Episode 24 - Celebrating a full Year of PV! With Celeste de la Cabra - Punk Vacation: An Unofficial Vinegar Syndrome Podcast

Episode Transcript
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Speaker 1 (00:01):
You are now listening to the Someone's Favorite Productions podcast network.

Speaker 2 (00:47):
Hello, welcome back to Punk Vacation Unofficial Vinegar Syndrome Podcast.
We are at episode twenty four, which actually works out
perfectly because this is also celebrating one year of doing
the podcast, so I am very happy to be doing
this with Celeste. And before I give the official intro

(01:07):
and everything, Celeste, thanks for going on this journey with me.

Speaker 3 (01:11):
Thank you. I think it's appropriate that the year anniversary
is the one that I get to be on the
whole episode, So that's yeah.

Speaker 2 (01:19):
I wrote this script a year ago saying that I'm
using the podcast to find the joy in unfettered creativity,
originally setting out to make a podcast dedicated to bringing
awareness and context to movies of any budget, from anywhere
and during any time. I feel like that still generally
holds true despite all of the ups and downs of

(01:41):
Vinegar Syndrome the last year.

Speaker 3 (01:44):
I think that that's an excellent mission statement, and I
think that it is just as appropriate today as it
was when you started.

Speaker 2 (01:50):
Okay, thanks, Yeah, I feel like it's the same way,
you know, because there's I'm looking at the stack of
you know, movies like the Golden Child in Dirty Work
and Stuff, which are amazing releases of these movies. You know,
Jade really like the premier release of these movies. I
guess it's still for the most part, there's some element

(02:11):
of kind of unhinged or unfettered creativity in these movies.
There's something that's kind of binding them all together, even
if they're you know, Hollywood movies.

Speaker 3 (02:22):
Yeah, I think they're kind of maybe not as much
as The Golden Child. I don't know much about it.
I know that Paramount put it out themselves in a
pretty fancy edition, so maybe that's like our one exception,
but I feel like these are still like misfit studio titles,
like ones that maybe other people wouldn't care as much about,
or have a bad reputation or a maligned reputation, or

(02:45):
you know, I just don't know that anyone else would
have put the amount of work into Dirty Work, you know.

Speaker 2 (02:52):
And that's one thing I have to like that Oscar
worked on that one, and like you can feel the
love in that. It's such a good release.

Speaker 3 (03:00):
Yeah, yeah, that's what I've heard. I don't have it myself,
but it's been one of the more consistently praised releases
of the year sort of slipcase artwork aside.

Speaker 2 (03:11):
Yeah, I think if you it's funny. I think if you,
if you take it as a historical document of like
New York comedy in the nineties, it captures everything, like
it has people that were SNL writers for thirty years.
It has you know, comedy directors, it has comedy right,
a ton of comedy writers, actors, most of the living

(03:33):
cast from the movie. It's just a it's a really
cool document of comedy, which which I've enjoyed going through.
But anyways, how has this been for you? Because you've
been on almost from the beginning.

Speaker 3 (03:48):
I mean I think, yeah, I was pretty close, so
I think you did like two episodes before I was like, hey,
we're not doing the adult titles. What's going on there?

Speaker 2 (03:55):
Yeah? Yeah, how's this your for you?

Speaker 3 (04:01):
It's been a lot of fun. You know. I sort
of said this at the beginning, but it holds true
that I really liked doing my Vinegar Syndrome segment on
my channel, but it took like all of my time
and effort and it wasn't sustainable and I couldn't do
it anymore. So to do these releases where I still

(04:21):
get a kind of monthly slate of things to look
forward to. And I feel like this is probably not
actually true, but it kind of feels like I'm the
only person doing this, like actually like watching these movies
and giving them the amount of time and consideration at
this kind of consistency at least maybe I mean, I'm
sure there are people doing it, but it's like the

(04:44):
entire slate every month, like actually going through all the
features and trying to give a thoughtful analysis of them.
It kind of feels like Vinegar Syndrome is blown up
and now this is like the more underrated thing that
they're doing, and it was sort of like overlooked and
unloved sort of thing. And that's kind of where I
gravitate in anything, you know, I kind of want to
see what are people not paying attention to? What can

(05:06):
I kind of shine a light on, What do I
think is interesting that's not getting the credit that it
deserves and I and it's not. I don't think it's
because vinegar Syndrome values these films less, but they're also
like there's less supplements on them, and there's less you know,
as much as I defend these movies, there's less to
talk about in terms of like plot and themes than

(05:26):
like a non pornographic movie, So it's easier on me,
like workload wise, while still being a very fulfilling thing
and a cool thing that I get to highlight. And Yeah,
I feel I feel, I feel good about having created
a little corner of degeneracy over here.

Speaker 2 (05:47):
I love your segment, and I think, you know, I've
heard I've had multiple people reach out and I think
I've passed along most of this to you, but I've
had multiple people reach out and just say that you
are one of the few that is consistently doing like
a respectful and thoughtful perspective on these you know, Golden
age pornographic films, and they really appreciate that. Yeah, because

(06:11):
there's a super rich history in all this as well
beyond the movies, right mm hm. So I love this segment,
And I was actually reflecting on this a little bit
as I was thinking about the fact we've been doing
this for a year. You know, I think we're kind
of kindred spirits in a way, because am I correct
that you came to exploitation and genre films through art House?

(06:32):
Is that right?

Speaker 3 (06:33):
Yes? Yes, Criterion. The Criterion channel was my gateway into
like actually liking movies.

Speaker 2 (06:40):
Yeah, and that's exactly the same for me and so
we I think we share a similar journey in a
lot of ways. I think approach like looking at these
movies with a curious eye in the same way.

Speaker 3 (06:51):
Yeah.

Speaker 2 (06:52):
So I'm very happy to be doing this with you.

Speaker 3 (06:55):
Yeah, me too. I think it's a it's a good
match as well. And I really appreciate you all the
work and money you've put into this and everything and
getting to be a part of it has been a
lot of fun.

Speaker 2 (07:06):
Yes, If Neger syndrome, here's the money part and wants
to send me free releases, I'm wide open to that,
but still happy to be a subscriber for now. Although
they didn't send me the July titles. I got everything
else except for subscriber titles, So I need to fix that.
But I know that there. I know that's just one email.

(07:29):
We'll fix it. I'm not worried about it. Yeah, but yeah,
I you know, I don't know. I'm not gonna do
like a big you know, Q and a with you
around what needs to be better different or anything this year.
I think for me, I'm happy with the way the
first year went. The episode. The listens keep growing for
the most part with each episode, and especially I think

(07:53):
oddly enough, I think people seem to love the longer episodes,
which is an interesting like, I wasn't expecting that the
ones that are simple, straightforward interviews with like behind the
scenes features producers or just quick hour long episodes tend
to produce quite a bit lower listens.

Speaker 3 (08:13):
That is interesting.

Speaker 2 (08:14):
Yeah, and like the mega marathons are like one and
a half times as high. Huh, So it's nothing insignificant.
So I don't know what that means. I don't know
if I have the energy to edit and record three
hour episodes twice a month. Yeah, but we may just
have spikes and that's okay.

Speaker 3 (08:34):
Yeah, people can have a Lord of the Rings extended
cut episode as a treat once in.

Speaker 2 (08:39):
A while, you know, exactly. But yeah, no, I you know,
for whatever reason, I guess, well, I guess because you're
not a subscriber, so you don't get the titles. But
anytime you want to jump onto the main discussion, you're
obviously very welcome, and I just I'm very happy you're
choosing to do this, So I can't wait to hear

(08:59):
them Millie title. And you know, it's funny you say
you talk about the plot and stuff, because I generally
would agree with you and the titles I've seen, But
then every once in a while you get something like
Naked cam as Stranger. Yeah, and I feel like that
movie could be spoken about in the same like that
could easily be a Criterion movie. Almost.

Speaker 3 (09:17):
I feel like, yeah, I'm gonna have a hot take
on that one. But I didn't like it. But that's
my that's my hot take that we'll get to in
this segment later. But I don't know. I was expecting
something different, I think, and it just it got on
my nerves, to be honest with you. But a lot
of those other titles I would I would agree with that.

(09:39):
My Corruption is a really good one, Blonde Ambition is
a really good one. This is not a Malisne title,
but Thundercrack is one that if Criterion put it out,
I don't think they're brave enough, but I would be
so stoked to help that.

Speaker 2 (09:53):
I had just been waiting for them to put out
water Power.

Speaker 3 (09:55):
Yeah, yeah, yeah, you know what maybe they did in
the Realm of the Senses, So maybe I'm not giving
them enough credit. Maybe they'd be cool enough. I don't know.

Speaker 2 (10:03):
So there's definitely people that are. There's a movie on
the tight Criterion channel right now that's called The Tit
in the Milk or The Tit in the Moon. It's
an art house movie, Tit in the Moon. Yeah, but
it's just about lactation.

Speaker 3 (10:22):
Right on.

Speaker 2 (10:23):
So it's like a visitor que double feature type.

Speaker 3 (10:27):
The channel definitely has more maybe leeway is the right
word to uh get more out there like they did.
I watched I was introduced to Herschel, Gordon Lewis, and
Doris Wishman through the Criterion Channel, So I feel like
the channel gives the brand a bit of a permission

(10:47):
structure to branch out a little bit from I don't know,
the tour driven art house whatever.

Speaker 2 (10:54):
Well, on that topic, before we jump into August, a
quick shout out to Sam Degan's podcast Arrols, and she
specifically has an episode with Let's see which what's the title? Yeah,

(11:15):
Clyde Fowley and I think you get it. You get it.
That's a that's a great episode. It's episode nine of
her podcast, but you get a nice glimpse into people
that are kind of behind the scenes there, which is
which is great as well.

Speaker 3 (11:29):
Yeah, that is really cool. The episode I did with her,
which is episode two, is still a very strong candidate
for my favorite thing I've ever done well.

Speaker 2 (11:37):
I would strongly encourage people to listen to that. I
love I love the discussion y'all got into there.

Speaker 3 (11:43):
Yeah, me too. I've been trying to get back on
because she's like the coolest person, but I know she's
really busy.

Speaker 2 (11:49):
Sam Degan is the coolest person. Shout out to Sam.

Speaker 3 (11:52):
Yeah.

Speaker 2 (11:55):
We yeah, I mean, I guess you know. We kind
of mentioned at the beginning thirty work celebration of New York.
I feel like, in a funny way, the August releases
are sort of a celebration of New York as well.
I don't know if it's intentional, Like I don't I
can't imagine they think about it in that way. But

(12:18):
Sergeant Kabuki Man and Larry Fessenden are you know, trauma
and then Larry Festenden with Glass Side Picks are both strong,
strong New York kind of presence. And then I don't
know about play Room. I think that's more of a
Hollywood title. So maybe that's where it ends. But yeah,

(12:38):
I was interested to see they you know, they a
lot of the partner labels focus on New York are
or at least are based in New York. And then
its like they're putting out more and more stuff from
Trauma and festened In and it seems like they're really
promoting the New York film scene, which is kind of
interesting because there's a lot of great stuff from there.

Speaker 3 (12:55):
They are East Coast based, so I guess that makes sense.
It is there is a proximity there.

Speaker 2 (13:00):
Yeah, yeah, yeah, And I'm sure once you know somebody,
you kind of you know other people and there's a
natural connection there. But have you what's your take on trauma?
Like are you have you seen much?

Speaker 3 (13:15):
Yeah? Hm hmm. That's it just a loaded question. There's
like classic trauma, and there's contemporary trauma, and then there's
trauma the brand the like sort of online presence, and
there's sort of politics and everything.

Speaker 2 (13:29):
You know, that's true. Let's not that that's their weakest point.

Speaker 3 (13:34):
I disagree. I think they're I think they're cool. I
think they're out here gunning for left wing values, social justice,
propping up women filmmakers and exploitation. Uh. Lloyd Kaufman is
a good follow on social media. He posts good stuff,
I think, so I'm I'm a fan of them on
that front. I'm a fan of a lot of their

(13:55):
classic titles. I think the only contemporary one I watched
is called what's it called? I think it's called Honor Killing.

Speaker 2 (14:03):
Okay.

Speaker 3 (14:04):
It's a rape and revenge film, I believe, directed by
a woman of Middle Eastern descent, and Asquala Grind did
a song for the soundtrack, which is how it got
on my radar. And despite the objective coolness of everything
that I just said, it was one of the worst
films I've ever seen. So I was kind of like,
maybe that's where they lose me, is their contemporary stuff.

(14:28):
But you know, Toxic Avenger is a classic. Toxic Avenger
two is also a classic. I really like Bloodsucking Freaks,
even though they don't even like that movie Rabbit Granny's
Mother's Day. I mean, they've got some bangers.

Speaker 2 (14:46):
Yeah. Have you seen Tromeo and Juliet? By chance?

Speaker 3 (14:50):
I have not.

Speaker 2 (14:51):
Okay, that was the first that was my introduction to
Trouma was through Tromeo and Juliet, And it's a very
right forward retelling of Romeo and Juliet, but with like
Lloyd Kaufman's you know I Yeah, And there's a scene
in it where this guy gets his head bashed in,
and right before he gets his head bashed in, it

(15:14):
cuts to I think it's a watermelon with a smiley
face on it as the special effects, and I was like, Okay,
I'm in love. I was like, I need to see
more from Yeah is doing this because it's amazing.

Speaker 3 (15:29):
Yeah, there's I was just gonna say, oh, yeah, are
director du Joor James Gunn got his start there too,
and now he's making, in my opinion, the best superhero films,
and Superman is like one of my favorite films of
the year so far. So like they're producing quality talent

(15:51):
in some in some ways, right.

Speaker 2 (15:53):
No, there's real filmmakers there for sure, and they get
a reputation for I think they're almost like you know,
Roger Corman in a way, right because they have a
four right, Like it has to have this much nudity
and I said, this much weird content and like, but
I mean they're they're out there making really I don't know,
like there's a bunch of good filmmakers there. Yeah, yeah, no,
I totally agree. I'm glad James Gunn is getting his

(16:16):
chance he's doing. I think he agree with you. Like
his take in Marvel is some of the most unique
stuff that they made. The Suicide Squad movie he did
was about one hundred times better than the first.

Speaker 3 (16:27):
It's incredible. Like when that, I couldn't believe how good
it was. When I watch that movie, I was like,
that might be thet it might still be the best
like live action superhero film I've ever seen. I couldn't
believe how much I loved it. And then I felt
exactly the same way watching Superman. I was like, this
dude's just got it. He's got the juice. I don't know,
he understands what makes these movies work exactly.

Speaker 2 (16:48):
Yeah, yeah, he gets the heart of it. And I cried.
And I'm a little embarrassed about this, but I cried
during Guardians three.

Speaker 3 (16:57):
I haven't seen the second or the third one, but
I'll one up you a little bit and I'll tell
you that I cried three times watching Superman in a theater,
So there's no need to be embarrassed.

Speaker 2 (17:07):
That's awesome, thank you. But yeah, like he has a
heart and like his movie is work because he has
a heart in them. Yeah, and I think he deeply
has it, like a strong empathy, like he comes from
a place of empathy.

Speaker 3 (17:23):
Yeah, and I think it.

Speaker 2 (17:25):
I cannot wait to see Superman. I've tried a few
different times and the schedule didn't work out for some reason.
But I can't wait to see it because the people
that I respect all have a similar reaction to you.

Speaker 3 (17:36):
Yeah, it's I think it's out of IMAX theaters at
this point, but there's no shifting aspect ratio, so you're
not going to miss too much seeing it in a
regular theater. But I do think you should see it
in a theater if you get a chance.

Speaker 2 (17:47):
Cool. Yeah, but I mean there is you know. One
of the other classic movies from Trauma is actually directed
by Lloyd Kaufman and Michael Hurts, and it's a sort
of throwback to their love of martial arts and action
but done on a trauma scale. And it's called Sergeant

(18:09):
Kabuki Man NYPD. And this was release number five oh eight.
Now they're up to five oh eight. So have you
seen Kabuki Man yet?

Speaker 3 (18:22):
I will just say from the jump I've seen none
of these, so okay, these that should be definitely a
good guest. I should have lots of insightful things to say.

Speaker 2 (18:32):
No, no, no, it's okay. The uh the Kabooki Man
is silly for sure, and it's you know, it's like
a comedy, but I love it, like this is one
of the early ones that I saw because it's like
when you first start getting into trauma. Well, I shouldn't

(18:55):
say when I first started getting into trauma. It was
because the Blockbuster Video that I worked at was an
independent franchise and the store manager was a trauma freak.
So I actually built a trauma section in the store,
which is extremes yeah, extremely rare for a Blockbuster video,

(19:17):
and he would just like recommence them. So he recommended
Tromeo and Juliet, and then it was like class of
Newcomb High, and then it was obviously you know, Toxi,
and then it was Sojian Kabuki Man was like right behind.
And so it was kind of in that honeymoon period
where I was just discovering all this low budget filmmaking,
and then Lloyd Kauffin was doing a tour of the
US at that time promoting a book he wrote about

(19:37):
producing independent cinema. So like, I got his signature and
I got to meet him right around this time, and
he was super nice. It's just like everything was kind
of like it was a very sentimental time for me
of you know, learning to love these crazy movies. So
it's tied up into that. I have no idea if
it's a good movie or not, but I love it
and like, I will defend this movie. Interestingly enough, this

(20:02):
has two cuts of the movie, yeah, and the PG
thirteen cut, and the Refuse Films release of Sergeant Kabuki
Man has a different cut, so it has a third cut,
which was putting it putting it into a wide screen.

(20:23):
It was a fairly recent i think, in the last
ten years. Interesting and the Refuse film's release has way
more special features. It's kind of shocking how many special
features they have, like interviews and is.

Speaker 3 (20:36):
That a newer or older release? No? So okay, okay, Refuse,
So we got another we got another fuck?

Speaker 2 (20:43):
What am I?

Speaker 3 (20:44):
What is the word? Cannibal and musical situation going on
here a little bit?

Speaker 2 (20:47):
Yeah, because so film I like amazing. Yeah, that's one
of the best probably in their catalog, but so Refuse
Films is putting out a trauma line. I forget what
trauma archive is what it's called, So they're gonna have

(21:07):
a lot of overlap, I think. But Refuse is region
B Vinegar Syndrome is Region A, right, that's like the
if you're not region free, then there's no choice like
you do Vinegar Syndrome. I'm just calling out the difference
in case people are debating between the two. The one
thing I will say on Cannibal and I think I
have no idea about this one, but on Cannibal, the

(21:29):
transfer was better on the Vinegar Syndrome release in the
sense of like the restoration and stuff.

Speaker 3 (21:35):
So yeah, it looks like this. I'm looking at the
Refuse one now and it looks like it's blu ray only,
so that might just be a deal breaker in and
up itself. I also like the outer slip case for
Vinegar Syndrome better, but this standard edition artwork I think
is really cool on the Refuse version.

Speaker 2 (21:50):
Yeah, they they're getting the same artists to work on
all the cover art for Refuse. I fucking love that artist, Like,
it's so cool. It's that yellow and black and white, right, yeah, yeah, yeah, yeah,
it's sick. I love that, all right, But I agree
the box for Sergeant Kabuki Man is awesome for the

(22:12):
VS release and.

Speaker 3 (22:14):
Yeah, and then sorry, I didn't mean to interrupt you.
The the Refuse one, it looks like it's the director's cut.
It's exactly the same, but it's just in a different
aspect ratio. So there's three cuts of it. And then yeah,
there's a ship ton of features on here. A lot
of them are pretty short. But so I don't know,
if you're like a real Kabuki Man head, I guess

(22:38):
you should probably get both. Yeah, yeah, I don't think
it could go wrong either way.

Speaker 2 (22:44):
No, And I think what I love about the VS
one is that they're they're making it like a proper
hard slipcase release, so like they're putting a lot of
love into it, so it's gonna be like a nice
beautiful package on your shelf.

Speaker 3 (22:58):
I'm in love with this artwork that insected for the
for the for the Hard Case. I think it's really striking.

Speaker 2 (23:04):
Oh, it's so good.

Speaker 3 (23:06):
If I had to pick, i'd picked this one.

Speaker 2 (23:07):
I think, Yeah, it's really good. And they also have
a book which I love they put together me too.

Speaker 3 (23:15):
They'll forever be my biggest pet peeve that they are
limited edition only, but I know they're great.

Speaker 2 (23:21):
Yeah. Interestingly enough, the booklet for a New leaf Is,
which is a cinematograph title that just came out, has
a poster in it, which is I think the first
time that that I've seen a poster in a cinematograph one.
It's like folded up inside the booklet there. But anyways,
I digress.

Speaker 3 (23:41):
Speaking of Cinematograph, they had a hell on Merch drop
this fun Jesus.

Speaker 2 (23:47):
Yeah, We'll get to that in just a second, because
I don't even like every single month is basically like
the Cinematograph Merch Show.

Speaker 4 (23:56):
Yeah, which I don't mean to sound at in a
negative way. I guess I guess it's selling if they
keep putting it out, but yeah, yeah, we'll get to
that in just a sec. But yeah, like the Cinematic
Void podcast is great, and so I'm excited to hear

(24:18):
them do a commentary on the this on this release
for the VS one. They're They're pretty funny and their
takes are usually well thought up, so I'm excited to
hear them talk about a trauma film. Yeah, but I mean,
like you said, if you're I guess, if you're really
crazy about it, you could get both releases. But if
you don't have a region free player, this is the

(24:41):
only region A release anyways. And it's clear there's still
a lot of love. It's like both both releases look great.

Speaker 3 (24:49):
Yeah, I'm looking at it again actually, and I think
the number of features are pretty comparable. I'm looking at
a lot of bullet points here.

Speaker 2 (24:56):
No, no, for sure they're not. They didn't skimp on
this at all. And the people at VIS like all
love trauma. Well a lot of them love trauma, I know.
So you're going to put a lot of love into this.
So that's five oh a going into five o nine
is so the if I was going to sell you
on Larry Feston. Have you seen anything by him?

Speaker 3 (25:17):
Or I don't know anything about him and I haven't
seen anything now.

Speaker 2 (25:21):
So he's most famous probably like history is probably going
to remember him as the mentor for Ty West, which
is not fair to Larry Festenden, but just like that's
that's when people talk about him. If you want like
a like a cocktail party kind of like stat about him,
you know, like Ty West exists because of Larry Fessenden

(25:44):
and whether or not that's good or bad, like that's
you know whatever, that's a mentor a mentee that got
pretty famous. But he's been making independent movies in New
York forever and I guess forty years and the thing
that he does. So they're going back and releasing his
movies shot on film, because I think he had a

(26:06):
series where he was doing shot on video, but this
is like his very first shot on film release, and
it looks like They're going to be doing more of
his stuff, which I'm excited about. But he loves to
mess with classic horror. So No Telling is his first
movie that was shot on film, and it's a retelling

(26:27):
of Frankenstein. And then Habit is like a vampire story,
and he puts them in modern day modern in this
case meaning the eighties. I guess I think these are
both in the eighties. Oh, okay, nineties, so early nineties,
so it's New York in the nineties. What would a
Frankenstein's story look like? What would a vampire story look like?

(26:49):
And I think he's an underrated storyteller, Like he's a
good world builder. I love his stuff. He's kind of
like I think he's as created his Scooter McCrae, although
until I die, like I'm going to defend Scooter is
probably the most pure filmmaker that of like he should

(27:13):
be up in the upper echelon of echelon of filmmakers
that's discussed and is just the way he's able to
pull a story out and make it real on no budget.

Speaker 3 (27:23):
Yeah, sixteen tons is not a film that I particularly liked,
but it is one that is fairly singular and that
I think about a lot, and that is really impressive, right,
like the resources that were available, you.

Speaker 2 (27:35):
Know, Yeah, and ten thousand dollars. Can you imagine like
anybody making a movie like that. Yeah, And so I
wouldn't say fastened In is there in terms of world building,
but he is. I do think he's an underrated storyteller.
I really like his movies, and he has a very
firm grasp on like how to make a movie and
what people want from a movie. And I think he's

(27:59):
fascinating to listen to because he's kind of like a
professor almost in the way that he you know, he
has this encyclopedic knowledge of cinema and he's got a
very clear vision of what he's trying to do. But
he's also funny and kind of humble. So anyways, a
huge fan of Larry Festenden.

Speaker 3 (28:18):
I'm looking at the Shout Factory release that they did
of his because I know they did a collection and
I think I thought it was more extensive than this,
and it's out of print now, but it has four
films on it, the first two being No Telling and Habit.
So if I had to venture a yes, I would
say that VS is probably going to do a second
double feature in four K of When to Go in
the Last Winter, assuming that those are shot on film,

(28:41):
which I don't.

Speaker 2 (28:42):
Yeah, yeah, yeah they are. They are cool there there
is a very very high percentage chance that those are
the next two coming in. But yeah, I think like
he's I'm just going back really quick, because he did.
He started with No Telling, Yeah, and then have It
and then Whin to Go and then the Last Winter.

(29:07):
What was the other one that you said was in
that set from was it Fear Itself?

Speaker 3 (29:10):
It? Nope, it was just those works.

Speaker 2 (29:12):
Oh it is the Last Winter? Okay, Yeah, and then
he didn't make another movie again for a few years.
I think it was called Beneath and then Depraved that
I haven't seen Depraved yet, but he's unfortunately he doesn't
get funding as much as I feel like he should.
But that's like the core, that's like the crux of
his career that kind of put him on the map.

(29:33):
Wind it goes the first movie I saw from him,
and it's like a sort of a Bigfoot style, like
monster kind of movie. Yeah. Anyways, Yeah, but I'm super
excited about this. I know some people are like, if
if there's a gripe about Vinegar Syndrome this year, it's

(29:53):
that they're doing a lot of studio titles or releases
of movies that have already been put out through someone
like Shot. Yeah, so I guess that's not helpful in
their reputation. And that's.

Speaker 3 (30:06):
Yeah. It sometimes it feels egregious. But like if the
Shout Factory set is out of print and you're gonna
upgrade it, sure, you know.

Speaker 2 (30:16):
That's exactly what I was gonna say. I mean, it's
the four K print Shout Factories sucks. Like sorry if
I like, I'm so pissed at them right now because
you know, you know, they just bought out, so I'm
gonna rant for like thirty seconds.

Speaker 3 (30:32):
You know.

Speaker 2 (30:33):
They just bought out that whole catalog of titles from
Hong Kong, right, and they're releasing them. The first five
movies were the Jet Lee Collection, and they're like Hong
Kong line, right, And it just I got it in
because I was out of town for two weeks. I
just got in, opened up the package. I was so
excited I got this in and it just looks cheap. Yeah,

(30:57):
Like they for whatever reason, you know, like there's a
like a lot of labels will have a like a
stamp that they put on the spine. It's like their
signature and there it's like a their's is like an
HK with a three quarters kind of loop around it
and then a number underneath. So it's like HK one,
HK two, And for whatever reason, they changing the color

(31:20):
behind the symbol on each one. So like it just
it just doesn't look good and it just and the
whole set looks cheap. They have like this kind of
cheap looking gold bar at the top. I'm just pissed
at them right now.

Speaker 3 (31:36):
So I'm I will say Shot Factory, I think, generally speaking,
does a really good job on their transfers and does
a pretty good job on their special features, but their
packaging certainly looks cheap, and their artwork I don't mean
to throw shade at any particular artist, but whoever is
the art director there has the exact opposite tastes me

(31:57):
because I swear everything they put out and like, that's
the worst possible thing I could think of for this.
Like I was looking at that Larry Festing collection. I'm like,
literally I thought his movies were trashy because the artwork
is so bad.

Speaker 2 (32:09):
Yeah yeah, yeah, yeah, yeah. They it's like they, I
don't know, it's like they have a staff artist that
just puts this stuff in Microsoft paint or something, you know, quickly,
we don't know, do something together.

Speaker 3 (32:19):
Their steel books are like I'm actually shocked that people
seek those out, but you know whatever, I just think
they got to step it up in the Year of
Our Lord twenty twenty five, where a nice package is
sort of the main thing for a lot of people.

Speaker 2 (32:32):
You know. Yeah, you know what though, Like it's funny
because I mean I keep buying their shit right well.

Speaker 3 (32:38):
Because the titles are good, I know, you know, It's
like and that's what really matters. You know, but also
also Arrow licensed that whole collection, I believe for Region B,
so if you just wanted to wait like a year,
you could get nicer versions of all of this stuff.

Speaker 2 (32:56):
I am tracking the Arrow to sell out because I
will Arrows the opposite. Like, even though I think their
covers a lot of times are more simple than Vinegar Syndrome,
Like they don't put quite the same effort, they still
look good. Yeah, all right, and.

Speaker 3 (33:13):
They use j cars, which I hate. But anyway, we're
on a tangent.

Speaker 2 (33:16):
It's okay. The yeah excited about Larry Fessenden. I don't mind.
I don't I'm with you. I don't mind the re
release of the Shout Factory set, And I'm happy anytime
something goes off of the eBay, you know, crazy resent market.

Speaker 3 (33:31):
Yeah, I saw the set. The other set is on
Amazon for like one hundred and forty five dollars used,
So I mean.

Speaker 2 (33:38):
There's a joke there's somewhere about how VS is basically
charging that for a new release, but I won't make
that joke.

Speaker 3 (33:44):
Well, I'm looking at the price for fifty six, so
with volume two, that's going to end up what one
hundred and ten so you know, thirty dollars off, you
get an upgrade and a nicer package.

Speaker 2 (33:55):
Exactly. All right, that's five h nine. It's two movies
and five on nine. And then there's a fourth movie
coming out this month as part of the mainline, which
is a movie called Playroom. I saw it as Schizo,
but it's a movie called Playroom, and it's by a
guy named Manny Coto who has been around. He's a

(34:18):
very prolific TV writer and director. He like a Star
Trek writer Dexter's one more interesting show, but he's He's
just somebody who's been around Hollywood forever. Hasn't directed a
lot of movies like feature film films, but this is
one that he did that I've actually been meaning to

(34:39):
see for a long time. You know, we were talking
before we recorded about watching one movie before we joined,
and I was trying to find this so I could
watch it because this has been on my radar for
a while. So I am actually pretty excited about this one.

Speaker 3 (34:52):
Yeah, and now you get to see it in nice,
cleaned up quality, yes, stand in four K.

Speaker 2 (35:00):
I know it's nice that they were able to probably
get the inter negative from the studio. I'm imagining.

Speaker 3 (35:06):
Yep, yep, it looks like we have somebody who was
in the black Room previous VS release that I enjoyed
and Happy Gilmore. Yeah, so that's quite the filmography.

Speaker 2 (35:18):
You know, you would recognize Christopher McDonald. Do you know
who that is by name?

Speaker 3 (35:22):
Uh no, let me google him.

Speaker 2 (35:24):
He's the guy that punches Bob Barker or Adam Sandler
or whatever.

Speaker 3 (35:30):
I've actually never seen Happy Gilmore. Yes, I do recognize
this person's face.

Speaker 2 (35:34):
So yeah, he typically plays like the douchey villain, and
the interesting thing about this performance is he's so VS
actually did this twice this month, once with Playroom and
then once with one of the cinematograph titles. We'll get
to in a second, but they had Patrick Warburton in
a more leading role as opposed to like a straight

(35:57):
comedy kind of role, and then this one where Christopher
McDonald is. He's either like a cheesy dad or a
douchey villain, and it's interesting to see him in more
of like a horror type unhinged lead role and he's
supposed to kill it in this. I'm very, very interested

(36:17):
in finally getting a chance to watch this and Vincent
Skiavelli is just a great face, Like he's just got
a great act character actor face. So anyways, Yeah, I
don't have too much to say about this one. The
features are relatively light on this, but I'm imagining a
lot of the effort went into restoration and actually like

(36:42):
putting out the release. So I don't mind because this
one is fined.

Speaker 3 (36:45):
I mean there's still ninety minutes of special features on here,
so that's more than the feature length runtime.

Speaker 2 (36:53):
That's a good perspective. Yeah, that's true. Yeah, but this
and I'm excited about it, like this is when I've
very much been wanting to see and I think it
I don't think this has ever been even on DVD
if I'm remembering right, Like, I think this is one
of those VHS titles that kind of got lost.

Speaker 3 (37:13):
Nice. Well, there you go, here's your VS. Bread and butter.
For the the people who want the classic shit. You
can order this totally.

Speaker 2 (37:22):
I was actually going to say that, like, you know,
I think if this is one of those months where
I feel like it should satiate a lot of the
old school like classic VS. Fans, because it's like trauma
and then festened in. I guess you could argue that
it's a re release, but still Trauma festened in and
then Schiitzo, which is a pretty fantastic slate. Yeah, all right,

(37:48):
So moving on to some of the like not mainline titles,
the what's it called their sub labels. I'm a little confused.

Speaker 3 (37:59):
You know.

Speaker 2 (38:01):
VSU is typically the one that they put kids movies in,
but this time VSA has one. I guess it's not
technically a family movie. It's got some a little bit
edgier content in it, but it's more towards a family
film than a typical hard cutting like VS action movie.

(38:21):
But it's called Robo Warriors I have. Yeah, I saw
this movie what year to come out? Ninety six? Okay,
so I must have seen it in high school then
I remember it though.

Speaker 3 (38:32):
It's it's a pretty deep cut, so I'm impressed. It
looks like it's a lot two and eighty nine views
on a letterbox.

Speaker 2 (38:42):
Yeah. I think I saw this because I was living
in Indonesia at the time, and this is a movie
that was big in the Philippines, so it must have
made it over there somewhere. But it's like this weird
mix of futuristic martial arts robots, like, it's kind of
all over the place, which makes it really fun to.

Speaker 3 (39:03):
Watch part of a quadrillogy. It would seem maybe they
got the rest of them, hope me.

Speaker 2 (39:09):
Yeah, yeah, yeah, yeah, yeah, I didn't know that. Actually.
So you're saying this is there's four of.

Speaker 3 (39:14):
These according to the letterbox. Yeah. PG. Thirteen four point seven
on IMDb. So you know you got a winner there.

Speaker 2 (39:21):
Yeah, exactly, that's right in the stunt spot for moving.
But yeah, I don't know, I have no idea how
this is going to age.

Speaker 3 (39:30):
Like the last Oh sorry, I'm just looking at the
IMDb page and I was like, that's gotta make sense
that you saw you said in the Philippines.

Speaker 2 (39:37):
Right, well, I was in Indonesia, but it's.

Speaker 3 (39:39):
Like, right now, oh, Indonesia. It was shot in the Philippines.

Speaker 2 (39:42):
Yeah, yeah, yeah this. I think this movie is pretty
big in the Philippines in that time because it was
shot there and stuff. Anyways, and it's characters that were
designed by Stuart Gordon. I'm a huge fan of Stuart Gordon. Yeah, so,
I don't know. Thank you also wrote it. Oh awesome,
I'm intrigued.

Speaker 3 (40:01):
I like this artwork.

Speaker 2 (40:02):
Hold on, I'm sure he's listed as a writer because
I don't know that he actually wrote the screen. I
think he's listed as a writer because he came up
with the idea. It doesn't it doesn't matter, but I
think it was written. But yeah, this is Michael Michael Berlin. Yeah, yeah, yeah.

Speaker 3 (40:23):
Walter Shaw does the commentary, or at least he moderates it,
and he is one of the goats. So I don't know.
I'm intrigued by this release.

Speaker 2 (40:32):
I think the best thing about Walter Shaw is the
points that he makes, like the way that he phrases things.
He reminds me of like a classic journalist, you know,
like the like the old school journalists that were like
literary first.

Speaker 3 (40:51):
I take a lot of pride in my writing and
my articulation, but he constructs sentences where I read them
and I'm like, I should probably.

Speaker 2 (40:58):
Just stop exactly, yeah, exactly, and seemingly off the top
of his head like he's just seems to be a
born writer. So yep, yep, yep, yep. I can't wait
for this to see if it holds up. If nothing else,
Although I'm a little bit it's a little bit weird
as a vs A release, but I think I've given

(41:18):
up trying to to place the sub labels too much.

Speaker 3 (41:23):
You got you just gotta trust the process exactly.

Speaker 2 (41:28):
The VSL title for this month fit. It seems to
fit right in Speaking of like sub labels, this one
just screams VSL to me. It's like a it's a
classic kind of horror film. I think it's from the
Yeah sixty six. It's a movie that was released on TV,

(41:48):
or at least played mostly on TV. I don't remember
if the original release was TV, but it got famous
for uh for playing on TV. And it's got a
lot of classic character actors from horror in it. I
haven't seen it, but it's it's one that I would expect,

(42:11):
like sort of expect VSL to put out like this
one just kind of makes sense to me when I
saw it.

Speaker 3 (42:15):
Yeah, mid sixties sort of b feature with an incredible
back artwork on the slip cover. Yes, and it has
maybe one of the more bizarre taglines I think I've
ever seen. It says we have reserved your coffin. If
you d D while watching, then you might ask what

(42:35):
does d D mean? And then has it has a
thing on the bottom, But so it has the little
asterisk so that I forget, well, you call that lot
of legend or something and it says d D drop dead.
That's so much more complicated than it needed to be.

Speaker 2 (42:50):
And yeah, this one feels like a a William Castle released,
like it feels like it should be William Castle.

Speaker 3 (43:01):
The William Castle of Ewell.

Speaker 2 (43:02):
Yeah, exactly, super excited about this. And I honestly don't
know much about the commentary from Bill and Ashley's Terror Theater,
so that may be a podcast I have to check out.
But Jonathan Rigby is an amazing historian, so I know
at least that piece will be nice, will be good.

(43:26):
The let's see, let's do distrip picks before we get
into cinematograph, so we won't cover this too much because
you'll be going into more depth probably in a month
or two. But this one is a series of movies
from something weird.

Speaker 3 (43:46):
Cat themed, it would see, and I'm excited about this.

Speaker 2 (43:49):
The Fat Black Pussy Cat.

Speaker 3 (43:51):
Yep and Confessions of a Psycho Cat yep yep sounds
like something that I could have written about my own cats.

Speaker 2 (44:04):
I'm trying to find the connection to William Lestig in
this because Bill Stick has an interview on this, which
I'm super intrigued at. M It's possible it was just
released on forty second Street or something, because he's a
bit of a historian, so maybe that's why they pulled
him in.

Speaker 3 (44:22):
Mm hmm, yeah, maybe. Yeah. I was reading a little
bit about this, and I'm a little bit confused because
it's saying that these were films that were recut later
to add more salacious stuff to be to keep up
with the market trends and censorship laws and stuff like that.
So I don't know if that means that there was
an original cut on here that does not have that

(44:45):
stuff that's also included, because then there's also alternate cuts,
original versions and stuff. I don't know. I'm a little
bit confused, but I imagine it will make sense when
I actually start watching it, or it won't or it
won't Yeah, why not?

Speaker 2 (45:01):
But I want to see of these two, I'm more
excited going in. I'm more excited about Fat Black Pussycat
title number one. But also it was I guess when
it came out it was a flop, so they re
edited it into proto slasher movies. The way they're describing
it with nudity and several slice and dice killings. So

(45:25):
that's sold me on wanting to see what they did
with it.

Speaker 3 (45:30):
Okay, yeah, so it has both versions of that, and
then I guess only the one version of Confessions of
a Psycho Cat.

Speaker 2 (45:39):
Yeah, okay, but both movies seem to have been transformed,
so yeah, we'll have to see if they I guess
you're saying they have both versions of the second one,
which is good. But yeah.

Speaker 3 (45:50):
Anyways, Yeah, now on the artwork, They've got my colors,
which I appreciate, but I'm actually not a super big
fan of this artwork. I wish the cat artwork was
on the front.

Speaker 2 (45:59):
The problem is the prison bars look like they were
added in like an eighties game, the video game, like
it's a cheap.

Speaker 3 (46:11):
Edition that they don't even reach all the way. I
don't know, there's something we were going on.

Speaker 2 (46:17):
Here, Yeah, which is unfortunate because on the back they
have the Pussycat art which is great.

Speaker 3 (46:23):
Yeah, you're right, the slipcover artwork is better than the
slipcase like on both of them anyway. Yep.

Speaker 2 (46:33):
So I think I feel like people kind of generally
are distribted picks fans or not. Yeah, I don't know
that there's too much selling that needs to happen.

Speaker 3 (46:43):
But yeah, you're either into this or you're not. I
feel like this is niche even for them. I feel
like like the hardcore stuff has more of an audience
than this. They're certainly interesting. I don't always like them,
but they're they're curios for sure, if you're not outright good.
Like the Flush Trilogy is one of my favorite releases.

Speaker 2 (47:06):
Yeah, that's a really good segment.

Speaker 3 (47:08):
Is great.

Speaker 2 (47:09):
People need to I need to link that as you
mention it, because I was. It was fun to hear
you talk about this. But that's the district BIX title.
So that leaves fourteen cinematograph titles this month. I'm gonna
go out of order. Oh no, no, no, no, that's
that's this works out well. So the Woman Chasers First,

(47:32):
which is now released twenty two And I'm interested in
this one only because it's described as a very like
pitch black comedy starring Patrick Warburton as a shady used
car salesman, and it's supposed to be in the vein
of like the Player from Robert Altman or Barton Fink,

(47:57):
and both those movies are great, and so if it's
anywhere close to any one of those, I probably am
one of the few. But I still think Barton Fink
is the best movie from the Coen Brothers.

Speaker 3 (48:11):
I actually I haven't seen it. I've seen many of
their films, but on that one.

Speaker 2 (48:14):
Yeah, they just really win for it. Like it goes
like there's a scene where John Goodman is walking through
hell and it's all just internal metaphor for like the
pain of being a writer and trying to make it
in Hollywood. But the way they do it, I just
I don't know. I think it's the most perfect scripts

(48:37):
I've ever read anyways, So if there's any relation at
all to the player, which is great where Barton Fink
I'm in And I think Patrick Warburton probably is used
poorly a lot of times. Like I think he's probably
better than he's used a lot of times because he
always plays like the big, dumb jock kind of guy.

(49:01):
He's type cast that way. But I'd be curious to
see him in a real acting role.

Speaker 3 (49:07):
Yeah, I don't know anything about this movie or this director,
and I've actually I'm not the way I'm about to
phrase it seems like I'm opposed to it. I've just
never really watched Seinfeld, so I'm not like a Seinfeld fan.
But it is a movie about a guy making a movie,
which is like crack for this community, right, and the
screen wraps are really gorgeous, So I would like to

(49:28):
at least see this.

Speaker 2 (49:29):
Yeah, yeah, yeah, yeah, But why do you say Seinfild
because of Patrick Warburton?

Speaker 3 (49:35):
I think so it says that that's where he's from.

Speaker 2 (49:37):
Okay, fair enough.

Speaker 3 (49:38):
I don't know if that's literally how little I know
about it, Like.

Speaker 2 (49:43):
I see what you're saying. Yeah, I haven't seen Seinfeld either,
so well, I've seen like a season and I didn't
like it. But I've been told you, yeah.

Speaker 3 (49:50):
I didn't really like it either. I feel like that's
a real hot take. I thought it was fine, and
I am actually a pretty big sitcom person, so I
don't know. It's probably something I need to give another But.

Speaker 2 (50:00):
Well, apparently once it gets to season three, it transforms
into the best thing on television.

Speaker 3 (50:07):
Once you put in what twelve hours, it'll get there.

Speaker 2 (50:11):
Yeah yeah, yeah, what was the one? There is one
though that I have to admit. I gave it a chance,
and I'm glad I did. Oh it's not important. There
is one though, that won me over. So I'm a
little bit more forgiving for things that take time to
warm up, yeah than I was previously. But anyways, the
one that I'm most excited about. So there every once

(50:33):
in a while, as much as it's easy to joke
about Cinematograph releasing too many movies and all the merch
stuff that we'll talk about in just a second, every
once in a while they put out a movie. I'm
just like, God, damn it, I want it so bad.
They did it again. So I love Flesh for Frankenstein
and Blood for Dracula. I should.

Speaker 3 (50:57):
Your Blood for Jacula is like your icon on your Patreon.

Speaker 2 (51:01):
I think it's wait to have a Patreon.

Speaker 3 (51:07):
When you subscribe to mine. That's what showed up. I think,
oh oh.

Speaker 2 (51:10):
Oh, okay, okay, yeah, that wouldn't surprise me. But like,
I love the movies that I've seen from Andy Warhol's factory,
and Paul Morrissey seems to have an amazing sense of
putting surrealist humor into what would otherwise be pretty straightforward movies.

(51:38):
And so I have not seen Mixed Blood neither, which
is Cinematograph title twenty three. But given the fact that
it's directed by Paul Morrissey and has some standard you know,
Warhole Factory superstars like Geraldine Smith, who was in at

(51:58):
least Flesher Frankenstein, if not I can't remember about Dracula.
But it also is the beginning of John Lebizamo, which
is interesting. But yeah, like, I cannot wait to see this.
The sentence that hooked me was it's a characteristically grimy
descent into urban malaise that is often by moments of
gallows humor.

Speaker 3 (52:19):
I was like, done, yep, because that's what any anything.
I'm a sucker for New York City stuff, and like
I think, uh, Paul Morrissey is actually a really great
bridge for the sort of connection that we were describing
earlier in terms of like he's an art guy who
makes exploitation movies.

Speaker 2 (52:38):
True, Yeah, that's wonderful. That's a great point.

Speaker 3 (52:41):
So if you're like needing to bridge that gap, that's
probably a good place to start.

Speaker 2 (52:45):
Yeah, that's a great point because like Flesh for Frankenstein,
I don't know which one you like better, But I.

Speaker 3 (52:51):
Still haven't seen Blood for Dracula, but I love I
love Left for Frankenstein. I thought it was great.

Speaker 2 (52:56):
It's just so bizarre some of the some of the
writing in it. I'm like, holy shit it Yeah. Yeah, anyways,
I love his stuff a lot and shout out to
a friend. If you're not listening to Unsung Horruse podcast,
you should.

Speaker 3 (53:11):
Yes, I'm Erica second.

Speaker 2 (53:13):
Yes, Erica Schultz has an essay in this which I'm
very very happy to hear. She's getting more work and
she's she's the best. Yeah, she is really like her
research is on uh paralleled.

Speaker 3 (53:26):
Yeah, it's it's really good and uh, I had the
great because she's like, it's like a really fun thing
for me when I can find a movie with a
child kill in it that she hasn't found yet and
I can send it to her. And I think that
my favorite instance of that was when I was sort
of tricked into seeing Thunderbolts in the theater because people
assured me that it was good. Spoiler alert it wasn't.

(53:50):
But there's a dead kid in that movie. And I
sent it to her. She was like, you gotta be
kidding me. I kind of watch this ship.

Speaker 2 (53:57):
That's amazing, and actually, I'm just surprised that you were
to find a movie she hasn't seen.

Speaker 3 (54:01):
It's been a couple of times.

Speaker 2 (54:04):
That's crazy, let alone a dead kid movie. I just
am surprised there a movie she hasn't seen at this point.

Speaker 3 (54:11):
Yeah, mm hmm.

Speaker 2 (54:14):
Yeah. I've been pushing her to try to write a
second edition of her of her book because apparently there's
enough movies to make a second volume, which is crazy. Yeah,
you know, as a quick aside, I saw one of
the most fucked up kid movies I've ever seen. Okay,
so you know Limberto Baba, right, sure, yea. His very

(54:37):
first movie that he made on the phone is called
macab Have you seen this? So the plot I just
watched it last night. The plot of this movie is
a woman is I guess, She's having an affair with
a guy named Fred, who becomes important to the plot.
That name becomes important to the plot, and she gets

(55:01):
a phone call that her son was drowned, and while
she's driving home in a panic to figure out what
was going on, her lover gets impaled by a steel
rebar and dies in the car. Okay, And you've come
to find out that the kids in this movie are

(55:21):
like just extremely evil. And it's a true story that
was based in New Orleans.

Speaker 3 (55:30):
That sounds like fun.

Speaker 2 (55:31):
It was a wild time, and I would try to
encourage people to watch mccop.

Speaker 3 (55:38):
Did you watch via some kind of Blu ray release
or just films?

Speaker 2 (55:43):
Yeah, I don't know if there's a I don't know
if it has a region a release, but or if
it's streaming hopefully it's easy to find. But highly highly
recommend my cop because it's just it's everything that people
that would be listening to a show like this would love.

Speaker 3 (56:00):
It's just batch's just streaming on two b.

Speaker 2 (56:03):
Uh perfect and it.

Speaker 3 (56:05):
Has an eight out of ten from our friend.

Speaker 2 (56:08):
Okay, that's good that she's seen. It has two kid deaths,
so it's like it's double it's two for the price
of one. Slight spoiler, okay, So that is it. From
the mainline titles and these sub labels for the month.
I don't really want to spend a ton of time
talking about the merch, mostly just because I don't typically

(56:29):
buy merch. Yeah in general, like not even vs merch,
Like I just don't go to the merch page of
places much. But yeah, there's a lot.

Speaker 3 (56:39):
There are eight pieces of cinematograph merch, which feels a
little excessive, But you know what if people are buying
it and artists are getting paid and Justin's having a
good time playing in the sandbox, like go hard, you know.

Speaker 2 (56:53):
I have to say that that black Oh I just
saw the back. Darn. I don't like the back. But
the front of that black cinematograph shirt, which is the
white font, is pretty.

Speaker 3 (57:04):
It is classy looking. I'm not sure what's on the
back here. I think it's cool, honestly, but I would
like to know what it is. First.

Speaker 2 (57:10):
I think it's a reference to Care's the cinema, but oh,
he's kind here's the cinematograph. That's cheesy, okay, Yeah, anyways, Uh,
there's a lot of merch so if you're a fan
of movie themed socks or water bottles or koosies or.

Speaker 3 (57:30):
I'm a big fan of socks, but I'm not going
to get these because I don't like the colors, which
is unfortunate. But I do like this sticker with the
skull guy on it. I think that's cool. I'll probably
get that.

Speaker 2 (57:41):
Yeah that's pretty badass. Yeah that is pretty badass. But yeah,
that's it. I mean, I know that you're going to
talk about some of the titles. Do you know what
month are you covering? From the Malasi inside? Is it
like February, March?

Speaker 3 (57:57):
I think it's May.

Speaker 2 (57:58):
Oh you're already up to.

Speaker 3 (57:59):
May because they up to June. So I have the
July titles in hand, and then I got to order
the August ones, and then yeah, I think we're at May.

Speaker 2 (58:08):
Well, let's spend two minutes just going through the Malousine
titles from August as far as release goes, since since
we're here. So they have a water bottle that they
put out, and they have outside of destrib picks, which
we've already spoken about, they have two right, Babylon Pink
and then the triple Feature.

Speaker 3 (58:29):
Yep.

Speaker 2 (58:32):
I don't know anything about these, but let's see.

Speaker 3 (58:37):
I guess the first one is Nazi shit because I
see that going on, which is interesting. The Babylonland, Prisoner
of Paradise.

Speaker 2 (58:47):
Oh you're there, okay, Prisoner of Paradise. Oh yeah, yeah,
there's a swastika. Oh quick, quick, tingent. So maybe you
already knew this, but I didn't realize that the swastika
was a very important symbol in Buddhism. Yeah, and maybe
I feel like I should have known that, but it
is all over Bali. I was just in Bali, which
is a.

Speaker 3 (59:07):
Boot yeah, and I was like, what the fucking Yeah.
I think the first time I saw that, I was
in like seventh grade in a museum and they had
a big thing, a big tapestry with a giant Swaska
and me and like the whole class were like whoa.
The guy was like no, no, no, no no. So yeah,
they're different, they're oriented differently.

Speaker 2 (59:28):
But yeah, anyways, so Prisoner of Paradise is okay.

Speaker 3 (59:35):
Yep. It looks like these are all directed by Bob Chin,
which is interesting because the one that I'm about to
review is also a Bob Chin triple feature, the Hot
and Saucy Pizza Girls release, So he does a good stuff.
So I'm looking forward to this.

Speaker 2 (59:50):
Okay, and Hot and Saucy Pizza Girls is funny, right,
it's a.

Speaker 3 (59:54):
It's really good. It's a fun one, okay.

Speaker 2 (59:58):
All right. Well, oh and then Babylon Pink is Cecil Howard.

Speaker 3 (01:00:04):
Cecil Howard and Ron Sullivan. So that's then we got
Vanessa del Rio and Samantha Fox Andrew Gina Spelvin, so
we got a lot of Golden Age royalty all over
this thing.

Speaker 2 (01:00:13):
So this three time award winning masterpiece at Last comes
to Blu Ray, Holy cow, a lot.

Speaker 3 (01:00:22):
Of features on here. That's a lot. Oh and ROBERTA.
Finley shot it. Hell yeah, oh look good?

Speaker 2 (01:00:28):
Yeah exactly. I'm a little bit confused on one thing, like,
based on the description, this feels like it should be
one of the beautiful Mali scene boxes, Like have you
figured out what goes on?

Speaker 1 (01:00:42):
No?

Speaker 3 (01:00:43):
I haven't, But I think that Command Cinema, Yes, Command
Senna is Cecil Howard's label specifically.

Speaker 2 (01:00:52):
So that's why.

Speaker 3 (01:00:52):
Okay, so I think that's just going to be all
his stuff and stuff that he produced. I mean, maybe
they could have worked an agreement to get that the
big chunky edition, but I don't know.

Speaker 2 (01:01:03):
No, I mean maybe it seems like it's going to
be a wonderful release of it. Anyways, it's not really
that big of a deal. But yeah, okay, cool. Well yeah,
so let's thank you so much for making time to
come on. And did you want to do partner labels
real quick?

Speaker 3 (01:01:20):
Oh shit, we don't have to go through all of them,
but I did watch two of them, and then there's
some other ones that look pretty interesting.

Speaker 2 (01:01:26):
I would like to Okay, I'll take a pause and
I will not do that, So okay, So the only
thing left to do would be to talk about some
of the partner label stuff for the month. Let's see,
they have five, ten, fifteen, thanks, hundred six hundred. Yeah,
it looks like eighteen this month or seventeen or eighteen,

(01:01:49):
which is a step down for them.

Speaker 3 (01:01:52):
Yeah, slackering.

Speaker 2 (01:01:55):
But which ones jump out for you? There's a few
that I'll talk about, But are there any here that
I'm about for you?

Speaker 3 (01:02:01):
Aside from the ones that I watched, which I'll say
for the end. I think we had three where the
slipcover sold out, So that would be the Fright Night documentary,
which makes sense as people love that shit, the Canalog release,
which is really interesting. I don't know why this one
took off, but it did. And then the Connie release

(01:02:23):
frees Me, which is actually the one I wanted to
watch the most but I couldn't find it anywhere. So
you know, the school do some stuff is selling out. Yeah,
it's cool that Connie has two releases this month. Big
fan of that. I think the one other than that
that intrigues me the most. Well, there's two Becare's Winter
Kept Us Warm, which I think was described as the

(01:02:44):
first queer film to be screened at CAN. Yes, the
first LGBT film ever to screen at the Can Film Festival.
So that's really cool. And then this Saturn's Core release.
I don't even know how you pronounced this, but it'll
look it's insane and the features are equally insane.

Speaker 2 (01:03:03):
I'm really intrigued by that. Yeah, you covered the ones
that I was going to cover. The only thing is
there's so there's a film about aging. I think this
is a Chinese movie. Korean excuse me, there's a film

(01:03:24):
about aging Korean couples or an aging Korean couple called
My Love Don't Cross That River, which, interestingly enough, I
remember hearing about this when it came out. It is
the most successful or one of the most successful Korean

(01:03:44):
box office movies of all time in Korean.

Speaker 3 (01:03:48):
Interesting, okay, And yeah it looks real fucking sad.

Speaker 2 (01:03:54):
Yeah that's a problem. It's short, but yeah, I think
it's sweet as well, Like I don't think it's I'm
sure it has a lot of but I think it's
sweet and kind of funny as well.

Speaker 3 (01:04:06):
I really like this slipcover.

Speaker 2 (01:04:08):
Slip cover is beautiful. I think that that screams Elizabeth
you yeah, yeah, so I love her art. Did I know?
Surely you know this by now, but you know that
Ryan has that design that he puts out and I
have that arrow video like segment in there, and it
has Michael Kaji on it. She designed that art for

(01:04:30):
that section.

Speaker 3 (01:04:32):
Nice.

Speaker 2 (01:04:32):
I reached out to her because I love her art
so much.

Speaker 3 (01:04:35):
Hell yeah.

Speaker 2 (01:04:36):
So anyways, but I feel like Korea has been They're
well beyond proving that the filmmakers there can tell some
amazing stories. And the fact that this is the most
successful film of all time in Korea, it makes me
very interested in seeing it.

Speaker 3 (01:04:52):
Yeah.

Speaker 2 (01:04:53):
And then the other one that I probably won't buy
right away, but I'm interested in seeing because I've heard
about this before is Pell the Conqueror. This is an
older one. It has Max fun see how when he's
already aging a bit. But it's I think it's a

(01:05:16):
pretty sad like brutal story, like a what's that one
that Italian movie Life is beautiful? Right? I think it
has like those type of vibes a little bit, although
not as funny like it's more of a drama.

Speaker 3 (01:05:30):
So Yeah, we've got a story about impoverished immigrants and
it's one hundred and fifty minutes long, so that should
be a rip roaring good time. Yeah, in the current year.

Speaker 2 (01:05:43):
Yeah exactly. I think it's a try before you buy
for me, but I do want to see it.

Speaker 3 (01:05:47):
I mean, at one hundred and fifty minutes, you might
as well. If you're going to be spending time, you
might as well make a good quality right, well, I mean,
when are you gonna watch that again? You know?

Speaker 2 (01:05:57):
Yeah exactly. And then I am a fan of whatever
vh H fest puts out. I just I love their curation.
So I have not seen any of their movies ever,
but I do want to call out permanent damage, which.

Speaker 3 (01:06:15):
Is you haven't watched any of them yet?

Speaker 2 (01:06:17):
No, no, no, sorry. What I mean is I've never
seen them before.

Speaker 3 (01:06:22):
Yeah, yeah, yeah, that's kind of their thing. Yeah, they
find they really dig deep, Yes exactly. The Cornshucker is
my favorite that I put out. I fucking love that movie.

Speaker 2 (01:06:32):
Unbelievable. If that was somebody showed that to me and
said it was an early David Lynch, I would completely
believe them. Yeah, it's wonderful. So you've seen some of these, though,
do you want to.

Speaker 3 (01:06:47):
Talk about Yeah, I wanted to come a little bit
prepared and not just kind of riff. I did watch
a couple of these. I saw. The first one I
saw was I watched both of the IFC films releases,
so I watched Breaking the Girls. I wanted to watch
this one, one because it was easily accessible to me,
but two because it's directed by Jamie Babbott, who directed
But I'm a Cheerleader, a certified queer classic and one

(01:07:09):
of my personal favorites. Okay, it's also written by the
screenwriter for American Psycho. So I'm like, this has to
be at least interesting, right, It's fine. It's not good.
The obvious straight up, it's not good. It's not terrible.
Like people really don't like this movie. And I was

(01:07:31):
excited to come on here and be like, Nope, they're
all wrong. This is a banger. But it's not that good.
It's like if Strangers on a Train. It was a
Lifetime movie about lesbians. So there's your elevator pitch. I
guess if that sounds at all intriguing to you, it's

(01:07:51):
probably worth a watch. Oh and then like mixed, it's
it's also like an erotic thriller. So you know, let's
say Strangers on a Train meets Wild Things as a
lifetime movie, and that's what you get. Okay, okay, it's
similar to Wild Things and that the script isn't very
good and there's like way too many twists and it's

(01:08:12):
like just too much. Yeah, it's it. It looks kind
of hideous, Like the aesthetic is not good. It's very
like early two thousands TV movie. Like when I was
watching it, I was like, what year is this? Is
this like ninety seven, maybe like two thousand and three,
it's twenty twelve, which is insane. It's insane. It's that

(01:08:32):
you know recent I don't know. It's real trashy, like
if that's what you're in the mood for. If you're
like I don't know, on a Gossip Girl binge and
you're like I need more trash, like, you know what,
this would be a good one. So and there's a
commentary with the director, I'd certainly be interested in hearing it.

(01:08:54):
But yeah, this is a curiosity for sure. I don't
love this slipcover. I think the stand under art is
probably better. But that's my quick review on that not great,
but it is a thing that exists, and I'm kind
of glad that it does. And the other one I

(01:09:15):
watched is Young and Beautiful, which similarly has a confusing
slipcovers to me, but I thought this was great. Oh
it's the same slipcover designer. Hopefully she doesn't take my
comments personally. I actually like this one. I just don't
see how it connects with the film. But this is

(01:09:37):
about a It's a French movie, and it's like definitely
a capital F French movie. It's about a seventeen year
old girl who becomes a full service sex worker and
is kind of like living with her family and like
hiding that and kind of I don't think I want
to describe more than that, because I think the inciting

(01:09:59):
incident as a happens pretty far into the movie. But
I actually do think that this is a really kind
of non judgmental and interesting and very compassionate and well made,
well written, well shot, well acted film about adolescent girls,

(01:10:19):
and like the what it would be like, it does
explore this concept in a way that I think is honest,
but without like the characters in the film are judging
her for it. But I don't think the filmmaker is
judging her for it. It's interesting to see. Well, maybe
that's spoiler territories, so maybe I won't say anything about that.

(01:10:41):
But I like the interpersonal dynamics that this character has
with her clients and with her family members, with her friends.
I just think it's really compelling and well put together,
and I'll probably end up picking this up at some point.
There's a commentary from Alexandra Hillary Nicholas which I would
love to hear her break this down one of the ghots. Yep, absolutely,

(01:11:05):
So that's an easy recommend for me.

Speaker 2 (01:11:09):
You know, Actually you've sold me on getting this because
I didn't realize that France Wilson directed this.

Speaker 3 (01:11:13):
Have you seen some po No, I haven't.

Speaker 2 (01:11:16):
I would highly highly recommend It's it. I didn't realize
France wils On had a thing for like slightly underage girls,
So that's troubling.

Speaker 3 (01:11:26):
You know what, Maybe we'll just leave that alone and
not look too much into that one. It's It's it's
something's in the water in France. I don't know what
to tell you.

Speaker 2 (01:11:34):
You like it, but but swimming Pool is probably one
of the best. Like Hitchcock's style, movies that was not
even by Hitchcock. It's just a tremendous thriller. Yeah, and
very well acted and beautifully shot. Yeah, so he's a

(01:11:57):
he's a very good filmmaker.

Speaker 3 (01:11:58):
Actually, yeah, maybe he has a daughter and so he's
just he's just using these films as exercises and empathy
and he's not a weird creep. I'm just gonna hope
that that's what's happening.

Speaker 2 (01:12:10):
We'll go with that.

Speaker 3 (01:12:14):
Yeah, I don't know like the film itself, Like the one,
at least the one that I watched, it didn't feel
creepy or prurience really at all. I mean it is,
you know, there are it is a lot of sex
in it, and it is pretty frank about the amount
of nudity and stuff, But I don't think it is
particularly titillating or erotic per se. I think it's shot
very neutrally.

Speaker 2 (01:12:35):
I think that's a good summation of swimming pool as well.
Like it never looked, it never feels like he's lusting
after this teenage girl just for the sake of it.
I don't know. Dangerous territory, but.

Speaker 3 (01:12:57):
The friends are not beating the allegations I'll just.

Speaker 2 (01:13:00):
About they're embracing them. Oh but yeah, cool, I'll pick
this one up as well. Actually I didn't realize he
was directing it. Although once you look at this the
standard cover, it's all over if his name is all
over it. But well, c Leste, I think that is

(01:13:20):
a wrap. Thank you so much for joining this and
here's to another good year.

Speaker 3 (01:13:26):
Yeah. Absolutely, thank you for having me both today and
in general on this program, this radio program. I appreciate it.

Speaker 2 (01:13:37):
Of course. Well, yeah, I guess I'll can't wait to
hear what you say in fifteen Minutes with You, and yeah, talk.

Speaker 3 (01:13:44):
Soon, talk soon.

Speaker 5 (01:13:49):
Okay everyone, Hello, welcome back to Fifteen Minutes with You.
This is the segment where I review all of the
new titles on the Maluscene site. So we have three
titles to go over today. We're going to be going
over the May titles. They didn't put anything out for June,
and I have the July titles, so I'll be doing

(01:14:11):
that hopefully by the next episode, so then we'll be current.

Speaker 2 (01:14:14):
Finally.

Speaker 3 (01:14:15):
That'll be nice.

Speaker 5 (01:14:16):
Okay, let's just kind of let me start with my
hot take first. So the first one is Naica came
the stranger. This is the E mail you scene proper title.
So the Maliu scene line itself has been a hit
rate of about one hundred percent for me so far,
and I kind of thought I would just collect the
whole line, but this is their first miss for me, unfortunately,
and I'll probably be selling this, so I guess I

(01:14:37):
won't feel any pressure to keep a complete line if
I'm getting rid of this one, right, So, I think
that the backstory behind this is actually way more interesting
than the movie itself. It's essentially based off of and
by the way, I'm getting most of this information, all
of it actually from the audio commentary and the essay,

(01:14:58):
both done by Ashley West. We also report consistently my
north Star in terms of information on this sort of thing.
But essentially this was based off of a book that
was written at the height of like sort of pornographic
novels being sort of popularized and taken seriously and what
have you. And there was an author who was like

(01:15:19):
fucking not about it. It was just like this shit sucks,
I hate all of it. It's time to expose you
people for liking trash. And he basically commissioned like fifteen
of his favorite contemporary writers to produce a chapter based
on like one shared premise, and he wanted it to
be as bad as possible, and then he wanted to

(01:15:39):
release it under a female pseudonym, and then I guess
the idea would be that people would say it's good,
and then he could be like, haha, Goshi dish. That's
what happened. It was really popular and people liked it,
and then you know, he was like, got you. I
was right, But then it didn't really I guess have
the intended effect because there were many copycat novels, and

(01:16:01):
Naked Came the Blank became a sort of formula for
a winning dirty book, right or a popular dirty book.
And the guy even wrote a book about his experience
doing this, so you know, it was a hoax where
I guess everybody got to profit and coast off of this, right,

(01:16:21):
And then of course the film adaptation was inevitable. It's
apparently not super close to the book, but yeah, I
don't know. It's a pretty standard premise where this woman
finds out that her husband is cheating and so she
goes on a shooting spree of her own. That's kind
of it. Yeah, I watched this with a friend of mine.
We've watched these types of movies before, and I was like, ooh,
I'm excited about this one edition to be a really

(01:16:42):
good one. This is Radley Metzker's is a Melu scene release.
Like all signs are porting to this one being a
fucking banger, right, Have you watched it? And I just
I just didn't like it. I didn't think it was
very good. I just got to be honest about that, Like,
I think it's interesting. I think it does interesting. I
think it takes big swings. There's two scenes of particular

(01:17:05):
that are noteworthy. I think there's one where a London
style double decker bus is driving around Manhattan and there's
like a sex scene on the top floor level of
that bus and they you know, they really shot that
driving around to the ship, so that's a cool scene.
And then there's one where there's a whole section that

(01:17:28):
is shot like a silent film, complete with title cards
and everything else. So but I don't know, I just
I gotta be honest to the I think the script
is bad like that. Actually, the cinematography and everything is fine,
but I just found it to be kind of grading.
To be honest, there's this one character in particular that

(01:17:49):
calls herself little Love Buddy and calls her lover Big
Love Bunny, and they do it constantly, and it really
gotten out my nerves. Like halfway through the first and
there's like three scenes of them doing this. Yeah, it's rough.
I don't really remember what else bothered me about it,
to be honest, but what else about it bothered me?

(01:18:12):
But like, I don't know, I just didn't get anything
out of it. I just didn't think it was very good.
And I've liked all of Radley Mesko's other films that
I've seen so far, so it was really disappointing. But
this is not where I would recommend anyone start with
this genre or this label or this director. But I've

(01:18:33):
heard nothing but good things about it from other people.
So I really am just on an island with this one.
And I'm not really sure what the disconnect is, but
in any case, it is what.

Speaker 2 (01:18:42):
It is.

Speaker 5 (01:18:43):
Not my favorite, but what can you do? The release
itself is good, you know, as it usually is. The
booklet in particular is excellent, so I don't imagine, let
me double check. I mean, it's a liner note booklet,
so you actually might get it with the with the
standard edition, and so wow, okay, actually, you know what,

(01:19:06):
the Stereoid edition is only five dollars cheaper. I thought
it'd be more than that with the amount of packaging.
That's all this thing. I gotta say. As good as
the meal using packaging is in terms of its aesthetic,
it's not particularly functional. You have to get through like
four layers to get to the actual disc. But yeah,
they're cool looking. So I don't know, I guess let
me know if anybody has a standard edition if it

(01:19:29):
comes with the booklet, because that's really the reason to
have this. In my opinion, it's really just excellent. Speaking
of great booklets, next is a quality X release. This
is a Girl's Best Friend. So this one actually has
really beautiful slip cover artwork and I was just like
looking at it before I watched it, and I was like,
you know, I like, even if I don't really love this,

(01:19:49):
I'm gonna keep this because this artwork is so good.
But I don't know, honestly, I watched it. And here's
another one that I just didn't super get into, Like
I liked this one better, but I don't know, I
just thought it was kind of born. I didn't think
there was much going on with it, and really the
best thing about it is how it looks. Also, it's
highly incestuous, so there's that too. That could either be

(01:20:11):
a positive or negative depending on who you ask, But
it is noteworthy. But it looks gorgious, I'll say that.
Like it's shot in this really soft focus sort of
lighting and colored raide and the cinematography it really is
like highly professional and really beautiful. The story is just
kind of about a jewel heist sorted deal, but it's

(01:20:33):
kind of hard to follow in my opinion, and like
the sex scenes are kind of sloppily insertive, no pun intended,
I don't know. I didn't find the narrative to be
very compelling or easy to follow. And oh there's also God,
I guess these releases are just doing things sexually that

(01:20:57):
I find repulsive, So that actually does effect to my
enjoinmas of the films. Right, there's a scene where the
guy is really into food and so they're like eating
while they're having it's so gross to me, Like I
think that I find it's so repulsive and it just
it was really it went on for a while, and uh,

(01:21:17):
they were.

Speaker 3 (01:21:17):
Really utilizing it.

Speaker 5 (01:21:18):
You know, they weren't like kind of Ooh, I'm really
into food. Let me put some whipped cream on your nipples,
or like you know, let me let's do this like
with food around or like you know, I'll just like
eat and then we'll have sex. It's like, no, no, this
dude's fucking eating like in between, like he's he's like
eating pussy and then he's eating food and then he's

(01:21:40):
like making it. It's just it's so gross to me.
But that's a personal thing. I will say. The audiocoms
haary is fine. I think you can probably skip it
and instead just read the booklet because a lot of
the audiocomms heary is repeated information from the booklet. I mean,
you know, the commentary is good too, and if you're

(01:22:01):
really into this movie, you'll probably want to do both.
But Glynn Kenny is who does the audio commentary and
the booklet, and he worked as a f paight on
this film actually and what else. Uh, Yeah, he's like
a respected film critic. He works for like the New
York Times and shit, he said, I was in a
Wikipedia article and he was doing this back in the day,
which is pretty cool.

Speaker 2 (01:22:23):
I think.

Speaker 5 (01:22:25):
It's really good. It's really well written, it's really funny,
and it's insightful. So I don't know, I don't not
recommend this. It just didn't do a ton for me.
And I'm probably gonna get.

Speaker 3 (01:22:35):
Uh pass us on along as well, But I don't know.
I am looking at this artwork and it really is gorgeous.
It's just very classy looking, and it is kind of
a classy affair, you know, as far as these things go. Okay,
And the last one is the Pikarava triple feature. These
are three features from director Bob Chin. We've got Hot

(01:22:56):
and Sauce and Pizza Girls, Hot Legs, and California Jigelow.
Let's start with the a feature and the clear winner here,
Hot and Saucy Pizza Girls is a banger.

Speaker 5 (01:23:06):
Essentially, this is a film about a pizza restaurant where
the toppings that you order correlate to the sex acts
that you want, and then the delivery girl shows up
and you know, delivers your order essentially, right. You can
also order a sausage pizza and then you know one

(01:23:31):
of the male staff will show ups. That's fun, It's
really fun. It's it's very like narrative heavy, and like
it does a good job in being funny and interesting
and just a good time. I think that this is
a fun one to watch with friends, if you have
friends that are cool like that. I did watch this
with a friend of mine and we had a lot
of fun with it. And actually at the end they

(01:23:53):
I told them about the shirt that they printed this
and they're like, kind of love that shirt. So it
might be passing along shirt at some point here. But yeah,
this one's a blast.

Speaker 3 (01:24:03):
I really enjoy it. It's also kind of just insane.
There is a character entitled the Chicken Rapist, and that's
really all I'm going to say about that. If that
is enough to be like, Okay, I'm out with this,
that's fair. It is, in fact what it sounds like, Well,
maybe I shouldn't say that. He doesn't rape chickens. Okay,

(01:24:25):
it's a guy who's dressed like a chicken who is
raping people and it is like played for laughs, So like,
you know, that's not super great and that could be
particularly upsetic for some people. So I guess there's your
tuder warning. And like if that doesn't sound.

Speaker 5 (01:24:42):
That sounds a bit tasteless to you then, you know,
fair enough. But I enjoyed this a lot, so I'm
honestly surprised that this didn't get like a full treatment,
like a full Malu scene release or like a like
a four K Piterama thing. But no, it's just it's
tucked in a triple feature. So it is what it is, Okay,

(01:25:05):
hot lights. This is pretty light on actual plot, but
it's essentially about a uh business that is creating this
like new type of like lingerie, like tights that you
can kind of wear out in public, such that you
could hike up your skirt and it would be fine.
I guess it's the idea. You know, we're showing off

(01:25:27):
the legs. I guess it is the idea there. And
so it's just kind of like I guess, following along
with the staff of this agency or whatever. I said,
Like there's not a lot going on plot wise, but man.

Speaker 6 (01:25:38):
This one looks the best out of all of them.
Like the cinematography of this is stunning, like the uh
lighting and the sets, the colors, it's just beautiful, and
it's just like so it's just so fun to watch,
even if nothing's really happening, you know.

Speaker 5 (01:25:52):
So that's really all I have to say about that, Like,
I just think it's great and it just it's a
very easy watch. It's I don't know a lot of
craft going on here that I really appreciate. And then
the final one is California Jigelow. I believe all of these,
maybe not the second one. I wasn't gonna say they
all star John Holmes, but I think Hot Legs might not. Okay,

(01:26:14):
California Jiggelow, It's what it sounds like. It's about a
guy who is a jigglow and just goes to his
various appointments. There's some fun scenarios that play out here.
He's like a window cleaner at one point. And you know,
this is the one that I maybe likes the least
out of the three of them, but it is still
a fun watch. And I think this might be the

(01:26:34):
strongest triple feature of the Pikarama wads that I've watched
so far. So I really enjoyed this. I think you
should give it a go. This is probably a pretty
good starter pack for this sort of thing if you're
looking for an entry way, as it were, I think
it's worth it just for the first one. Honestly, and
you get three movies on this as usual. There's no

(01:26:56):
special features, but that's okay. Again, I am a little
surprised that Pizza Girls didn't get its own release with
special features and everything. But pick out a shirt so
you know it's clearly love for this title. Yeah, quick, antecdart.
This is my second time technically seeing this movie. The
first time I watched it was with somebody I was
seeing at the time, and we started having sex like

(01:27:18):
fifteen minutes into it, and so I was just kind
of it was just kind of on and I was
kind of taking it in very not focus, and for
what I could see, I was like, that doesn't sailing
much happens in this movie. This is like kind of
not that good. So glad I was wrong watching it.
It actually is pretty plot heavy and a good time
all around. So okay, I'm looking at my timer and

(01:27:41):
before editing, I've hit my fifteen minute mark. So I'll
just have to bid you all ado and see you
on the next one. On fifteen minutes with you. That
sounded really cheesy because it rhymed, but cheesy like pizza Okay,
that's it, I'm done, thanks, so I'll see the next time.

Speaker 1 (01:28:47):
Thank you for listening. To hear more shows from the
Someone's Favorite Productions podcast network, please select the link in
the description.

Speaker 7 (01:29:00):
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

(01:29:22):
professional wrestler. Subscribe to the Force five podcast and you
won't just be a listener, you'll be a list nerd.
The Force five podcast available wherever you are listening now

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Episode 24 - Celebrating a full Year of PV! With Celeste de la Cabra

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.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 24 - Celebrating a full Year of PV! With Celeste de la Cabra