
it is the title and there's literally not a single
second that's interesting in that movie.

Speaker 3 (02:14:30):
I don't want to get into it, but that that
have been my favorite Marvel movie in a long time.

Speaker 6 (02:14:35):
Oh gosh, Okay, what a great reaction. That's the perfect reaction.
I was going to say something as well, but I
think Chris, you nailed it that well. I mean, but
I can say the same for like a lot of stuff.
I have an AMC A list because movies are so
expensive in LA that literally paying for a month of
it is the same difference as one IMAX showing that
is not an exaggeration. It's literally the same amount of money.

(02:14:58):
So if I see two movies a month, them still
getting my money's worth. But my god, this has been
the slowest year. I actually got real close to canceling
my subscription, and then I remembered I just looked at
ticket prices and I was like, Okay, this actually is
still the same difference. But like, I do think about
that a lot when I'm like, I don't know, I
I again, like me personally, I love VS all the

(02:15:21):
stuff we've been talking about. You know, I've mostly been
on the on the defensive side for what we've been
talking about to say for a few things, but like
I have seen enough new movies to know that I
would rather spend my time eighty minutes in es just
Franco's bottom tier filmography, which if you know anything about

(02:15:44):
US filmography, that's really saying something, then watching like whatever
Thunderbolts or whatever. And people will tell me to be like, oh, no, no,
this one's actually the good one. No, it's I don't care, truly,
do not. I that does not that's not Oh that's
what's gonna sell me on it, Like, oh, this one's
the tolerable one. And it's like, all right, well, why

(02:16:04):
don't you just put a gun in my mouth. I'd
rather just not be here anymore, you know, it's just
a lot easier to Yeah, I'll just take white Cannibal Queen.
I think that's and I and again that's I think
I gave that. I think star ratings are kind of
I think people get too hung up on them. But
I gave that. I think like a star and a
half on Letterbox, And it's still I'll watch that over

(02:16:25):
eighty percent of what's what I could watch in my
A list subscription exactly. So that's that's why I still
do this. And by the way, we're only talking about VS.
I still on top of trying to get through all
the releases that I buy in these big fucking boxes.
There's still whatever you know, Severn, Blue Underground, all these
other companies put out enough stuff that like I'm still

(02:16:46):
catching up on those.

Speaker 3 (02:16:48):
Oh yeah, I mean, but again we talked about earlier.
There's no need to rush out to buy seven because
it's eventually going to go on sale and it's still
going to be there.

Speaker 6 (02:17:00):
That's true. Yeah, and yeah, they have a different model,
and like I I personally just wait for pop ups
because I can actually I know I'm not in a rush,
and they do enough pop ups in LA that like
I'll be like, okay, you know what, I'll just get
it if it's if it's not on sale, I can
get it there, and like I'll just drop a lot
at once because they usually are very very good about
discounting stuff in person. And that's how I got like

(02:17:23):
the last half dozen releases. And sometimes they'll put some
op stuff there and uh so that but you're right,
and Blue Underground can sometimes be very expensive as well,
but like the releases are so infrequent that it makes
it a lot easier to kind of plunk down the
money or you.

Speaker 2 (02:17:44):
Know, if it's a skip what's the name of what's
the guy's name that started bl Underground.

Speaker 6 (02:17:48):
Bill oh, William Blust's tick, Let's stick?

Speaker 2 (02:17:51):
Right, But then and there's well anyways, Let's tick is
a good example. But there's one other person the I'm
trying to think of, the guy from Grindhouse releasing.

Speaker 6 (02:17:59):
Bob Oh, yeah, yeah, Bob Morowski mosk.

Speaker 2 (02:18:03):
So like most of the labels we're talking about our
children of either William Lustig or Bob Morowski, right, like,
they either worked with them at some point or directly
or indirectly have tied them.

Speaker 3 (02:18:17):
Well technically all of If we did a boutique boutique,
a boutique label family Tree, it would be Anchor Bay,
which would started at all because Bill Lustig and Blue
Underground originally produced special features for them. Oh that's cool,
and then they took the titles that they owned and

(02:18:38):
started the official label and Anchor Bay was dining out.

Speaker 2 (02:18:42):
Okay, fair enough, but yeah, I feel like that just
like in the UK there was an older a label
called Tartan and most of the new ones nowadays like
Indicator and a lot of the Arrow and a lot
of them came from Tartan. So there's the it's it's
a tight knit group up at the top for sure.

Speaker 6 (02:19:01):
That's crazy. I haven't heard that name in so long.
And Third Window I think picked up some of Tartan's
stuff too, because I remember Tartan had the Extreme like
that that Asia Extreme or whatever, and it was just
like any release that came from Asia, they just put
the word extreme on it.

Speaker 2 (02:19:17):
Yeah he was, he worked there for a while, that
was his Yeah, that's right, he worked there. That was
the beginning. But anyways, yeah, no, I think that that's
That's the other thing that like Blue Underground has been
doing some of the Shenanians, a Vinegar Syndrome does. From
marketing perspective for years, they've always had limited editions and
and I mean, I don't know, I think like maybe

(02:19:40):
maybe in closing, unless there's a specific area that you'll
want to focus on that I missed, well, I I do.

Speaker 3 (02:19:46):
I think because we they have been these titles have
been an important part of Vineger Syndrome in the original
originally is part of the main line. We need, we
need to spend some time on the adult titles for
at least five minutes.

Speaker 2 (02:19:59):
Oh, thank you, thank you, thank you. I knew there
was one big thing I left off, so yes, perfect,
thank you. Robert asked for everybody right before we started recording.
I said, please help me manage this if I missed stuff,
because I'm never going to claim to be an expert
on managing a round table. So yes, that's why, Robert,

(02:20:21):
that's why you and Eli specifically are here. And Matt
and Jaden, if you have a secret experience important that
I don't know about, forgiving reading you, but I have.

Speaker 4 (02:20:29):
A question I'll throw in after this conversation.

Speaker 3 (02:20:33):
Matt used to work as a fluffer back in the
eight man.

Speaker 2 (02:20:36):
Where were you when I needed you?

Speaker 6 (02:20:39):
Well, I one thing I'll say before, just because this
does tie into the porn part, but I think one
thing that the company where they really just made a
name for themselves, is not just because of the adult stuff,
but everything they have. I think the pride in the restoration,
I do think it's fairly unmatched. I mean there's other

(02:21:01):
companies that do great. I mean Blue Underground is a
great example when they whatever catalog titles they have where
they can restore their four k's are I mean that
four K Vigilante is unbelievable. Yeah, and like so obviously
it's not to say that other companies can't do that,
but the consistency of the scans from Vinegar Syndrome are

(02:21:23):
just unbelievable. There's I mean that in the cold of
the night, excuse me, in the cold of the night,
what we were you know, one of the ones that
I picked, that's just a blu ray from a four
K scan and it looks as fucking sharp as a
four K does, just without the HDR, like it doesn't.
It's just unbelievable. And so the fact that they do
that with adult titles too, and that's kind of where

(02:21:46):
they started, was restoring stuff from you know, everything from
what like some of the titles we were talking about
Baby Rosemary and Hot Lunch and Hot and Saucy Pizza Girls,
and some of them are from the Negatives and some
of them aren't, but they're just they're unbelievable. And I
would rather look at that than like whatever we were
just talking about whatever in my a list subscription on

(02:22:07):
a shitty DCP in a theater that is like not
properly calibrated.

Speaker 3 (02:22:12):
Right, I agree wholeheartedly with that. Plus, there are a
lot of cliches that people thought of seventies poorn, like
the bad music and the bad acting. And you watch
some of these films and they have real music in it,
like The Bad Wall of Voodoo for some reason license

(02:22:34):
their songs to Yeah, two Night Dreams and Young Girl Something.
I can't remember the full name of the movie.

Speaker 6 (02:22:45):
Well if you watch. I mean the reason we talked
about this on the episode where you covered a lot
of Melusine Chris, which was that Hot Summer in the
City was one of the Melusine Media Club releases, and
I thought that movie was originally just put out that
way because it's a very very taboo movie, Like it's
just the way you know, what it approaches is very

(02:23:07):
uncomfortable and it's a very unpleasant film. But the real
reason they released it through Malousie Media Club is because
they can't sell it because the music rights would be
harder to clear than Mister Goodbar. And that is not hyperbole.
It's crazy that there's like Beach Boys songs in it,
and I mean like a Beach Boys song during like
an interracial gang bang that is clearly meant to be

(02:23:28):
like very uncomfortable, like, oh sorry, go ahead.

Speaker 2 (02:23:34):
No, no, no, no, I was gonna say, rip Beach Boys.

Speaker 6 (02:23:37):
Yeah yeah, I just while speaking of rip Bryan Wilson,
you would have loved tot Summer in the City. But no, really,
like I think that that's part of it, is like
you know, you're right those Where where else are you
going to get that? That's such a unique point in
time and such a unique artifact that you get this
movie that was clearly meant to be. And it's funny
because you think of it now and there's literally whole

(02:23:59):
websites that build porn websites, I mean that build their
scenarios around these exact same things that this movie was doing.
It's like a it's a huge industry now, but like
and not even that you could do any anything else
like now that you've When I show the movies and
I tell other comics about it, they'll be like, oh,
you do you do like a live commentary? Like are

(02:24:19):
you guys making fun of the movie? And I always
have to say no, that should be punishable by death,
specifically for porno. It's like we're not laughing at it
in that way. It's just like I'm showing it because
even in LA it's not something that screens super often,
and they end up playing super great with the crowd.
And I do think part of that is we had
to get to the state of what films are now, which,

(02:24:40):
like I'm not saying every movie's bad. I've seen stuff
this year, new releases that are good, but I think
that does show you, like how good we kind of
did have it even before some of us were born,
in terms of like what some of these movies can be.
And obviously some of them were clearly made. Look, I
think even like I remem I heard an interview with

(02:25:00):
Joe Ruben where he said he's like, he doesn't like
every movie he puts out. He's pretty open about that.
I would even say there's some some of the sex
films that he restores. He would probably say, oh, this
one's not good, But you know, why shouldn't it be restored?
That is ultimately up to the consumer. And there are
ones that are clearly just like excuses like California Jigglo
is just it's seventy minutes. It's just John Holmes going

(02:25:23):
from one one chick to the next. It's still a
fun movie. But it's seventy minutes, and it's clearly made
with the lowest effort possible relative to that filmmaker and
to Bob Chin and like still a lot of fun.
Would rather spend seventy minutes there than watching Cloud in
a cornfield. No, sorry, I don't want to. I actually
haven't seen that, but it's like probably a fun, low budget.

Speaker 3 (02:25:44):
Horror moviel interrupt for a second. Please, no, no, please,
I'm just gonna do this as a promo. You should
go listen to the grindhouse Chic episode of RoboCop and
Hot in the City or Hot Summer in the City
because talk about both movies take place in Detroit, and
I give a tour of when they're driving up and

(02:26:08):
down Woodward Avenue at the beginning of the businesses on there,
and how out of sequence that was actually filmed.

Speaker 6 (02:26:14):
I will absolutely listen to that. I cannot fucking wait.
I'm literally gonna download it as soon as we finish this.

Speaker 3 (02:26:19):
But you know, I was I originally thought the same
thing that that wasn't released because of music rights, and
then a few weeks ago I was I'm going through
my collection and trying to open up all the Tikorama
stuff that I have not unwrapped because I've discovered a
lot of them have fallen to disc rot. So I
opened Velvet high and I started watching that movie, and

(02:26:43):
I'm listening to the theme song, and I'm like, why
do I know that. I had to shut it off
and think about it, and I realized, oh crap, that's
an MC five song.

Speaker 2 (02:26:54):
Wow.

Speaker 3 (02:26:58):
And then there's other a bunch of other copywriting music
and that one as well.

Speaker 6 (02:27:03):
Geez, I mean right, and so like again, like what
you're talking about, and I know that what you said
you wanted to put a pin on this. But one
of the other things that Joe talked about in that
Bluaray Dot compost was that unfortunately a lot of the
porn doesn't sell well. And back in their DVD days,
they were doing Wakefield Pool movies, which are gay pornos.

(02:27:24):
They were doing you know, they did both Ways, which
is very famous as being like the first I guess
marketed bisexual porno where it was like guy young guy
girl on girl and stuff, and like I guess, he
said that, you know, they just don't sell super well.
And so that's why. Also some of these catalog titles
that they had on DVD are getting re released as

(02:27:46):
Blu Ray on top of giving them proper like HD transfers,
not just not just being put on a SD DVD,
but like that. He said that, you know, Hyapatia Lee
is just a huge seller, and that's why you know that,
And and he even like gave examples where you know, Alexandra,
which was one of the best male you scene releases

(02:28:06):
last year, not a huge seller apparently, which is really
sad to hear. And the iopacially double they put out
in January sold outsold it like in days. Yeah, and
so that's part of it.

Speaker 3 (02:28:23):
So I want to get back on to leaves email
the forum posts on Blu ray dot com because he
kind of called me out on that because I messaged
on the on the forum, the their fan page on
Facebook about the Chuck Vincent movies, his R rated stuff
which I really really want to see released in good quality.

(02:28:43):
You can find him on YouTube in shit quality and
on TV and other sites. But he said in there
the negatives are are lost, They're gone.

Speaker 6 (02:28:52):
Yeah, it's heartbreaking. I heard that as well, and I
actually heard that on another podcast as well. I unfortunately
never I don't go on blu ray dot com because
I I it's an exhausting place to be, Like that
forum is too. I remember I created an account and
half a day into it, I was like, absolutely not.
I logged out. I don't remember my lag in and
I just go to blueray dot com to see if

(02:29:14):
there's something on sale on one of the main sites
if I want like a studio title, or I want
to because and people get upset at their reviews apparently.
But what I've learned is also everybody who doesn't I've
I've been a projectionist back when you know, it's just
a job at AMC, when I was a teenager. But
that being said, I still don't have the knowledge of
like I know what a good transfer looks like. But

(02:29:35):
I know people get really caught up in this shit
where they're like, well, this isn't the best transfer for
whatever reason outside of like something being upscaled or like
dn RD. What I've learned as a lot of people
on those forums truly talk as if they've worked in
some kind of background, and they clearly have not. It's
very quick giveaways. But I remember there were a few
things that I read that I was like, Okay, this

(02:29:56):
person is just copy and pasting like three different answers
they got from read or something. So that's why I
start clear if it's right. Oh god, and like so
all that to say, I didn't get to read the
I just saw like a screenshot of what was what
he posted, and I'm just glad he wrote it. I
don't know what truly like what he was responding to
for a lot of it, but if and that is

(02:30:17):
sad that the Chuck fincon negatives are lost, but it
also is like, I'm glad he kind of gave an
idea of like, look like and this is probably the
best mel You scene. It probably would sell better if
it was on the main side, if it wasn't for
that fucking Shopify bullshit. For people who don't know the
reason mel You scene, the reason they split it was
because some people thought it was because like they got

(02:30:38):
big studios involved, and they said, no, you can't. We're
not going to let you license our movies if you're
gonna sell porn. That's not what happened. What happened was
Shopify doesn't allow porn to be sold, which is why
a few sites don't sell vs. Adult titles and for
people who don't know, Shopify is the shop app, the
thing that it automatically logs you into on vinegar syndrome,

(02:31:00):
they just won't allow it. And so that's why Malousine
doesn't take shop And I have a feeling that if
the Pikorama and stuff like that was still on the
main VS site, you'd probably move a little more. Because
it blows my mind that last Tan Go to Paris
the better slip cover isn't out of print yet.

Speaker 3 (02:31:18):
I mean I can tell usually mad As an example
that he keeps on forgetting to go to Malusine.

Speaker 4 (02:31:25):
And yeah, yeah, I touched on that earlier. I feel
like if it's once it leaves the main site, I
forget about it. Like fun City Editions, it gets lost
in fifty pages on Diabolic DVD and I'll un Also,
it's a release that I've heard of, I'm not going
to go look for it.

Speaker 3 (02:31:44):
Really.

Speaker 6 (02:31:45):
Yeah, that's a great point.

Speaker 3 (02:31:48):
I do think while this year has been for Pikorama
a bunch of re releases, we've all still gotten some
really good things that are new to me, Like on
Nights Naked came the Stranger.

Speaker 6 (02:32:08):
Oh, I mean like and not only that just like
the ones that they did get re releases, I was
happy they did because I actually wanted to get I didn't.
I'm glad I don't have to have hot and saucy
Pizza Girls on DVD anymore. I like that I have
it as in a Blu ray comp with like a
couple other movies. And you're right, they've gotten some good
quality X and Command Cinema stuff too. I haven't gotten

(02:32:30):
around to the one that they just because I'm still
catching up on the releases. But the other title that
they put out this month, the quality X one. It
looks great, even Blonde Goddess, which was kind of like
a MYSS for me. Still glad I watched it.

Speaker 3 (02:32:47):
And that one was a MYS for me as someone
who loves comic books.

Speaker 6 (02:32:51):
Right, but yeah, totally no, No, I agree, But I
just even then, I thought that was a more interesting
release than you know, a lot of other stuff that
otherwise I would be paying attention to in terms of
other companies, I guess is what I was getting at.

Speaker 3 (02:33:06):
Yeah, And I mean, I just think once people get
out of their prittishness, more and more people, I think
more people are going to start exploring this especially when
when that stuff is on sale, because they are good movies.
Like I agree, the Look through the Looking Glass is
an amazing film.

Speaker 6 (02:33:28):
Yeah, one of their best releases ever, one of the
best BS releases. I mean that right quite literally, like
across the board.

Speaker 5 (02:33:38):
Yeah, I've a I'm not really like a porn collector,
but those Millisin releases, like they're so beautiful that that
that is insane, dude, some of the best packing they do.

Speaker 3 (02:33:50):
Nothing on Malousine is porn. It's classic erotica. You got
to keep online to yourself about that.

Speaker 6 (02:33:58):
Yeah, there's their other sex films. Yeah, I mean I think, Look,
I do understand why there's a ceiling to it because
I think most people, i mean, look, most of that,
most of the people who buy those and all the
people talking here, I mean, I'm gonna I'm gonna speak
for a lot of people who buy them and maybe
I'm maybe I'm wrong, and I'm happy to be wrong,
but very few of them are buying it for what

(02:34:19):
they were originally intended for. I think a lot of
it is they are enjoyable to watch, and it's they're
very unique. They're most of them, especially the best releases
that they put out they're actually not erotic movies at all.
Like nobody watching Through the Looking Glass at no point,
and I'm like, oh man, this is fucking hot, Like
it's not. It's actually the movie is. It's literally a
story about the cycles of sexual abuse, and you wonder

(02:34:42):
how they even made it in the first place. And
there is a soft core cut of that. And that's
one of the few times I watched something where I
was like, what would it be like to watch the
R rated version? I bet this would be even more
dramatically effective. Maybe maybe not, but.

Speaker 3 (02:34:56):
I'm sorry, I wish they included that on the disc.

Speaker 2 (02:34:59):
I know.

Speaker 3 (02:34:59):
But it's also the best porno film funded by a church.

Speaker 6 (02:35:04):
That's true A good point.

Speaker 3 (02:35:06):
I'm sorry, classic erotica.

Speaker 6 (02:35:08):
It's not porn, right, but like anything that Yeah, so
that's actually all I wanted to say about that, But like,
I also agree that. I just think that like part
of that has to well, sorry I lost my train
of thought, but overall, just to bring it back to
like the preservation and more importantly, like, oh, I remember
what I was going to say was that I think
for a lot of people when they think of porn,

(02:35:29):
they think of they're going to watch it because they
want to get off to it. So I think that
is what the ceiling is for classic erotica, and I
see it like in the movie Nights that I host.
It does have a limited audience, but the people who
do come out really enjoy the fuck out of it.
So I don't know if it's that you can I
don't know if it's an audience that can necessarily grow,
but I think it's an audience that you can keep interested.

(02:35:50):
And that may have been why some people were salty
about some of the rereleases, because they're still like, oh,
I want to see New Wave Hookers or whatever other
thing and or whatever movie that they haven't put out yet,
rather than a re release.

Speaker 2 (02:36:03):
We can't have a conversation about vinegar Syndrome erotica without
talking about the taboo box set. Yeah, I watched all
those pretty close together. And the funniest thing to me
is that as the movies progress that well it's all
about incest, right, So as the movies progress, the concept

(02:36:25):
of incest goes from like something that is truly taboo
to them. It's like a curiosity amongst the close friends
and family. And then by the time you get to
the third one, it becomes this like epidemic nationwide and
it's like this, it's really interesting to watch the way
that series progresses because they almost talk about it like
it's a virus that's just like spreading, and it's like

(02:36:49):
it's crazy, Like there's a pretty good writing that goes
into it, and like a lot of thoughtfulness that goes
into the writing.

Speaker 3 (02:36:57):
I only have two comments I'm going to make about
the Taboos series. One, what kind of guy takes his
date to an orgy for their first date?

Speaker 6 (02:37:07):
Fuck keeper?

Speaker 3 (02:37:10):
Second Taboo three, it's the only time the rock band
doesn't get to go to the party. True, because I
think the girls would much rather have sex with them
than with the record executives and played by Ron Jeremy.
Those are my two takeaways. That's all I'll say on
those movies.

Speaker 2 (02:37:29):
But yeah, no, I mean, look, this has been a
really good, wide ranging, like conversation about why Inger Syndrome
was interesting. We didn't get to cover the Cat three stuff.
I just do want to call it out. I'm a
big fan of the fact that like a lot of
labels are picking up on CAT three in general, and
and Veneger Syndrome is right there. You know, I was
just watching bio Zombie again, and you know, obviously, I

(02:37:52):
mean there's a lot of different stuff, but like that
whole genre is just super fun. And yeah, I don't know,
like I they are there as they for me. Like
in closing, I'll just say vinegar syndrome, and I'd be
curious to hear from y'all. But vinegar syndrome for me
is becoming something where I just kind of sit back
and I know there's going to be some that I

(02:38:12):
don't like. Like, honestly speaking, I would never have started
a podcast talking about Dirty Work. I like that movie.
It's just that I don't think it needs to be
talked about, Like it's not interesting to talk about on
a podcast. I enjoy the comedy, don't get me wrong,
but like that's not why I'm here. And like for me,
I'm I'm gonna be a little bit. I'm trying to
figure out how I take the podcast. This is a

(02:38:33):
different discussion. I don't mean to get too meta, because
I do want to focus on the ones that are
more obscure, like that's the thing that's interesting to me.
So but just as a fan of vinegar Syndrome, like,
I'm just going to sit back and like, I know
that there's gonna be some I like, some I don't like,
And I'm just hoping that they don't go too far
into you know, unique coll Studio titles and they just

(02:38:56):
keep their initial kind of DNA in tactics much as
they can, And that's my hope for them. But for now,
I'm still in And I don't know, Matt, you haven't
talked a lot. Where are you at for them right now?

Speaker 4 (02:39:08):
Yeah, I'm kind of on the same the same place
you are. I same thing. I'm sitting back. I'm enjoying
the ride. It takes me back to a time where
I don't know how familiar everyone isn't here with this,
but the like old Columbia house thing back in the
day where you you know, you got a movie every month,

(02:39:28):
you can pick if you wanted to keep it or
send it back or you know whatever. And I love
that little mystery of like I'm getting a box every month,
I'll get to see what's in it. This is a
little different, obviously, but yeah, overall I'm in a happy
place with it. There's you know, I think the one
thing that I wish they would do a little better

(02:39:49):
that I've seen other companies do. And and Eli, I
just came to my mind because I can see your
backdrop there. You've got the A. Menuel box set, You've
got the Michael J. Murphy box set. And I think
VS is a little ship at box sets other than
The Lost Picture Show. So I think one criticism I
would like to see a little bit more effort in that,

(02:40:09):
not just Hey, here's three Shalla movies that we don't
think we can sell by themselves. Let's stick in the
box together. Yeah, But overall, like, yeah, I'm glad that I,
you know, happened upon it by accident one day. And
I'm sometimes not happy about all the money that I'm spending,
but overall, it's it's been a it's been a great

(02:40:31):
little thing to get into.

Speaker 2 (02:40:33):
Yeah.

Speaker 3 (02:40:34):
I mean, as long as I keep discovering new movies
from them, I'm set. And even though I do complain
about it, I'm gonna use Dirty Work as example. I
forgot how much I love that movie. I mean, I
think more fight scene should be set to the Pina

(02:40:55):
Colada son.

Speaker 6 (02:40:57):
Yeah, I'm yeah, It's like you guys were saying in
the same boat. I've already kind of said this earlier,
but like, I think it's the same thing I love.
I think it's because I hit a real sweet spot
in my in what I've watched growing up, Like I
already know enough, Like I've seen enough stuff, and I

(02:41:20):
took a break and then, you know, for like almost
fifteen years no closer to ten with like not collecting
physical media, that when I got back into it, there
is still enough stuff that either that I have yet
to discover. Every time I think, I'm like, yeah, I
think I've I think I've hit a pretty good ceiling
here between everything where like I'm probably gonna you know,

(02:41:40):
I surprisingly don't. You know, I only knew Blood tracks
by reputation, but like a lot of stuff, I think
that and I agree. I do agree with the box
set thing that is a little lacking. But one thing
I will say is that I'm almost glad they don't
have more because Severin has that on lock so well
that I can only spends so much on a box set,

(02:42:01):
not just in terms of money, because lord knows that's
part of it, but also in terms of the time,
Like I have no fucking My goal is to at
some point actually finish that Black and Manuel box set,
but I remember and who knows what kind of brain
damage all incur from that. But like you know, like
the Bruce Placitation box set, I got through that fairly
quickly because that's a real's that's.

Speaker 3 (02:42:22):
A for me.

Speaker 6 (02:42:23):
There's a lot of nutrition there. Like I love Bruce
playitation stuff. But even that took a couple months to
knock out. So that's why I'm the only reason I'm
okay with it because I remember what was the one
that you had me on, Oh yeah, when we did
the Cat three double you know that. Also I had
forgotten Jolly that felt like watching all those movies that quickly.

(02:42:43):
That was like homework, baby, that was like a lot.
So in some ways, I'm like, I'm okay with that,
But I still think, like in terms of if you
want to really talk about the dollar amount you spend
and what you get out of it, I do think
it's worth it if your if you have the right
brain for it, and I think I think just about
everybody here does, and like if you don't have the

(02:43:05):
means for it, it's very easy to kind of eventually
catch up. It just there. It just requires a little
more patience. Obviously for things to kind of get a
little cheaper. But but like even then, even a month
after they come out, sometimes you'll see people like what
Robert was saying, some people immediately just want to offload
their ship because they they don't want to watch Devil
Doll or they don't want to watch you know whatever. Yeah,

(02:43:28):
I I had fun with it. I and Curse of
the Voodoo obviously was well, we need to stick this
here to because we don't know where else to put it.
But like you know, yeah, I'm I'm all in still
big time, and I'm glad I was able to sub
for the whole year. Totally totally worth it. And uh
and as long as they keep it up at this level,
it's the same thing, like there's enough discovery. And even

(02:43:52):
if it's not something I'm discovering, even though I don't
I remember not liking Jade, I'm glad I can watch
the director's cut to see if if it's a piece
of shit in a different way, you know, or like,
but something along those lines.

Speaker 2 (02:44:05):
Same thing.

Speaker 6 (02:44:05):
I haven't seen dirty work in fifteen years, and I'm
due for a rewatch.

Speaker 2 (02:44:09):
It's great, Jayden, bring us home?

Speaker 3 (02:44:11):
What about you?

Speaker 5 (02:44:12):
Yeah, So this year specifically, I've kind of been mixed
on like the first half of the year, but there's
still something every month that I'm interested in. And I
really love that Vinegar Syndrome is doing Hong Kong stuff. Now.
I know there's some people that kind of bitch about it,
but I don't care because Hong Kong movies are great,
especially horror films in this past month with Dirty Work

(02:44:35):
and Dark Half and Let's Scare to Jess Get to
Death some of those movies I was going to get anyways,
So it's kind of cool that Vinegar Syndrome has probably
the best release they're ever going to get now. And
I think this year looks great, like just from the
hints from the latter half of the year, I think
it could be really good. So I'm positive about it. Yeah,
I mean we always get great stuff in October, Yeah, sure, Yeah.

Speaker 2 (02:44:58):
Well I'm really excited for July and August. Slower months,
just as a slower months in the sense of not
a sale just like regular months, I should say, not slower,
just like.

Speaker 3 (02:45:07):
There's a sale in July for Subscriber Week.

Speaker 6 (02:45:09):
Yeah, and a halfway sale that's a pretty big one
because that's like, it's like subscriber work.

Speaker 2 (02:45:13):
Where that's right, that's right, that's right, that's coming up. Okay,
well we'll be talking about that then, I guess in
a couple of weeks. The other thing I just want
to tease quickly here at the end is that I'm
going to try to have a Shougust double feature in August.
So I hate to mention this on air in case
it doesn't work out, but the goal is to get

(02:45:33):
Frank Jang on to talk about the stuff he's done
with vinegar syndrome, and to get Sam Deagan on to
talk about the work she's done because she's in a
lot of Hong Kong stuff. So I'm going to try
try to get both of them on in August and
July I think is going to be really heavy catching up.
It's going to be I'm trying to still figure out
how we're going to do that. In July, there's so
many movies to talk about. Partner Partner Month really kind

(02:45:57):
of throws off the release edule as far as the
podcast goes, which is good for everybody else, bad for me.
So I'm just trying. But yeah, look y'all, this is
thank you so much for coming on. And I guess
please go see Grindhouse Chic, Go go listen to pod Goblins.
I'm not going to talk any shit about it, Jade,
and I'm really I'm happy you found a home and

(02:46:20):
it is. It is very much a YouTube podcast that
y'all do, deep dives into franchises a lot. You've already
covered what Leprechaun F thirteen.

Speaker 5 (02:46:31):
You just did a nightmare, Nightmare evil Dead, Evil Dead. Yeah,
we're doing Jaws coming up, so yeah, nice.

Speaker 2 (02:46:38):
That's gonna be a fun one. And then Elliot, if.

Speaker 3 (02:46:43):
I can promote one episode really quickly, of course, I
think it's what's going to be July second or third.
Matt and I are going to do the most American
centric episode of Brian how Che. We're doing porn on
the fourth of July. Were we're discussing four different adult
titles made in America.

Speaker 6 (02:47:01):
Hell yeah, helly hell, you know I'm gonna be listening.

Speaker 3 (02:47:05):
Eli. You can join us if you want to when
we record it.

Speaker 6 (02:47:08):
Oh, I would love that abs a fucking loutely, no
question about it. Man, If you guys would have me,
I'd love to come on.

Speaker 2 (02:47:14):
All right, cool just became a threesome and for anybody
who lives in LA the work Eli is doing there
is great. We've already had a couple of people mentioned
that between the way that Celeste talks about adult titles
here on this podcast and the respect that you bring,
ELI is the only other place online other than Ashley West,
that they feel like respect is coming in on a

(02:47:35):
consistent basis to the adult titles, and that means a
lot to me. It's somebody who probably wouldn't be talking
about them otherwise. So thanks for your contributions to that,
and huge shout out to Celeste, who couldn't make it today,
but they're a huge part of this as well. So yeah,
thank you all so much. And well we'll see if
we do this again at some point, but I appreciate

(02:47:56):
it having you all on.

Speaker 1 (02:47:57):
Thank you, Chris, thank you all right, thank you for

(02:48:54):
listening to hear more shows from the Someone's Favorite Productions
podcast network. Please select the link in the description.

Speaker 6 (02:49:07):
Hey, this is Jason Kleeberg from the Force five podcast,
a show that forces a guest to come up with
a movie themed top five list topic and then we
reveal our picks on air. Top five heist films top
five tier jerkers, top five movie dogs. Every show, you'll
be asking yourself what would be on my list. Guests
include directors, screenwriters, actors, podcasters, musicians, authors, and even a

(02:49:29):
professional wrestler.

Speaker 3 (02:49:30):
Subscribe to the Force five podcast and you won't just
be a listener, you'll be a list nerd.

Speaker 6 (02:49:35):
The Force five podcast available wherever you are listening now

All Episodes

Episode 22 - Love, Hate, and Incest: A Vinegar Syndrome Roundtable

Episode Transcript

Popular Podcasts

Stuff You Should Know

Dateline NBC

On Purpose with Jay Shetty

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 22 - Love, Hate, and Incest: A Vinegar Syndrome Roundtable