Episode 8 - A Dangerous Place - The PM Entertainment Podcast

Episode Transcript
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Speaker 1 (00:00):
You have had the entertainment podcast.

Speaker 2 (01:00):
Hello, and welcome to an all new episode of the
PM Entertainment podcast, the show that gets as giddy as
a schoolboy who had to infiltrate a gang headed up
by a chubby Corey Feldman looking like what might happen
if seventies Elvis was a teenager because he killed my
brother and I must avenge his death in the form
of a local tournament.

Speaker 1 (01:18):
Of martial arts.

Speaker 2 (01:19):
At the thought of talking about those purveyors of fine
nonsense and superior action for an all too brief, glorious
spell of the late eighties and the decade that followed,
I refer, of course, to the power duo of random
yet somehow brilliant casting, glossy night shots and breakaway windows.
It's Rick Peppin and Joseph Mary of PM Entertainment. I'm

(01:41):
your host, John Cruss, and don't forget. If you like
the show, please remember to rate and review us on
any of the podcasting platforms that you use. In fact,
I recently just put out a social media post that
lists all the podcast platforms that you can actually rate, review, comment,
like all that stuff on because you can't on all
of them, so please refer to our social media for that,

(02:01):
and obviously, if you want us to go from strength
to strength, we promise that as the show grows, we
will grow. I think I put in that social media
post yesterday that we are looking to do merch, we'd
like to do more video content, et cetera, et cetera.
There's some stuff we'd love to do, but we need
the show to really take off. It's doing pretty well
right now, but you can help us by rating, reviewing, liking,

(02:26):
sharing our Facebook posts, commenting and all that good stuff,
and don't forget. You can always contact us via our
email pmpod at gmail dot com, p M E n
T Pod at gmail dot com, or call us if
you wish and leave us a voicemail at three four
seven sixty six nine zero zero five three. That's three

(02:47):
four seven six six nine zero zero five three. Well,
this week we're in all new territory for me as
we plunge, prepared as ever and yet never sure exactly
what we might get into. The PM entertainment subgenre known
as Ted Jan Roberts World. The world right now might
seem like a dangerous place, but it was none so

(03:09):
dangerous as when PM entertainment thought let Slam Karate Kid,
with which it also shares the shooting location of the
Cobra Kai Dojo rad stand by Me and no retreat,
No surrender into some kind of giant vat. Add a
dash of felldog here, a soupson of martial artigue, there,
a smattering of eron gray and an unnecessary dollop of

(03:29):
Dick van Patten, and then serve it up on a
bed of gorgeous Ken Blakey cinematography and the luscious synth
orchestral horror movie soundtrack stylings of Jim Halfpenny. Was the
film a tasty treat for the senses, a gut rotting
mixture of madness, or just a dangerous place from which
we hope to extricate ourselves from. Well, you will have
to listen to find out. It's from nineteen ninety four.

(03:52):
It's directed by Jerry P. Jacobs, who is best known
as a second unit and assistant director on many PM
flicks from CIA Code Name Alexa through to Lion Strike
or Ring of Fire three. It's written by Sewan Dash,
who started his life with Joseph and Rick writing The
Newly deads for City Lights. Entertainment, which is out now
on Blu Ray from Terror Dash Vision dot Com.

Speaker 1 (04:15):
Go pick that up? And who now seems to.

Speaker 2 (04:17):
Make the kind of natural disasters, prehistoric monsters, and true
crime documentaries the clutter up cable channels and random third
tier streaming sites because seemingly people can't get enough of
how horrible everything is and has always been. I wish
there was a cable channel that only played PM entertainment movies.

Speaker 1 (04:34):
Am I right? Can I get a whoop?

Speaker 3 (04:36):
Whoop?

Speaker 1 (04:37):
Anyway? The martial arts and fight choreography is from the
wonderful and legendary art Camacho, and the stunts from Cole S. McKay.

Speaker 2 (04:44):
The soundtrack is by Jim Halfpenny, who is the composer
for Quiet Fire, Bikini Summer two, The Magic Kid movies,
No Escape, No Return, Skyscraper Riot, Little Bigfoot two, The
Journey Home.

Speaker 1 (04:56):
That's my personal favorite, running Red.

Speaker 2 (05:00):
The PM force is strong with this one, and while
not a PM film, it's already been mentioned before on
the podcast, and so I love it when something keeps
coming up like a bad Penny, or maybe a bad Halfpenny.
See what I did there? That's right, Old Jim here
also did the score to zipper Face. That's right, answers
in an email, how zipper Face came up before on

(05:22):
the podcast? And maybe I'll send you a prize, or
maybe I won't. It's a turbulent time anyway, it's a
dangerous place, and it stars the elusive Hermit, king of
the disappearing act but martial arts child prodigy who I
can't help think could have had a wonderful career because
he's not that terrible, and who lists his other works

(05:42):
on IMDb as TV commercial for Milton Bradley's Simon.

Speaker 1 (05:48):
Ted Jan Roberts. All right, our guest.

Speaker 2 (05:51):
This week is a returning champion, a Moxie fanatica main
native of Philly, fan and dweller and educated ruminator on
all things action, A swashbuckling archaeologist of forgotten and questionable
films from the video store era and the bowels of
obscure streaming sites. A blogger, a podcaster, a damn fine fella,
and of course, a monocle wearing velveteen robe, having pinky

(06:15):
finger raising while drinking teaing direct to video connoisseur. He
may have a French name, but I assure the warry
out there he is most definitely American. He's the one,
the only, and really you wish they were a lot
more like him. It's the fabulous Matt Piria.

Speaker 1 (06:30):
Sir. It's a joy to have you back.

Speaker 4 (06:32):
Thank you. I'm excited to be back as well. Thank
you for that. Thank you for that great introduction. I
appreciate that.

Speaker 2 (06:38):
What about that introduction, sir. There's a lot going on
with this so, as you have been on the show before,
I no longer need to ask you your credentials for
PM Entertainment because anyone can go back and listen to
the previous episode we did with you. So let's now
talk more about you, sir. Let's talk about the Director
Video Connoisseur show and blow that you've been doing low

(07:01):
this many years. Also, let's talk about the novels you write.
Let's just talk about you in general. So and see
how it's all going. What have we got coming up
on the DTV connoisse In either what have we had
happened and what have we got coming up in the
in the future.

Speaker 4 (07:17):
We Yeah, I mean, so you were on recently for
fantastic episode one that it had so much material that
I was able to cut it into two episodes, So
I recently released the Bedroomise one and two. Kind of
the main you know, conversation that we had, which was
just absolutely amazing talking about Kip Gilman wings Houser, our
plan for what the sequels would be, where you came

(07:39):
up with probably one of the best ideas, and so
the whole thing for a movie. Two movies that really
did make a lot of sense. We had a lot
of fun trying to make sense of them. So it
was a great episode. But then the extra stuff that
we had, I mean all kinds of stuff that was
in there. We had bits on on crazy guys at
the bar, You've got a great email spam email for

(08:02):
somebody who wanted to be on your show, which was fantastic,
And then I mean, like like the video store conversation too,
so we're you know, we'll definitely plug up the kind
movie vault, your your your video circus. We mentioned that too,
and a great hipster in Brooklyn who gives it to
a reporter who mentions blockbusters. So a lot of really
fun stuff there, and it's like, you know it, it
just kind of worked as it, you know, as its

(08:23):
own episode, So that that'll be coming up soon. Yeah,
so people should definitely, you know, uh, you know, subscribe
to the podcast because like you've been on, we we
go try to go weekly, and we have all kinds
of fun conversations that we've you know, about about these
kind of movies.

Speaker 2 (08:36):
Yeah, and I feel like if if people love PMN payment,
then there is so much in your show that they
would love if you want sort of further listening or
homework or whatever you want to call it. Uh, you know,
we've we've talked since your Roth Throck movies. We've talked
on the Dragon Wilson movies. I know that you've been
on with the come Uppins guys who were on our

(08:58):
show for the first episod, so talking about the Sweepers.
So yeah, I mean it's it's a lot of the
same kind of stuff. I've got to imagine that if
you are aware of pm entertainment, you're aware of all
that kind of straight to video action stuff from the
eighties and nineties, and that's your bread and butter, along
with obviously you know, eerotic thrillers and sci fi stuff

(09:19):
and another sort of tangential director video genre.

Speaker 4 (09:23):
Yeah. Well, so what happened was that when I started
the director video connoisseur, which one of the things I
learned very quickly is that connoisseur takes a lot of
work to spell. I mean kind of like what you
were talking about the ascot now thing. I wanted this
image of like an alistair Cook type but only watching
doff Lndern movies. That was what the joke. But then
it was two things. One was the fact that it
was hard to spell, so when I would have to
tell people the name of the site, it would take

(09:44):
a long time spell it. But the other thing is
that angry directors when I when I killed their movies,
would would make some crack about me being a connoisseur,
like I wasn't doing it tongue in cheek. They'd be like, oh,
you're a mister connoisseur. Well you know you missed it
or whatever. So so that was the other piece about
me being a connoisaur. But you know, originally it was
supposed to be all genres. And then what I discovered,
and I think it's kind of similar to with the

(10:06):
PM podcast as well, is that there aren't a lot
of people talking about low budget direct to video action
and so like for example, if I posted a horror movie,
it would be in this ecosystem with dozens of horror
blog sites. Whereas for the action stuff, as I posted
a PM entertainment movie, people will be like, hey, you
got to watch this other PM entertainment movie with Gary Daniels,
you know, and they were just so excited to see

(10:26):
that kind of content. That the genre is kind of
skewed it kind of the whole site kind of skewed
into being more action. I am trying to get into
more other stuff that's like, you know, you coming on
to tak erotic thrillers. I think erotic thrillers were a
big part of why I got into direct to video stuff,
and so I'm kind of doing a little bit more
of that stuff. But the action bread and butter is
always going to be there. And I mean entertainment, I mean,
I'm I've done about forty seven PM films on the

(10:48):
site so far, and I want to try to get
as many as pot I mean, you know, I'm not
playing on stopping anytime soon.

Speaker 1 (10:52):
So no, no, exactly, exactly, And no, that's that's why
I like the Payment Sayment podcast. It lives in the
suitet ecosystem. A lot of the same guys, whether it's
exploding helicopter, bulletproof, action, you guys, the Action Elite, my
new friend Charlie Chase, who was on the Zero Tolerance
episode from the Give Me Back My Action and Horror

(11:15):
Movies podcast and the B Action podcast, which is part
of that same feed. So it's nice.

Speaker 2 (11:22):
I feel like we are again we're not trying to compete,
We're trying to collaborate. We want all those guys to
come on here in the same way that they do
with you, come up and reviews. Of course everyone should
be checking out, come up and reviews, I mean really
come up and reviews and your site. Between the two
of them, if there is a B movie, action or

(11:44):
you know, thriller genre film that you guys haven't covered,
i'd be between the two of you, I'd be pretty surprised.
They've been doing it twenty years, you know, all close
to so yeah, and then they'll be coming back on
the show. So so lots of good content coming up.
Do you have any the podcast in the in the
bag in or are you still prepping the next few episodes?

Speaker 4 (12:05):
So actually, speaking of ty, I did my monthly hit
with him, so we you know, we have him on
once a month to talk about two newer director videos
straight to streaming movies. And so the rule that we
have is we just essentially pick anything that's available to
both of us for free or part of our streaming packages.
So the one we've got coming up here, it is oh, like,
oh it's it was two that were on the platform Zuomo,

(12:27):
which neither of us had checked out before. So one
of them was taking at Rio Bravo, which has Donald
Dragon Wilson, Cynthie Rutherkin small roles, but it's directed by
this guy and Alexander Nevski.

Speaker 1 (12:36):
The straight video action.

Speaker 2 (12:40):
He so tricks me into thinking his movies are going
to be good just by being like, oh my god,
look we got in his films that oh it's you know,
it's a Western or it's like a Eastern European thriller
or something, and you're like, oh, this is gonna be awesome,
or you know, showdown Inla Manila. You know, I'm a
big Philippines movie fan. I'm like, yes, back to Manila
and make some mad grindhouse movies. And then you watch

(13:03):
him and you go, oh, you must like he must
be a fan of these people, like he must have seen,
you know, the movies that we love to talk about,
in the movies we love to watch, just hard to
replicate them, I guess, and and look, Nevsky, he keeps
doing it. So he's clearly getting money from somewhere, and
hawlujah for that, because if you want to keep hiring
these guys, they all deserve to still be working. So

(13:26):
I'm not gonna knock them too much. But anyway, yeah,
go go ahead, I interrupted, Well.

Speaker 4 (13:30):
So it yeah, so that's you know, spoiler alert. We
probably you know, it's another Nevski Nevski movie, you know,
it's it's exactly what you're what you'd think it would be.
But then the other one we did it was another
Zumo film called twelve to Midnight with Robert Bronzie. So ye,
Robert Bronsi, the guy who looks like Charles Bronson. But
also one of the things we've noticed is that they're

(13:50):
sort didn't take his movies and make the titles sound
like Bronson movies. So this one said a twelve ten
to midnight is twelve to midnight. Also it has were Wolves.

Speaker 1 (13:58):
Two minutes earlier, exactly exactly, it's.

Speaker 2 (14:02):
Precisely two minutes earlier than the movie instead of what's
funny is twelveth to Midnight? Sounds like a sequel, but actually,
if you know, according to the clock, it's a prequel
by two.

Speaker 4 (14:13):
Red exactly right. It's forty eight after as opposed to
fifty after right exactly Yeah, yeah, I mean it, and
it's it's that was actually more of a fun time.
There's like a running joke throughout the movie where people say, hey,
you look familiar.

Speaker 1 (14:30):
You know.

Speaker 4 (14:30):
He's like, I get that all the time, you know.
So of course he's from He's actually from Hungary, whereas
a Bronson, I think it's just of Hungarian descent, but
grew up in the States, so he his English isn't good.
So a lot of times they it's like all the
other actors around him have to kind of do all
of his lines for him, because he has to be
the strong, silent type in order.

Speaker 2 (14:48):
But what they need to do is they need to
get a bronze and impersonator to be like, hey, you know,
it gets it all the time. You know what I mean,
they need to get a bronze and impersonator to do
the oh is that you're cooking chicken and.

Speaker 1 (15:00):
Like you know, you need a you need a bronze
and guy to come in and do the voice. I
don't do a great bronze, but you get you get
the No it's.

Speaker 4 (15:07):
Good no, no, because it is. Yeah, it's it's exactly like.
That's that's one of the jokes on the podcast. Because
Ty was doing his bronze and impression. I was like,
they should just you know, you know, w your voice,
you know whatever, and uh yeah it would it would
make more sense, you know, and and and you can
just have him speaking Hungarian for his lines made right,
you know, because I mean it's just do the old
tower what do they call it, the Tower of Babbel

(15:27):
approach in Italian movies right where they were just you
know yeah.

Speaker 1 (15:32):
Oh yeah.

Speaker 2 (15:32):
I mean most European movies or Asian movies that passed
an American lead or a British lead or you know,
some international figure, most of them when they're recording on set,
they're not recording the sound that we all hear.

Speaker 1 (15:49):
Yeah, I mean.

Speaker 2 (15:50):
Cynthia Rothrop famously says about making Hong Kong films, most
of the time, yeah, okay, she had a few lines,
but most of the time she was just saying whatever
she wanted, and they dubbed her in later like right exactly.

Speaker 4 (16:01):
Yeah, so yeah, that will probably be a better I think.
But the other thing is that that movie twelve to
Minute was filmed near here is like a kind of
northeastern Pennsylvania, but it was filmed in this area called Centralia,
which is apparently there's a there's been an underground fire
there for decades. There's there was a coal mining area.
The coal caught on fire, so the move people out

(16:21):
of there, and so I think there's like maybe like
three people that live there still at this point because
everybody else is left and so but essentially, yeah, the
ground's on fire underneath you you know you don't kind
of yeah yeah.

Speaker 1 (16:31):
And you said there's well wolves in it, so it's.

Speaker 4 (16:33):
It's wolves, yeah, just out of nowhere. Just oh, by
the way, we've got were wolves in this movie.

Speaker 1 (16:38):
So okay, So it's not a.

Speaker 4 (16:41):
Like it looks like they started off as a serial
killer thriller and then you know, and the werewolf kind
of looks like the morbious you know what's his? Uh
that Jared Letto? Yeah, so yeah, it's their trips. So yeah,
so that that episode should come sometimes in May.

Speaker 2 (16:56):
So yeah, awesome, Okay, fantastic, and let everyone know as
well where they can find you and about your illustrious
literary career because you are an author of of some
note and some prolifer proliferation, prolific.

Speaker 1 (17:13):
You're a prolific author, is what I'm trying to say.
Why didn't you just say that, John instead of being
a flamcy idea.

Speaker 4 (17:19):
Yeah, so excited is a DTV connoisseur dot blogspot dot com,
and so that's where you can find links to everything.
But yeah, my my my author page, it's it's a
I think it's Matthew Porrier author dot com. But you
can also go on Amazon and find me on Amazon.
Case all my books are on Amazon. Yeah, I've got
five books plus a short action novel Bainbridge, and so

(17:39):
my most recent book is not I an Aiden, and
so that's like a shorter, shorter novel based off these two.
It's about these fraternal twins from France whose mother is
American and they decide to visit America. Takes place in
two thousand and eight, but they want to get in
touch with their American heritage and they travel around the country.
It is a little bit pertin today, even though it

(18:01):
takes place in two thousand and eight. The politics they're similar.
You can kind of see some of the things that
germanate in O eight that kind of sprout in twenty sixteen,
twenty twenty four, that kind of thing. So I think it's,
you know, it's worth checking out. It's told in a
dual first person narration style that because the the twins
they kind of trade off talking, and so it's a
little bit on that that kind of experimental side compared

(18:23):
to my other novels that are a little bit more
just straight ahead, just you know, literary fiction. But yeah,
you know, and again all of a sudden, that one's
the easiest one to find on Amazon. Actually, if you
type in Naughty and Aiden on Amazon, it'll pop up
right away.

Speaker 1 (18:34):
So and and Bainbridge is your action novella, right, You're
a little action they which which a lot of people
in this who like the show will love Bainbridge. Also,
go pick Brainbridge up as it's a smaller book.

Speaker 2 (18:49):
Why not pick up both and just enjoy both. I
mean pick up all of them. I own all of them,
and I just want everyone else to own all of them,
because why why not and they all have new covers
as well, So some of some of the ones I
have do not have the new covers that some of
them do, but some of them don't, So go get
some of the new covers.

Speaker 1 (19:07):
It's fantastic. All right.

Speaker 2 (19:09):
Well that's wonderful, Matt. So now, as you know, before
we get into the film, it's time as always for
the PM entertainment bullet points.

Speaker 3 (19:24):
Points.

Speaker 2 (19:41):
All right, it's not a long one, there's one, but
but a fun one, I think, So here we go.

Speaker 1 (19:46):
We have Grand Theft Auto the teen Years.

Speaker 2 (19:49):
A car driving through a window, Three dirt bikes driving
through a window, dirt bike chases, car chases a very
eighteen car roll with a cop emerging unruffled, unscathed, but
a little bewildered how children got the better of it.
He also kicks the car afterwards, which is fantastic my frustration.

Speaker 1 (20:06):
Oh do I seem to have flipped my car again?

Speaker 2 (20:10):
Martial arts dojo training sequences, scavenging which is apparently beach
based karate matches with grown adults who really should know better,
breaking and entering, mace to the face, beatings, neck snapping,
fake gymnasium. Teen suicide by hanging a cafeteria food fight
scored like an unofficial Halloween sequel. Fisticuffs, gratuitous martial artigue,

(20:32):
line reading of the word loser, gratuitous Marshall artigue, hairy
chest in low button silk shirt while teaching the violent,
hotaritarian quotes of Machiavelli to high school children. Gratuitous confused
Dick van Patten, What is he doing in this movie?

Speaker 1 (20:50):
He doesn't know?

Speaker 2 (20:50):
So why would we gratuitous martial arts tournament as a
solution for all of society's ills?

Speaker 1 (20:56):
The obligatory.

Speaker 2 (20:57):
They clearly skipped on the casting for the detect of character,
dry monotone performance, oversized t shirts, a fight scene in
which Marshall Tigu's tight stomach wins against a grown teenage
boy's fist without doing very much at all, lots of
martial arts fighting and accompanying noises, stolen TVs from the
Van Nuys swap meet. It's very important where that is happening,

(21:19):
carp and truck chase hindered by said TVs, A ghost
solving the crime after a teen in a panel Van
maces a hobo in the face, and an end credit
song named after the film that keeps talking about how
their heart is a muscle, but also how that same
heart has a hole in it that holds the memory
of a face. Sung by vocalist Sharon Shacks and written

(21:41):
by the aforementioned Jim Halfpenny. Well, sir, this is a
romp and a half. As I said in my initial introduction,
it combines all sorts of wonderful things such as Karate Kid,
rad stand by Me, and No Retreat, No Surrender. It
sort of throws them all into a blender and brings

(22:03):
out a uh, I have to say, a tasty and
enjoyable smoothie. What was your overall thoughts initially on the film? So,
and maybe just give us a hint of the plot
as well.

Speaker 4 (22:18):
Yeah, So, the hint of the plot is that you
know Ted Jen Roberts. He is His mother is Aaron Gray,
and he's got an older brother. The older brother's hanging
out with these near do wells, the Scorpions, and after
they're trying to initiate him, he dies and they they
make they stage the killing to look like a suicide.
But Ted Jen Roberts, He's not so sure that's his brother.

(22:39):
He wouldn't do that, so to find out what happened.
He gets in with these Scorpions who are led by well,
led by Corey Feldon, then really led by Marshall Tige,
and so when he goes under cover with them, he
he starts to learn the reality, but he's not. He
feels like his brother might might they might be involved
with his brother's killing. But it's not thill his brother
comes back as a ghost. He actually discovers the truth

(23:01):
and at the end, you know, he's he isn't. A
dojo that's run by Maco. Marshall Tigue, you know, has
him set up a tournament between the Scorpions and the
Makeo Dojo, and tedgend Roberts shows up and joins the
Makeo Dojo again to fight, and you know, if they fight,
the cop show up. There's a chase scene, but eventually,

(23:22):
you know, tedgen Roberts prevails and everybody lives happily ever after.

Speaker 2 (23:26):
Indeed, and that was a wonderful, wonderful plot, Rundown. So
probably one of the best we've had on the show.
What was your overall? Because I don't like to bury
the lead here, let's just go right into it. I
had a ton of fun with this movie again. As
I said, I went in not knowing what to expect.
I'd never entered the the realm of ten Jan Roberts films.

Speaker 1 (23:46):
Before I knew it was there.

Speaker 2 (23:47):
Lurking oft in the dusty corner of PM Entertainment films,
going beckoning me, going come come, come watch my films,
and me being a complete lunatic, I of course went
ahead and purchased almost all of Ted Jen Roberts's PM
entertainment films on VHS. The only one I couldn't find
or was too expensive was The Power Within, which I

(24:09):
then found on DVD for about five bucks. I have
a dangerous place, which a dangerous place of all of them?
Anyone out there looking to do the same and purchase
some PM entertainment films on VHS? Sadly, while Magic Kid,
Magic Kid two, and what's the other one that he did, oh,
Tiger Heart, they are able to pick up reasonably chip

(24:33):
between seven and twelve bucks a tape, but.

Speaker 1 (24:37):
A dangerous place.

Speaker 2 (24:38):
It is the only places I could find it outside
of the fact that it's streaming on to me, are
charging over thirty dollars a VHS tape, and I wouldn't
normally have stumped that kind of cash or stumped up
that kind of cash for something like this, but I
don't know. I'm a completist, and I kind of felt

(24:59):
like I needed to. I know, I'm weird, but that
is what it is. So I now own all these
Ted John Roberts films, So this might even become for
a period of time the ten Johan Roberts podcast, although
because based on this first one, I'm like, why not? Yeah,
So have you seen any of these before?

Speaker 4 (25:20):
What was our history with So I had seen this
one for the site, and I want to check before.
But I think this is number twelve my all time
my top fifteen PM flicks. It's a I think that's
what I was. I'm trying to remember. I meant to
look it up before we got here. Put on, Yeah,
i'd seen this one. The only other one i'd seen, well, technically,
i'd seen Hollywood Safari because from my site in the

(25:40):
late two thousands, I was that was essentially that was
my last don the Dragon Wilson want to review now.
He since done more films, but also more films were
unearthed in the eighties that were kind of added to
his bio. But I had to do Hollywood Safaris, so
those two I had done, and then also Magic Kid.
I finally I did do Magic Kid on the site,
which is if you think this is ridiculous on a

(26:01):
like a kid's movie kind of level, that one's even
more so. Like it's it's it's you know, it's much
more mad cap and goofy than this one is. But
it's yeah, and that one's got Donald Dragon Wilson playing himself,
so it's but it's it's you know, it takes like
the kind of this whole idea of the eighties and
not taking care of your kids and puts it on
a whole other level. So that's that's a different one here,

(26:22):
whereas this one here is a little bit more serious,
but like it's a fun PM serious, which makes it,
like you said, just like a great time. So I
like this one better than that one for sure.

Speaker 2 (26:33):
This this one is hits me right in the sweet
spot because I love and I think you said it
last night because we were chatting back and forth while
I was watching it. You know, we we both love
when PM just can't help but PM like even when
maybe because they're trying to make like a teen movie
or a kid's movie or at least a family friendly fund.

Speaker 1 (26:56):
They still can't.

Speaker 2 (26:57):
Help but be like, well, our regular view is our
regular like later teen early adult action viewers are going
to want still some PM in there.

Speaker 1 (27:07):
So this one.

Speaker 2 (27:08):
What's odd is is that, you know, the most shocking
scene in the whole film especially, and you know, people
talk about this stuff like now because there's a lot
of discussion around, you know, child suicide and teenage bullying
and especially cyber bullying and stuff like that, as if
it's a new thing. It's not a new thing in
any way at all. And I remember it being talked

(27:31):
about when I was at school and everything else. So
the most shocking scene in this movie is Corey Feldman's
gang leader has this idea when they mace his older
brother in the face and push him down a flight
of stairs while they're in the middle of breaking and
entering into an old couple's home. He has this idea, well, shit,

(27:53):
we got to cover up the fact that we flat
out just murdered this kid and it wasn't by accident,
like I know. Later on, like one of the gang
members says to ted Jan Roberts, like it was kind
of my accident and like it wasn't though you razed
him in the face, beat him in the chest and
stufmach and then kicked him down to flight the stairs,
Like that's not an accident. It's not like you thought, oh, well,

(28:13):
we thought he might get up from that. Well you
know he didn't. So that's your full stuff. I mean, okay,
you might tangentially say it's manslaughter, but I mean, really,
I don't know you wanted to like hurt him, that
there was intention there anyway. Corey Feldman, who must be
a fucking genius, because the last thing I would think
if I'd just killed a child would be or killed

(28:34):
a teenager, would be like wait, if we string him
up in the gymnasium, everyone will just think he committed suicide.
But the I think what's most terrific about it is
that obviously you see everyone running to the gymnasium at
the high school and they all seem very worried, and
the music's like very tense and stuff, and you see
ted Jan Roberts like following with the crowd, and you're like, wait, wait, wait,

(28:57):
he's not going to be the one that like witnesses
his the because you know, something like you know they've
done something with the dead body. You don't know that
they've necessarily staged the hanging, but you know they've done
something like wait a minute, they're not going to go
as far as to have his own like younger brother,
like discover him just hanging from a Oh no they

(29:17):
are because PM just can't help pming all over the place.
And so it has this wonderful tone between you know,
and a lot of the fights of it. I mean,
when Marshall Tge is beating up on the kid because
he thinks one of the kids in his dojo is weak,
it's it's they take it to that PM level of
it kind of being like it's not a karate Kid

(29:39):
style mitin Cove style beating, which yes, is still violent
compared to kids' movies today, but it's not you know,
it's not so brutal that you can't this is this
is like PM brutal. This is still when they're you know,
ninety four is when they're just easing out of more
of their grindhouse nature and moving into more of the

(30:02):
like glossy action stuff that they would get known for.
But like you say, they can't help to throw a
few things in and just make you go, wait, this
is a kid's film. But then at the same time
have a situation where like a cop car rolls over,
which we've seen in multiple PM entertainment films, and yet
instead of it I don't know, like you know, blowing

(30:23):
up or the guy getting out of it all blooded
and battered or gunfire or anything like that, he just
gets out of the car, shakes his head off and
like kicks the car and frustration like a scene from
the eighteen So. But then there are other scenes in
the movie that are most definitely set up to be
like old kids having hygiens, you know. So it's Tonally,

(30:45):
it's exactly where I want my PM entertainment films to
be because I couldn't sitting here tell you exactly what
the tone is. And I'll say one more thing before
I head him back to you. But like the last
the last thing that Tonally threw me but also made
me laugh with shed the light was the fact that
after he discovers his brother hanging from the the the

(31:10):
basketball hoop and the gymnasium, it cuts to Ted Chant
Robins and Dick Van Patten, two three named actors at
the top of that game, I have to say. And
Dick Van Patten, who we've known from, like he's the
father in space Balls, right, isn't he the isn't he
the like?

Speaker 1 (31:29):
Doesn't he do a lot of like mel Brooks or
a lot of comedy kind of stuff.

Speaker 2 (31:32):
I don't know everything about Dick Van Patten, but doesn't
he kind of comedically wired?

Speaker 1 (31:38):
Yeah?

Speaker 3 (31:39):
That?

Speaker 4 (31:39):
And then he did like eight is enough, like this
kind of family show, I think. And he was like
a widower who had eight kids and like some woman,
like younger, much prettier woman married him. The show work. Yeah,
but yeah, so so he did that as well. I
mean there's a whole Van Patten clan as well. He's
got kids that do you know what was one of

(32:01):
the Van Pattens was in the Master Ninja movies? Okay,
so yeah, I think Timothy Van Patten something like that.
There's another one who does poker. He like a poker announcer.

Speaker 1 (32:11):
Oh I see, I see? Okay? Cool.

Speaker 2 (32:13):
So I I think I knew him from Robin hood
Man in Tides and Space pat So it doesn't quite
like slam cut, but they might as well. From his
brother hanging in the gymnasium to Dick van Patten doing
his like I don't know how to handle this as
the principle of a high school face, but instead of
doing it with like a concerned face, he does it

(32:37):
almost as a sort of how would you do it?
Not a comedic double take, but you know what I mean,
like sort of a comedic like you know, eye rolling
and like boy.

Speaker 1 (32:49):
Kind of thing. You know, I can't really there's not
a word for it, you know what I mean.

Speaker 4 (32:54):
It's kind of like it would be like if Dick
Van Patten's character was standing on a curb and he
watched somebody put their coffee like four like a tray
of four coffees on top of the car and then
drive off, and he's just like like like, that's how
he's reacting to That's how he's reacting to his brother,
to one of his students in his school hanging them.

(33:16):
At this point, he thinks he's hanged. You know, they
all think that he's he's hanged himself in their gymnasium.
So that's his reaction is it's essentially the same as
what are you gonna do? You left your coffees on
top of the car, you're having.

Speaker 2 (33:27):
One of those days you know, well, look, it's fantastic.
And it was sort of at that moment that that's
when I knew that I would enjoy this movie unreservedly,
because it so swings wildly between kind of mad cap
but at the heart of it having this really rather

(33:49):
distressing Like there's even scenes where Ted Jen Roberts just
sees his mother just crying hysterically in the kitchen and
you're kind of like, this is like a bleak drama film.
And then the next next thing, he's piling around with
the Scorpions and going undercover and initiating food fights and
you know, all that kind of stuff. So it's it's

(34:11):
it's it's really an interesting combination, and I enjoyed it
a lot for that. I think though, at the center
of this film, there's two things that this film does
does I think exceptionally well. One is that you can't
help when you see either the Scorpions or Marshall Tigue

(34:34):
or any of the people that Ted John Roberts might
square off against in this movie and see Ted John Roberts.
So I think I'm right in saying was no more
than like fourteen or fifteen when they made.

Speaker 4 (34:45):
This, right, he's more of like November of seventy nine,
I believe, So I think I was checking it. He's
like right between our almost like smacked down in between
our ages.

Speaker 2 (34:53):
Right, So he The funny thing is is he what
this comes out in ninety four, So I he can
even be thirteen potentially, right, And so he's not like
eighteen playing thirteen or you know, he's not like Michael J.

Speaker 1 (35:08):
Fox, like twenty five playing sixteen or whatever. He is
legitimately like thirteen fourteen.

Speaker 2 (35:14):
And I think watching the first half of the movie,
I'm like, they're never knowing full well that he's got
to square off against fell Dog and probably some of
the other guys in the gang and maybe even Teague.
I was like, is he going to face off against
t because that's going to be ridiculous. He's so small
and so skinny and so whatever. You kind of think, well,
this is going to be a hard sell, you know,

(35:35):
because again, in my first time watching a Ted John
Roberts movie, I think what Arcamacho is the fight choreographer doesn't,
and what Ted John Roberts does as clearly a decent
martial artist, is that they sell the fact that once
he goes into martial arts mode that not only is

(35:56):
he incredibly accomplished, because a lot of this stuff is
done in really only one or two takes, there aren't
there aren't a lot of like cutting around. There is
more when Corey Feldman fights, I notice they do a
lot of like, you know, close ups and cutaways and
things when he's fighting, But when Ted John Roberts fights
and some of the other kids in the school, it's

(36:17):
a little more, uh, you know, less less cuts. And
he is clearly a fantastic kid, prodigy martial artists, just
based on the movie. And when he lands a kick,
they've sold it. They've sold that his kicks would hurt
someone maybe you know, four or five years his senior,

(36:39):
and and that it would be a believable matchup. And
it's you know, it is a little similar with Zabka
and Maccho in the Karate Kid. It's a little similar
because you know, Maco is very small and thin compared
to Zabka. I think where this succeeds and I often
feel like and even in the local the more recent

(37:00):
series of Cobra Kai, where this succeeds and Karate Kid,
I think actually falls a little short, which made some
people may think of sacloge or whatever. Is that Matthew
is clearly not a martial artist. And even though he's
learned how to do certain things for the film, you know,
and maybe he trained a lot whatever to being Cobra

(37:20):
Kai again or whatever, He's not a natural martial artist.
It's not like watching you know, ar Camacho or Donald
Dragon Wilson or Cynthia Rothrock or whatever do this stuff.
And Ted Jen Roberts seems like a very natural martial artist.
And so I think that the film does a very
good job at selling his fighting ability and selling the

(37:42):
fact that he would be able to take down someone
bigger and physically stronger and bigger than he is.

Speaker 1 (37:47):
So that was that was very well done.

Speaker 2 (37:50):
I think the other thing, the other ace up this
movie sleeve is a thousand percent martial ARTICU I mean
just a thousand percent, and he is this wonderful veteran
of action movies. Of course, people will know him from
I think our generation's touchstone for all things amazing.

Speaker 1 (38:12):
Which is of course Roadhouse.

Speaker 2 (38:15):
But he has appeared in an episode of the TV
series The A Team, which you know, I always consider
as a wonderful precursor to PM Entertainment night Rider as well.
He appeared in night Rider. He goes back to BJ
and the Bear My Friend. He was all the way
back back in The Moonlighting Hunter.

Speaker 1 (38:34):
I mean, you name the action TV shows, he's been
in it.

Speaker 2 (38:37):
And then from movies, We've got Roadhouse, Trained to Kill,
We've got super Force, Motorcycle Gang, Fist of Iron.

Speaker 1 (38:46):
So he is.

Speaker 2 (38:47):
He is an action veteran of the small and the
big screen. He's in The Bad Pack, which was the
worst film that Doc and I ever reviewed on Doctor Action,
and The kick Ass Kid, and so listen. He is
so exceptional in this film, I mean, just fantastic. Talk
to me about martial art tage maat.

Speaker 4 (39:09):
Well, I mean, I think we talked about this. This
is another area where this movie is better than Karate Kid,
because Marshall Tigue is an which again probably sounds sacrilege
to say, an improvement on Martin Cove. One of the
things Marshall Tigue does, I think from a tonal standpoint
in this is that he leans into this idea that
any guy, any teacher in particular, who would beat up

(39:31):
high school kids in his dojo which he does beat
them up, but also force them to go out and
commit major crimes like robbing. You know, that kind of
person would have to be despicable, and he leans into that.
You know, usually when you get a baddie like that
in a movie like this, they're kind of scenery chewing
kind of you know, all that kind of thing. But no,
he is. He's a very menacing equal baddie. And like

(39:54):
you talked about, there's that scene where he's got kind
of the flouncy silk shirt and he's in the classroom
and all the kids are kind of sitting around a
kind of a more paid back, you know, library style,
and he's talking about Machiavelli and he's talking about how,
you know, well, according to Machiavelli, the prince can do
whatever he wants to keep his subjects in line. And
he asks ted Jan Robson, what do you think of
that deed? Drums goes, well, it's good for the prince,
but not for the subjects. He's like, hey, that's a
good answer. I like that, you know, but it's like there,

(40:17):
even when he's doing that, there's this sinister in this
of like, I don't want that guy around kids, even
if these are like twenty somethings, because I think Ted
Jan Robbers is probably the only one who's actually a kid,
like everybody else is born in the early seventies. But yeah,
it and so it adds something to the film as well,
because it's like Marshall Tigue is this really menacing baddie
that while other stuff is happening, whether it's goofiness or

(40:38):
like music that shouldn't be played at the same time,
or car's flipping or all these other things, the moment
Marshall Tigue steps into a room and again, like that
scene you talked about where he's got he's just standing
there and the kid is punching him in the stomach
and it's not hurting him, and he's just standing there
and selling it just you know, un ironically. He's not
like goofing around or anything. He's just like, I'm just
gonna do it. Yeah. It's just adds a layer to

(41:01):
this movie. And I don't know that any everybody would
go into this role because Martin Cove didn't do it
in Karate Kid. He did not go into the role
saying like I'm a guy who manipulates and hurts kids. Right.
He went into the role saying, I'm going to be
the big bad sense baddie. That's what I'm going to be.
And I'm gonna be kind of the scenery chewing batty,
which is fun. I like that, but Marshall t takes

(41:22):
it a different way that, you know, for all the
stuff that's going on in this movie, it just it
adds this other layer that. Yeah. Again just it's just
adds adds to what the overall you know, enjoyment of
the film is.

Speaker 1 (41:33):
Yeah, he so believes in what his character is saying.

Speaker 2 (41:36):
There's no hint at any point, even when he's saying
lines like I think at one point ted Jen Robertson
again is trying to get into the dojo with the
scorpions and blah blah blah blah blah, and Marshall Tigue says,
I'll watch the line. It's the most ridiculous line in
the movie because he says, if you if you show

(41:58):
any mercy or or anything like in the future, the
person will not show mercy to.

Speaker 4 (42:03):
You, right right, exactly, Yeah.

Speaker 2 (42:04):
Which is complete nonsense, because if you show someone mercy,
of course they then have in their head. Well, he
was nice to me that day, I won't fuck him
over in the future. But no, Tig doesn't believe that.
Tig's like, if you show someone mercy, they will not
show you mercy in return. Like, if you show mercy,
you're dead, Like you are dead, you are done, you
are whatever, right ah so, and he says the same

(42:26):
thing about hesitation. If you show hesitation, then you are dead.
You have done right. But there's a bit where Ted
Jhen Roberts.

Speaker 1 (42:34):
Quite reasonably turns around and says, actually, if you show mercy,
you have turned an enemy into a friend, which is
actually kind of more logical. And he goes, well, that's
what my sense says. Anyway, your sense they must be
a loser. And what see again, this is perfect PM

(42:57):
because you know, an adult of a tigue Statcher would
normally say well he must be a fucking asshole then
or something like that. But because it's a kid's it's
almost like seorn Dash is writing this movie and he's like, oh,
write this badass character and blah blah blah blah blah,
and then he's like, oh fuck, it's a kid's movie, right, Well,
I can't say fucking asshole. What the kids say? Oh,

(43:20):
kids say loser.

Speaker 2 (43:21):
Right, So then you have this marshal cheek, this superimposing,
super impressive guy who can knock a kid out by
just standing still and letting his belly do the work.
And he goes, well, your sense sounds like a loser, right.
I just thought to myself the way he delivered it,
not even a flicker, not even a glimmer of a

(43:43):
tongue in cheek, Like he wasn't even winking at the
camera even for a minute. I thought, Oh, that is delightful.
That is delightful. I want to spoon that up and
eat jobs of it. That is just that is absolutely fantastic.

Speaker 4 (43:56):
Yeah, just just set up the IV, just mainline it
right into your vein. Yeah, it's beautiful stuff. And yeah
it is. It's funny because it's him, and I think
Aaron Gray, like you talked about, there's those moments where
like she's crying and stuff like that where it's almost
like Aaron Gray's like, I'm an actor. My oldest son
who's seventeen just killed himself. But you know, and I
don't know what's going you know, how would I react

(44:18):
if I'm a parrot who's just you know, and again,
that doesn't happen in every movie, especially every low budget
movie or every PM movie, right, I mean, I mean,
you know, I think we talked about it when you
were on about Riot right where it's just like, you know,
Gary Daniels saves these two kids who put a pizza
in the oven without taking it out of the box,
and it's this huge fire. Next scene they're just goofing
around eating Chinese food, and then we never see these

(44:39):
kids again, right, It just never happens. And so it's
like when they bring in Aaron Gray and she's like,
you know, she's looking at herself as this pedigreed actor.
You know, then you know Buck Rogers, you know, all
that kind of stuff that she would say, Oh, I
need to know what my motivation is, what is my
you know, and it's almost like Pam's like, well, we
got to go with it. She's got her motivation. You know,
where's Dick Van Patten. He's like, I don't know what

(45:00):
I don't know how to act.

Speaker 1 (45:02):
What movie am I in? Again? What is this?

Speaker 4 (45:05):
He's just like, I don't even know what I would
do as a principle if this happened. So I'm just
going to be like, hey, how can I help you
get over this? Tedgi ROMs because you should be getting
over it, right, you find your brother, right, you shouldn't
be scarred for life when you find your brother hanging
in the gym. No, no, no, you should be getting
over it now. It's been a week, it's been a
few days, right, you know what can I do to
help you?

Speaker 1 (45:25):
It's classic as well.

Speaker 2 (45:27):
I love you know Van Patten in it as well,
because it's a classic PM thing where they go, well,
who can we get?

Speaker 1 (45:34):
You know, who can we get? Well, you know we've
got Dick Van Patten.

Speaker 2 (45:39):
Okay, well you know he's a renowned comedic character actor
and he's been in stuff, you know, decades or whatever. Great,
let's put him in. It's like Mickey Rooney. I always
use Mickey Rooney at the beginning of Maximum Force. I'm like,
it doesn't matter why he's there, it just allows them
to put Mickey Rooney on the box, right, right, And
Dick Van Patten much the same.

Speaker 1 (45:57):
They've clearly just plunked him in a chair at a
desk and go on, We're going to film all three
or four of your scenes as almost like a running gag.
Because he shows up about every fifteen minutes, like as
the film is going husking every fifteen minutes out we're
back in Dick van Patten's office again, and he's going
to dispense some like kindly wisdom and be confused as

(46:19):
to why he's even there and then leave. And I
love that.

Speaker 2 (46:23):
It's just it shows such economy of filmmaking where you're like, well,
we've got Dick van Patten, great, what can he be?
They go through the script, Well there's this high school principle,
or maybe there wasn't even a high school principle, and
they look at the script and go, guys, the guy
brother kills himself in the gymnasium.

Speaker 1 (46:40):
We need a principal.

Speaker 3 (46:41):
You know.

Speaker 1 (46:41):
The only other teacher we have is Tigue, and he's
already a menace to society.

Speaker 2 (46:46):
So we need like a kindly you know, uncle figure.
And they're like, well, Patten, he'll do that. We'll stick
him in there. Great, right, three you know, four line scenes,
and well that'll be like this this throughout the movie.
I love stuff like that because you know, it allowed them.
He probably wasn't even on set a full day, you

(47:06):
know what I mean. They probably filmed that in a
in an afternoon.

Speaker 4 (47:09):
Yeah, I mean it's it's it would be an entirely
sit down roll for him, if only a When Aaron
Gray comes in to pick up Ted Jan Robbers after
the suicide, he stands because you know he's he's got
manners right. When a woman walks in the room, you stand,
so he so he stands for that. And then after
the fight in the cafeteria when he's calling in the

(47:30):
member of the Scorpions to punish him. After Ted Jan
Rubbers leaves, he stands at the door and essentially tells
a kid like, come on, get in here, you know,
like you're right, you're bad. Those are the only two
times he stands. The rest of the time he's sitting.
It's it's as the guys from com Upence would call
a sit down roll. You know, it's I mean, it's
like cigall right, It's like you know how much city
you know?

Speaker 2 (47:46):
That's I would love to see dig Van Patten do
a Cigal style martial arts roll, but just while sitting
and dressed as in a principle.

Speaker 4 (47:58):
Sitting the whole time. But you're right, it might even
one of those things where they didn't even have these
principal scenes in the movie, and they were like, oh,
we've got Dick Van Patten for a few days.

Speaker 1 (48:06):
Why don't we wait They were trying to get someone else.

Speaker 2 (48:09):
They were probably trying to get some other character actor,
and the agent went, we can't get him, but we
had like Dick Van Patt sitting around.

Speaker 1 (48:19):
Dick van Patten for five minutes. Oh well, fine, we'll
take him. We'll take it, right.

Speaker 4 (48:24):
Yeah, Troy Donahue was making a Fred Ollen Ray movie
on another lot and they couldn't get Troy Donahue. So okay, well,
but Dick van Patten's available if you Oh hey, Dick
van Pant's even better than Troy Donahue. Let's get him in.
This is great.

Speaker 2 (48:36):
Let's let's ride that Van Patten train all the way
to the end of the line. And look, listen, no
no disrespect on Dick van Patten. He's uh, you know,
he's absolutely Fand he began acting as a child as well,
so there is a you know link, like maybe he
was particularly uncle like or a vungular to ted. Jen

(48:57):
Robinson went, well, you know, when you're acting as a child,
blah blah blah blah blah. In fact, apparently he authored
several best selling books, including How to Get Your Child
Into Show Business. So maybe with that here going, oh
it was unintentional, Maybe it was intentional. Maybe they were like, well,
we're moving into the world of having child actors. Let's

(49:18):
call Van patten up because he seems to be the
knowledge on these pods and he is a Mickey Rooney
style figure, because Rooney obviously started as a child actor
as well.

Speaker 4 (49:28):
Yeah, well, and it makes total sense to why he
would want to do a part like this. Maybe too,
if they're like, hey, we're bringing on this this kid,
ted Jan Roberts. We think he's going to be our
our art because I think this was the whole idea
around the Ted Jen Roberts movies, and they were going
to move into doing kids movies. But like the two
that I've seen, well three, because I've seen Hollywood safari
as well, but really just this one in Magic Kid,
they don't know how to do it. They're pm and

(49:49):
they don't want to do it, which makes it great
for us. They you know, they're flaying movies. But I
wonder if that that makes a lot of sense that
they'd be like, Okay, who can we get to help
us out here, because I can't imagine Peppen and mayor
he or any of those guys, and based on the
movies that we ended up getting with them knew anything
about making kids movies and so they were probably like, oh,
you know, and again, nobody else in this movie. So
like there's, for example, there's the character Kim, who is like,

(50:10):
you know, goes to school with them. I think she's
born in seventy one, so I think she's playing a
fifteen year old when she's twenty three.

Speaker 1 (50:16):
I think the guys Corey Feldman. Then Corey Feldman's about
eight years older than Ted John Robinson.

Speaker 4 (50:23):
Yeah, exactly. And then the other the there's the character
I can't think of the name of the character Mike, right,
is it Mike? Is that the one that was that
It was like the one that was kind of in
the group who who ends up helping uh Ted Jane
Robbers out Eddie?

Speaker 1 (50:36):
Right?

Speaker 4 (50:36):
Eddie was the one, right William.

Speaker 2 (50:37):
William James Jones. Yeah, yeah, he's he's the somewhat nicer
one of the Scorpions, I.

Speaker 4 (50:43):
Think, right, yes, yeah, he was on a show that
was on kind of in the same block as saved
by the bell called California Dreaming and dreams. Californ Dreams,
that's what it was. Yeah, it was. Yeah, they kind
of just be on a beach and they would play
music and then get into romps or whatever that to
say by the bell it's but normally get into only
this was a band. And then I read on his

(51:03):
bio that he quit acting to become a marriage counselor.
He went and got his PhD in psycho you know,
in psychology, and it's now, you know, a marriage counselor.
So he stopped acting altogether. But yeah, he's in this,
but I think again he was born probably like late sixties,
early seventies, so Ted Jim Roberts is the only real
child actor that they have. But they probably had to

(51:25):
think about certain things, like there's certain things about having
a child actor. I mean, they would use kids from
time to time, but like we talked about, like with Riot,
it's like the kids show up for like five minutes
and they're gon or like zero tolerance. But we've got
to kill the kids off, right, So it's.

Speaker 1 (51:37):
Like, what's what's interesting?

Speaker 2 (51:38):
What I what I kind of do like is that
obviously so so here's what's interesting, And maybe I should
have done a little research beforehand, but yes, the whole
subject of like kid actors, right, so you've got ted
Jhen Roberts, obviously a kid actor that is being nurtured
by PM. I mean, he does do other things, but
he is predominantly PM Entertainments version of like a Corey

(52:01):
Feldman essentially. So he does two other stuff, but you know,
his first film is Magic Kid, Magic Kid two, and
then you know, he does a couple of episodes of
TV series and stuff, but basically most of his movies
are PM films. He's obviously in the TV series, the
short lived TV series of Hollywood Safari. He does a
handful of things in the mid two thousands, the most

(52:24):
interesting in which is that he's in Milk, the Sean
Penn film about Harvey Milk. He does a smattering of
things in the mid two thousands, nothing really to write
home about, a movie called In the Blink of an Eye.
And what's interesting is doesn't continue necessarily with the martial arts,
which is sort of another curious thing because you know,
you would assume that's where his career would have taken him.

(52:47):
Came out of hiding in twenty fifteen and twenty seventeen
to do a couple of short films. But that's it.
So he really was PM Entertainment's, you know, main kid actor.
You then have, obviously Van Pattner, as we started off
as a child actor. Corey Feldman started off as a
child actor. So it's interesting that PM would kind of

(53:08):
surround ted Jan Robbins in this movie anyway, And I
know this wasn't the first film he did with them,
but surround him in this movie with former child stars
almost to help him a little bit, or I hope
to help him. And then, very interestingly, as we were
talking about William James Jones from California Dreams after being

(53:30):
in a dangerous place with Corey Feldman, he also then
shows up in Dream a Little Dream two, which obviously
also has Corey Feldman in it. And I wonder if
Feldman didn't say, like, hey, I like this kid, Let's
put him in Dream a Little Dream too, you know
what I mean. I'm sure Feldman and Haim had a
bit of sway at that point, especially for a sequel

(53:52):
that really only exists because they're in it. If you've
seen Dream a Little Dream one. It didn't require a sequel,
so and I like Dream a Little Dream one, but
you know, it's hardly the thing where you're like, oh, okay,
let's have a sequel about Dream a Little Dream. But
he puts him in it, or or I assume he's
you know, he's tangentially involved with having him in it,
or it's just fortune. It's sluck even so nice to

(54:15):
see that Corey and him may may have been friends.

Speaker 1 (54:19):
I'm assuming, I'm assuming, well.

Speaker 2 (54:35):
Yes, indeed, we have come to that time in the
PEM Entertainment podcast, the time that people long for, the
time where I stop talking quite as much and we
interview a person from the films.

Speaker 1 (54:48):
It's very exciting. It's one of those moments. It's really
a you know, it's a.

Speaker 2 (54:52):
Cornerstone of any good podcast at this point is the
celebrity interview. And here on the PM Entertainment Podcast, the
people we are in very much celebrities to all of us,
if not to the whole world. So obviously I want
you all to support the show. Please do rate and reviewers,
rate and review us. I keep saying it, I keep
posting about it. I ain't seeing the reviews pour in,

(55:15):
but I am seeing the listeners, so I know that
people are listening, so please do rate reviews. The only
reason I'm saying this is not for self congratulatory reasons.
I know you will love the show. It's a fantastic show.
Who wouldn't love it. If you love PM entertainment, you
would love the show. Maybe not, Maybe I could tighten
it up a bit and not talk as much, but

(55:36):
you know, in general, I think you probably love the show. However,
I'm not seeing a lot of reviews. The only reason
I ask for ratings and reviewings is that the algorithm
to which we are all an abundant slave at this point,
only shows this show to newbies who might not follow
us on Facebook or Instagram, but who might listen to

(55:58):
adjacent similar parts.

Speaker 1 (56:00):
It only shows it to them on Apple, Spotify, these
other places. If we are rated and reviewed highly and repeatedly,
so please do do. That takes very little time and.

Speaker 2 (56:15):
It does help the podcast immeasurably, as does sharing, liking, commenting,
telling a friend, all those things. These are free ways
to support the podcast. I obviously haven't tried to monetize
this in any way yet.

Speaker 1 (56:29):
We're not doing much. We're not on Patreon. We're not
doing any of that.

Speaker 2 (56:33):
We do have to have adverts which are coming up
before and after the interview, because then that is sort
of a way to pay for the show and the
hosting of the show and all of that stuff without
actually making really any money for the show. But at
least it covers everything just about. So we will have
some adverts, but please do rate and review us. Anyway,

(56:56):
We've got a fantastic interview coming up with none other
than the fight choreographer himself, the masterful, the amazing, the
high kicking legend that is Camacho, who did some incredible
fight choreography for PM throughout the decade and a bit
that they were around, and we talk about.

Speaker 1 (57:19):
Some of that.

Speaker 2 (57:20):
We talked about his work with PM, what he thinks
about PM. We talked to Art Camacho and he is
a phenomenal dude. What a beautiful, beautiful, lovely man Ark
Camancho is and.

Speaker 1 (57:31):
We had a great chat. So here it is enjoy.
Thank you so much, rate review the show toet adverts,
then interview, then back to the show. Thank you. Yeah,
they're very blessed.

Speaker 5 (57:42):
You know, I've been at this for Cotton nineteen ninety
believe it or not. And man, oh man, you know,
like everything else, there's LOLd in there. But right now
it's just you know, for you know, very blessed that
it's just picked up in amazing ways. You know, in
the nineties I consider all the golden years for me personally.
For me, it was like the best era, you know.

Speaker 1 (58:03):
Yeah, yeah, yeah. And you started with PM.

Speaker 2 (58:06):
Uh from what I can figure out, you started with
PM as an actor initially on Ring of Fire and
and did that was that something where you know, you
were just auditioning around at the time trying to get
into movies or was that because.

Speaker 1 (58:22):
You knew Dawn or how did that come about? That
first role? Do you remember?

Speaker 5 (58:26):
Yeah? Well, you know what it was my my seafrew
Eric Lee, kung Fu Master. Eric Lee basically brought me
to PM because I had been you know, I had
a couple of starring roles, you know, forgettable movies. But
you know, I've been kind of bouncing around and Eric
called out of the blue and say, hey, aren't they
need some people here for for a film? You know,
I want to get your butt kicked for a fifty bucks.

(58:48):
I said, I'm your guy, and that was it. So
these action kind of rolls and and I was actually
pretty good at it, and that's how it started. I mean, yeah,
PM was one of the very first I think I'd
done like maybe three or four films prior to but
PM really just come telling you. Without PM, there is
no art commercial. And I tell Joseph every time I

(59:09):
see them, I thank them for the opportunity everything.

Speaker 1 (59:12):
I mean, believe you're not.

Speaker 5 (59:13):
PM gave me some of my first action roles, then
they gave me my first choreography gig, they gave me
my SAG card, and then Joseph gave me my directing opportunity.
You know, it was amazing.

Speaker 2 (59:26):
Yeah, no, they were a great you know, we've been
talking a little bit about them, like that Roger Corman
school and bringing on yourself and giving you just all
these great opportunities. You know, you were an active fight choreographer,
stunt guy, writer, producer, second unit director, and director. And
it's wonderful that sort of PM had this very open
idea of well, if.

Speaker 1 (59:47):
Someone has a good idea, they can write a script.

Speaker 2 (59:49):
If someone has proved themselves, you know in the trenches
with the stunt guys, they can start doing you know,
choreography or coordinating or the second unit directing. They really
had this great kind of school there. So talk a
little bit about sort of being in the mix there.

Speaker 1 (01:00:04):
What it was like working with those guys, both as
directors and Rick as a cinematographer and some of the
martial artists you got to work with and choreograph.

Speaker 5 (01:00:16):
Yeah, well, well, you know, you hit it on the
nail then that My relationship obvis was was primarily with
Rick and Joseph, and Joseph more than Rick, and I
tell you you know, it was a kind of thing
where you go in there and you have to prove yourself.

Speaker 1 (01:00:32):
Here's the thing.

Speaker 5 (01:00:33):
Here's the thing that I really respect about them is
that that you have to prove yourself, not just because
you go in there and then giving opportunities. I mean
I busted my butt, you know, doing you know, the
choreography and helping and training and everything else. And Joseph
saw that and as a matter of fact, give you
an idea when he gave me my first offered me

(01:00:54):
to direct a film. I was choreographing one of his films.
I think it was Magic Kid. Yeah, he wanted to
do a big, big kind of karate sequence, like like
you know, like karate kid kind of thing, and we
want what they call a tech scout. Text scout is
where you go and you scout locations to see how
you're gonna shoot it or you're gonna put your equipment,
you know, that kind of stuff. And that morning, I

(01:01:17):
remember Joseph asked me. He says, they are, I'm gonna
do a kind of a tournament sequence. Do you think
you can give me some of your friends to come
up and show up in their geeze and stuff like that?
And I said, great, yeah, absolutely, maybe thirty forty guys.
So that starts like at seven eight in the morning. Yeah,
by noon. Back to me, he says, they are, can
you know, can you think we can get maybe one

(01:01:37):
hundred people? I said, well, okay, I'm not that popular,
but I'll do it.

Speaker 1 (01:01:44):
Sure, you start ringing around dojo's and stuff is available.

Speaker 5 (01:01:47):
Community, little kid, you want to be in the movie.

Speaker 2 (01:01:50):
Right, as long as you're not driving around West Hollywood
in a panel.

Speaker 1 (01:01:58):
And uh.

Speaker 5 (01:01:58):
And the funny thing was that by the end of
the day that the number his vision ballooned to like
five six hundred people. And then I'm thinking, oh my god,
how am I going to do this? And then he says, Art,
you give me these people, I'll give you a baldus.
I said, no, Joseph, you asked me as a favor.
I'm going to find a way. And long story short
is I was really hustling friends, friends of friends went

(01:02:21):
to Atomics, who provides a lot of the sports equipment,
and I said, hey, can you give me some stuff.
I'll raffle off things and and I was just I
did a whole marketing campaign. And the assistant director, Jerry Jacobs,
he told me, he says, Art Joseph hasn't shot a tournament,
and it's very elaborate. So if I was used and

(01:02:44):
they're your friends, that they're going to be there for
free or for peanuts, one, you should have a plan.
You should definitely have a plan. And so I came
back to my house and I'm telling you, brother, I
came out with the schematic. I was drawing exces and
I didn't know what I was doing. I'll tell you
that right now. But I thought, oh my god, what
am I going to do? So I'm writing x's and

(01:03:05):
no's and camera A, camera B and just you know,
just Crazyah, yeah. So it was a four paced schematic
and I and I brought it to Joe the next
day and I said, Joseph, you know, I don't know
if if you have your plan for your tournament, but
this was just some ideas. And he looked at it
and he kind of just smiled and didn't say anything.

(01:03:25):
And I was like, I felt kind of stupid. You know,
it's like, he's the director. Why am I telling you
the director how to direct this film. I walked out
of the room and then Joseph asked me literally right
on the set while we're shooting The Magic Kid. He says, hey,
you want to direct movies? And then I thought this
guy's making fun of me. Now now he's putting, you know,

(01:03:46):
AsSalt on an open wound. So I said, yeah, sure,
of course, Yeah, I wanted a direct thoughs and the story.
A few days later, I get a call from the
secretary that set.

Speaker 1 (01:03:57):
Up the meeting.

Speaker 5 (01:03:57):
She goes, mister Camacho, we we want to fear available.
I think it was like on a Wednesday. And said, well, yeah,
yeah for what She goes, yeah, we're gonna Joseph wants
to eat with you to discuss the film. You're going
to direct for us, and that's how I found out
that I was actually going to be a director.

Speaker 1 (01:04:12):
You know. It was that fantastic, you know, and.

Speaker 5 (01:04:15):
It's just such a wonderful human being. And I, like
I told you before, this is no exaggeration or just
blowy smoke up anybody's ass. I would not be here
seeing right now if it wasn't for Joseph Marie in
all honesty, yeah, he's.

Speaker 1 (01:04:28):
Just yeah, he really. He gave so many people some
great opportunities. And you worked with some of the great
stunt teams of all time, Pharaoh Rosados, Colin s.

Speaker 2 (01:04:38):
Boquet, Rd Horton, Michael Sana, Like, you worked with all
these guys, and they all had their own cruise and
they all worked with each other's cruise. How did some
of their approaches differ when it came to kind of
setting up stunts and how does the fight choreographer work
kind of within a stunt team like that?

Speaker 5 (01:04:56):
You know, it was very interesting because at the beginning
it was very adversise oo. I mean the when I
came out too the scene with PM, they were they
had already been working with Cole McKay and some of
these other stunt coordinators. But then PM started giving me
all their fight stuff. So whenever there was a fight,
they called me up or you know, to coordinate the fight.
And there was a little bit of friction with the

(01:05:18):
with their established stunt people. It got to a point
where where they called me out. They called me out,
they go, hey, you know what you're you're you're infringing
on our turf and uh. And I was a hot
headed Mexican then I'm more mellow now. But anyway, I said, well,
bring it, bring it you will you one on one
or bring your stunt guys. I'll bring my homeboys from

(01:05:39):
the barrio, whatever you want. I was really pissed off,
to be honest with you, because I said, I don't
I'm not a stunt coordinator. I'm not a car specialist.
I all I do is fight. That's all I do
right now in terms of the stike suns. And so
the fact that I didn't back down, we eventually became
best of friends with all the sub coordinate, you know,

(01:06:01):
and they respected my turf. I respected their turf. But
it was really weird in the beginning. But to be
honest with you, I really have so much love and
admiration for them, and I learned so much from Cole
McKay firms, Spiro. I mean, my god, you know when
we did Recoil, my first time working with Spiro. That
guy was a genie, an artist, a really strong, strong artist,

(01:06:22):
and he knew his stuff. Obviously look at him now,
he's one of the bigger guys in Hollywood. But yeah, me,
I feel it. It was always a learning opportunity. I
see what they were doing, seeing what they placing their
cameras because I have no real formal education. I mean,
I dropped out of school about sixteen seventeen, and I
scored my gut. Everything I do is my gut. I've

(01:06:45):
directed and written, but I taught myself how to write scripts.
I taught myself how to direct, how to produce. But
to work with some of these great people that Joseph
you know, surrounded me with, was an immense learning opportunity
and I still I still I still when I work
on my films, even though I have stunt coordinators, fike coordinators,

(01:07:09):
the fight to see in any film I direct, it's
it's me.

Speaker 6 (01:07:13):
Yeah, yeah, it's it's that's that seems to be your
your your speciality which is fantastic, and you can always
tell your flourishes and the way I think the way
you work with both actors and martial artists to kind
of get the best from them.

Speaker 1 (01:07:26):
Because of course there's you know, in the in the
sort of world of PM, you've got the you know,
you've got the movies that you'll have a lead actor
in and most of the stunts are you know, car
rex or or you know, high falls or something that
the stunt team is doing. Then of course you've got
like the Gary Daniels type movies which will have a

(01:07:48):
lot of that. They'll have a lot of driving.

Speaker 2 (01:07:49):
Around and fighting, and don don the Dragon Wilson movies
as well, but obviously because they're martial artists, there will
be scenes in which they're fighting with the bad guy
or whoever. And then obviously there are the tournament movies,
which are obviously a lot more fight heavy and less
stunt heavy. So I suppose your strengths and your you

(01:08:10):
became sort of working with those last two types. You
you were doing the fight choreography for movies where you
had like a martial artist or something in the lead
who could do the moves and things. And then obviously
on the tournament movies where they were doing more like
build up, you know, fight after fight after fight till
he meets the big bat in.

Speaker 1 (01:08:29):
The ring kind of thing.

Speaker 5 (01:08:30):
Absolutely, And you know what what I try to do
every time then and now even now. I did a
film recently that that got released on Hulu, actually went
to number one, which is good called Ruthless Nice.

Speaker 1 (01:08:43):
Yeah I saw that.

Speaker 5 (01:08:44):
Yeah, oh with Dermott, more Roney and Durmott number one.
We became really good friends. He's a sweet, sweet guy
apart from being a relliant actor. But what I wanted
to do in that one and I and I picked
out from PM. I trained him. I worked with him
so that he did. If you see the film, like
ninety five percent of everything you see, it's him. I
wanted to make sure that's fantastic, you know. So I

(01:09:06):
was teaching how to how to take hits and it
was fun. Man, and to him, he had a blast
because he's known for rom coms, you know, up to
that point.

Speaker 1 (01:09:14):
Yeah, right, like bamas and rom coms, and they well.

Speaker 4 (01:09:18):
What I do.

Speaker 5 (01:09:19):
You know, what I do is play the Devil's Advocate.

Speaker 1 (01:09:21):
I needled them.

Speaker 5 (01:09:22):
I say, well, Keiana Reeve would goes on fights. I
don't know about you, but I mean I can get
your stunt double. But look at Kanu, look at Cruse.

Speaker 1 (01:09:30):
You know I can't.

Speaker 2 (01:09:31):
Yeah, exactly, And you said prefer Actually it interviews that
your martial arts discipline is very eclectic, and you've worked
with a very eclectic and diverse range of actors and
martial artists talk a little bit about like how much
do you impose your style on them or what you
want from them, and how much do you adapt your

(01:09:53):
ideas to fit them. So if you're working with like
a Gary Daniels and a Don Wilson, obviously they have
a background so they want to bring some of that
signature moves, but you might have some stuff though You're like, yeah,
but we could judge it up like this, right, So
how did how does that back and forth work versus
taking an actor who I don't know, maybe does jiu
jitsu in his spare time, but it's not you know,

(01:10:14):
a martial artist per se.

Speaker 5 (01:10:16):
Well, you know what, when when it comes to let's say,
let's take Gary Daniels for instance, I mean, the guy
knows what he wants and obviously he can do almost
anything he's a phenomenal, phenomenal martial artists. So I'm more
of a traffic cop. I'm more of a you know,
I'll capture the moments. I'm more of a director as
opposed to choreographer. With Gary Daniels. With Don Wilson, it's
very very unique because him and I, gosh, I mean

(01:10:39):
we spent I got thirty years as friends, and and
I did twenty five of his movies.

Speaker 1 (01:10:44):
Directed him in four yeah, yeah, yeah.

Speaker 5 (01:10:47):
And so with him it was more I would put
the moves together and then he would kind of kept,
you know, add his own flare to it. And they
said roth Rock again, I put kind of a Skelton
together and then let her kind of do her thing.
Steven Seagall with him again, he's like Keito Masters. So
I would just tell him, hey, can you send that

(01:11:08):
body that way? You know, all the traffic cap and
with actors who were, like you said, actors who have
some training, let's say, like a dermat and people who
really are passionate about wanting to do the stuff, that's
when I fully choreograph. I take into consideration their their sprints,
their weaknesses, and I work it into the fight scene.

(01:11:28):
Because at the end of the day, what I do is,
to me, fights are still dances, dances with kicks.

Speaker 1 (01:11:34):
Them out, you know.

Speaker 5 (01:11:36):
And but yeah, each each situation is very very unique.

Speaker 1 (01:11:39):
Did you ever when you were training or preparing for
a film or whatever, did you ever do kind of
previs with a camcorder, like filming your guys in the
gym or whatever, just so that you could kind of
reference something on set? Or did you always just write
stuff down? How how are you kind of.

Speaker 5 (01:11:58):
I would never, I only previous. Maybe I've choreographed close
to a thousand fights throughout my at least I would imagine, yeah,
and now of that, I've only shot and previous maybe
ten fights. And then even at that, what I do
is where I have my assistants write them down, or
I already know the fights in my head and so

(01:12:21):
I just boom. I just get people to do it,
perform it. I previous is a great tool, But I've
been in situations where it works out wonderful. But when
you're on the set on the day of, everything goes
out the door right right right, it's got to go
by the by the seat of your pants, and no,
and your instinct as long as I know camera as

(01:12:43):
long as I know character. Boom, that's that's that's your thing,
because I'm literally so focused on what I'm doing at
that more point in time.

Speaker 1 (01:12:51):
And that's an interesting thing as well. How much do
you when you're choreographing a fight, if you have this,
if you even have this luxury, but how much do
you consider the character and the story and the kind
of creative film elements versus the I just want to
make this fight look badass and cool? Like how much

(01:13:13):
I guess how much do you consider sort of the
how the fight sits in the movie as a whole
or was that never even a consideration because it's just
movies and its fights and it's good.

Speaker 5 (01:13:24):
In the beginning, it was just it was just the choreography,
And in the first few years it was just that
it just lets make a kick ass fight. Then as
I started to mature as a filmmaker as a choreographer,
then it was all about story, all about story character
because I would always literally literally I'd ask myself, Okay,
what is my character's skill sets, and what is the

(01:13:45):
story we're telling? And how does this fight fit in
the context of the movie, And so all those things
go into my head when I'd be choreographing it, and
then of course how much time to have to shoot it.
So then I would again in my head, I'd make up, Okay,
I have this shot here, I have that shot there,
we have an hour. You know, literally all that's going
through my through the whole process. And at the beginning

(01:14:08):
it was just okay, let's make kick ass fights. And
then it was all story, story, story, story, character, character, character,
and time time, because you never have enough time. You
never have enough time to shoot these things the way
you want to. Of course, going going back to just
thing with Joseph, and I tell you, you know, I was

(01:14:30):
working so much at that for like three years, I
was doing like ten twelve films a year. It was
just back to back, and it was such an amazing,
amazing opportunity because like I told you, it was a
great school.

Speaker 1 (01:14:43):
It was a school to me.

Speaker 5 (01:14:45):
I am scarry with me, not only the memory and
then the appreciation of Joseph, but I carry with me
all those lessons I learned. That's what made me very
efficient and kept me still relevant, still relevant right now today,
thirty years later. Because of that schooling that I had,
you know, and that opportunity, you know, and.

Speaker 2 (01:15:05):
From my side as a fan and as someone who
is obviously dedicating a lot of time to get the
PM movies back out there and getting seen hopefully by
audiences and people talking about them.

Speaker 1 (01:15:19):
Again, we know the work that goes into this. We
appreciate the work that goes into this. We appreciate the
passion and the style and the craft and all your
work and all your hard work. We appreciate what went
into it, and we look at it that way. We
see you as an artist.

Speaker 2 (01:15:34):
That's how we value these movies because what we lack
now is this entertainment and this fun and this just
skill and seeing it on screen. You know, again, either
in Blu, ray, VHSDVD, doesn't matter.

Speaker 1 (01:15:48):
It means a lot to us. We love the movies.
We love you guys, and I just want to give
the respect back then, Yeah.

Speaker 5 (01:15:54):
And thank you so much. It means so much to me.
And I see that in you. I see a passion.
I see I see you were You're very genuine and
and I tell you, I thinking of those films, there
was so much love and so much passion. It wasn't
a paycheck. In the beginning of course it's always a paycheck.
But it was a passion. It was a passion and

(01:16:15):
and I can't tell you enough the lifelong friendship I've
had with Joseph has just meant the world to me.
And I tell every every time I speak to anybody
in paper and prints and podcast, I always say the
same thing. Without Joseph, without payment entertainment, there's no art commacio,
I swear to you. It's just I mean, it's such
a blessing to be part of that that era of films,

(01:16:36):
you know.

Speaker 1 (01:16:50):
So yeah, so back to the movie.

Speaker 2 (01:16:51):
Then we have it sort of book ended by what
I would call more traditional payment action sequences, so which
is a little unfair on it because when it starts
off and you've got dirt bikes driving through glass windows
and being chased by the cops, and you know, they

(01:17:13):
use actually a shot from Intent to Kill, which was
as people are listening to this episode was last week's episode,
the Intent to Kill with Corey Danner. We had on
as a guest who is a fantastic author, and other
stuff we get into it.

Speaker 1 (01:17:30):
But the director of this movie, Jerry P.

Speaker 2 (01:17:33):
Jacobs, was either an assistant director or second unit director
on Intent to Kill and Ken Blakey was the cinematographer,
So at the beginning of this to sort of extend
the car chase and give it a little bit of
bang for your buck, you have the same shot from
Intent to Kill where a police car goes through a
flatbed truck that.

Speaker 1 (01:17:52):
Is carrying barrels of water.

Speaker 2 (01:17:56):
Why I don't know, and as the police car hits it,
the water goes in like slow motion and like sprays
out across the street. It's incredible, and then the car
flips over and this one does explode, but there's no
indication that anyone is harmed in the process of it exploding,
which is interesting because that is from the final action

(01:18:17):
sequence in Intent to Kill. So I know PM reused
footage in their TV series, and I also know that
PM then bought footage from other movies to implement into
their action sequences. Later on, as you're getting to like
ninety eight, ninety nine, two thousand, you start to see
clips from other movies that they've bought so that they

(01:18:39):
don't have to film entire action sequences themselves.

Speaker 1 (01:18:42):
So it's interesting to see, especially as Intent to Kill
was the very last PM I watched before this one.
Exactly the same action sequence, but it starts with a
very traditional PM col S Pok action sequence, and it
does lull you into a full sense of security that
maybe you're going to see a lot of these kind
of action sequences. Instead.

Speaker 2 (01:19:04):
The action you get from for the vast majority of
kind of the middle section of the movie mostly martial arts,
fist the cuffs, beach fights, tojo beatings, that kind of thing.

Speaker 4 (01:19:19):
Well, yeah, and that's the thing too, right, I said
earlier on in PMS. You know, I think it's really
before they get Don the Dragon Wilson. I think when
they get him, it's like, okay, now we're gonna start
doing more martial arts. And that's when you know, Art
Camacho comes in and and he he's kind of their
principal fight Corrigor for the the like I think, you know,
Tenjion Roberts is fight Cooriger for one of the films

(01:19:39):
that he does. But but yeah, Ar Comacho and and
you know that's where his stuff is so great. And
then I think the other thing that Art Camacho, so
this movie of course isn't directed by him, but they're like,
for example, something like Recoil one Area where Comancho was
great was that he would say, Okay, I'm directing the movie.
I'll do the dramatic scenes. But here, Spiro Rosatos, you're
gonna do, you know, do whatever you want for the

(01:20:00):
the you know, the and and I think you know,
he works well too with someone like a Coles McKay
in this film, where it's like he's doing the fight choreography,
Cols McKay is doing the chases and the explosions and
all of that kind of stuff. And yeah, and again
it's it's like another level of quality, like you said,
you know, talking about like Karate Kid, where you've got
a lot of actors who don't know martial arts. Nobody
really knows. I guess Martin Cove may have known martial arts,

(01:20:21):
but really nobody else knows them, whereas in this film, yes,
they're doing a lot of doubling for fel doctor, but
ted Jon Roberts was a legitimate martial artist. Marshall Tigue
also as a martial art you know, and some of
the kids I think might have had some some experience
as well. And you know, our Comacho choreographs it well.
And Blakey of course is great as a cinematographer and
shooting that stuff. And so it's one of those things where, like,

(01:20:43):
I don't know, you'd say this is a better movie
than Karate Kid, but I think for what we look
for in a movie, it has more of that than
Karate Kid does.

Speaker 1 (01:20:53):
Yeah, and look, I you know, I sold Karate Kid
as we all did, you know, growing up, And you know,
I've watched the sequels and I've I mean, and I
haven't seen any of the reboots with Smith and Jackie Chan,
although I wouldn't mind, because they're about to make one
that crosses over the reboots and the original franchise. They're

(01:21:15):
about to make one, or they already have made one
that has Jackie Chan and Ralph Macho in it, which
I'm fascinated by, Like I'm very intrigued how they've tried
to but look at Cobra Kai. The way Cobra Kai.

Speaker 2 (01:21:28):
Is weaved in almost every single plot point from all
of the sequels, you know, even the one where they
go to Japan and everything they've they've like weaved it
all into this new series of new franchise in a
way that you couldn't have imagined really twenty years ago.
So you know, I'm not going to say I'm not
a fan of the Karate Kid franchise, but I was

(01:21:49):
never like, you know, yeah, Karate Kids my thing, Like
it was never you know, my franchise on my thing.
I would occasionally watch it if it was on TV
or cable or something, and I own them now and
it's part of my collection, but it's not one that
I often, you know, go back to and put in
if I'm perfectly honest. And whereas something like this because

(01:22:12):
it's a PM film, because it combines just so many different.

Speaker 1 (01:22:19):
You know, styles and vibes.

Speaker 2 (01:22:21):
I mean, you know, I mentioned it in the Rundown,
but that cafeteria food fight, it's a food fight that
in the way the camera pans across it, it's staged
like one of those war scenes where people are like
throwing grenades and stuff over you know, the trenches with

(01:22:44):
like dust and smoke and stuff in the air, Whereas
in this case, it's like egg, salad and bread and
whatever they're flinging at each other, but they're.

Speaker 1 (01:22:52):
Fleeing so much of it.

Speaker 2 (01:22:53):
It's not even like Animal House where they're like grabbing
realistic gobs of food or whatever. It's like They've given
all these kids just a massive amount of crumbs and
they're just throwing them through the air, which sort of
creates this incredible cut. I mean, cleaning up after that
must have been an absolute nightmare because it's a confetti
of food. It's a confettio food and it goes on

(01:23:15):
for a long time. But the camera pans across it
all from one side. It all films it almost like
a TV show, all from one side. It pans across
the you know, the no man's land of the cafeteria
while they're throwing food grenades at each other. But all
the while Jim Halfpenny, whether intentionally or whether he just

(01:23:36):
produced a bunch of music and Jerry P. Jacobs just
decided where to put it. But it scored like an
incredibly menacing dark slasher film. I mean, his soundtrack in
this is so close to being a Carpenter ripoff or
nod to a carpenter, or a nod to like a

(01:23:59):
Manfredini made from Friday thirteenth. It's so doom Layden and
so dark and look the food fight starts with him
being forced by the scorpions to go over and humiliate
one of his dear friends from his dojo to buy
and he decides to pour food on his head and
he says, you know, I'm really sorry I have to

(01:24:19):
do this, but and he like flips food on his
head and then in the entire cafeteria gets up and
just starts throwing food around. And obviously that's a sad moment.
You want to underscore that moment. You want to kind of,
you know, bring the weight down of everything. Ted Jen
Roberts had to all that high school goodwill that he
has from the girl is it Kim?

Speaker 1 (01:24:40):
The girl?

Speaker 2 (01:24:40):
Yeah, Tricia, Tricia VESSI the girl Kim and his friend
who he You know, you want to feel the weight
of it.

Speaker 1 (01:24:48):
But then the fact that when this sort of.

Speaker 2 (01:24:50):
Joyous cafeteria food fight breaks out, you've still got this
like doom laden.

Speaker 1 (01:24:56):
I can't explain.

Speaker 2 (01:24:57):
I might even play a clip on the on the show,
because you just watch it and you go, this is
It's like Jerry P.

Speaker 1 (01:25:04):
Jacobs and Ken Blake. He went, let's shoot this like
a World War One, you know, battlefield. It's it's ah man,
it's it's sort of surreal genius. I mean, I may
be looking too deep into it, and it may just
be a confluence of confusing events, but man, I love
it and it typifies the balance that they're doing between

(01:25:24):
these vibes that are running throughout the movie. Is it
a doom Leyden teen drama full of suicide and angst
and pain and anguish or is it just a fun
karate rump in which they, you know, ride around on
dirt bikes and beat people up on the beach. What
is it?

Speaker 2 (01:25:41):
We don't know, we don't care. It's wonderful and beautiful.
It's one of those.

Speaker 4 (01:25:45):
Well, well to that point right when we get the
end scene, right where things are supposed to be tense
and we're building up to this big dan you want.
The music they're playing there is like in a Scooby
Doo episode when they're like running around and the baddies
chasing them, and it's like it's like, what is this
that's going on? It's like I'm I in a hand
of barbaria cartoon. It's like, or am I in you know?
And it's like this kind of like this romp kind

(01:26:06):
of like doo doo doo do do you know, like
almost like a violin playing or whatever, and as like
you know, like you know, Feldman is scooting around on
a dirt bike and all this stuff, and it's like yeah,
or like you know we were talking about earlier, like
with the car flipping over, and it's like this tense,
violative like like it's going you know, it's like yeah,
I mean the music is so all over the place.

(01:26:27):
It just adds to the surreal quality of it.

Speaker 2 (01:26:30):
I loved it. I absolutely loved it. I became obsessed
with the skull. The skull was absolutely fantastic. And yes,
there is one way in which this film saddened me.
And this is what at the at the very end
of the you know, you have this tournament and there's
no explanation of the tournament. It immediately goes from green
belt to black belt. They're like, well, we're not going

(01:26:52):
to have them all fight. We'll just have you know,
the kid earlier, his friend who we had to pull
food on, who was in the dojo with Mako. He
was the one who was trying all of his moves
all at once and failing, and Mako went hold back,
slowed down, be more intentional, being more focused.

Speaker 1 (01:27:11):
Right.

Speaker 2 (01:27:12):
He had that moment in the dojo towards the beginning,
and I don't know his name.

Speaker 1 (01:27:16):
Do we know his name.

Speaker 4 (01:27:17):
Because the character's name is Jason, right, Jason Rabago, I think.

Speaker 2 (01:27:21):
But Derek Derek Pascoe then is the actor's name. And
he's great in it, fantastic and another great another great
actor who is still working to these in the mayor
of Kingstown. So he's he's he's worked solidly since, which
congrats to him because he is he is fantastic.

Speaker 1 (01:27:39):
But he did you know he.

Speaker 2 (01:27:41):
Fights one of the scorpions, swaps belts, right, a black
belt scorpion puts on a green belt as if any
like everyone sees him do it like anyone would.

Speaker 1 (01:27:51):
Just great. Now he's.

Speaker 4 (01:27:53):
Handing it out and Hendry and Robins just like I'm
calling it out like he's he's get he's you know,
and and and and makers like that's a okay, what
does the belt matter?

Speaker 1 (01:28:01):
You know?

Speaker 4 (01:28:01):
You just go in and focus and do you know,
do your think. But it is it is kind of
funny how like in the middle of this this like
it does kind of seem like one of the things
it does kind of seem like the case is that
nobody's really paying attention, right, it seems like it's what
is this tournament for right, exactly right, because.

Speaker 2 (01:28:19):
It thing says things says you need to set up
and we need to settle this once in all, who's
better the Scorpions or the Lions?

Speaker 1 (01:28:27):
Right? Yeah?

Speaker 2 (01:28:28):
And he's like, so you've got to get Maco to
set up a tournament, right, I know his name's not Maco.

Speaker 4 (01:28:35):
What was it? No? Yeah, we Sense. I think you
just called Sense to be honest.

Speaker 2 (01:28:39):
It's just Sense. It's just Sense. Okay, You've got to
get Sense to set up this this tournament. And you go, okay,
So there's this big tournament and it's all set up
and it looks like the end of Karate Kid or whatever,
and you're like, all right.

Speaker 1 (01:28:50):
It's a tournament. But who's like Normally tournaments are.

Speaker 2 (01:28:54):
Run by like leagues where there are multiple towns and
different schools and whatever, and everyone has to like battle
it out through this thing and there's an association that
monitor it and there's rules and you know what I mean.

Speaker 1 (01:29:06):
Like, tournaments are big, big deals. They're big things.

Speaker 2 (01:29:08):
You know, there's sponsors and there's there's probably a board
or whatever. No, No, this is just we've taken up
for a local gymnasium and two local dojos are just
going to beat seven chains of ship out of each other.
We've got one guy in a in a referee uniform.

Speaker 1 (01:29:24):
We don't know where he's from. Why it's biases.

Speaker 4 (01:29:28):
Right, Well, we do get the automics that the ubiquitous
or the the uh prerequisite automics sponsor. Right, So we've
got with Tedji Rubber shows up the booth where he's
supposed to register that he's part you know, it's it's
sponsored by automics. So you've got to have the automics.
But other than that, yeah, you're.

Speaker 2 (01:29:46):
Other than that, there's not Yeah, there's nothing else. And
and what's funny registered? I mean from what like two
local dojos. But again we see the we see the
green belt challenge and then it just to meet he
jumps to black belt.

Speaker 1 (01:30:01):
So ted Gen Roberts has to face off against Corey
Felman again in a regular tournament because of the weight difference.
I don't care if they're both black belts.

Speaker 2 (01:30:12):
That would never happen, but fine, whatever, we'll accept the
same with Karate Kid though there's no way a featherweight
or whatever. And I don't know whether they use the
same terminology in martial arts that they're use in boxing.
But you know, Machio is like a featherweight compared to
you know, Zabka is probably middleway or whatever he is,

(01:30:33):
but he's certainly bigger tall, I mean six foot Matchio
is like five foot two. You know, in my head
probably not Yeah, and the same. I mean, look, feld
Dog is fell Dogs shorts as well, like when you
see him walking around with his gang early on.

Speaker 1 (01:30:51):
He's like the shortest of the five kid.

Speaker 2 (01:30:53):
But but you know, certainly bigger than Pop itson eight
years older than him.

Speaker 1 (01:31:01):
So Ted John Robins might be still going through puberty.
Corey Felman's puberty is well and truly done, cooked, baked hard,
baked into his elvis, sidebones.

Speaker 2 (01:31:09):
At this point, they they fight, Yeah, And as they
finish their fight, and it's clear that Ted Joan Robinson
is going to win. In fact, he could have kicked
all his teeth out, but he stops short of half
an inch from fell Dog's face and everyone declares him
the winner. It then all breaks into a big fight
and everyone runs out of the gymnasium and you know,

(01:31:30):
he follows Corey Felman and blah blah blah blah blah.
Here's my problem is we see Maco lamp teak, right,
so make sense he goes after Gavin.

Speaker 1 (01:31:43):
I love's name is Gavin.

Speaker 4 (01:31:49):
We don't know if it's Gavin, as in, like his
first name's Gavin or his last name's Gavin.

Speaker 1 (01:31:53):
Right, I don't Gavin.

Speaker 2 (01:31:59):
It's such not a name like his name should. I mean,
his name should be something like Dalton or something, you know, like,
but it should be something like something with some heft
to it, some some way.

Speaker 1 (01:32:10):
Not Gavin.

Speaker 4 (01:32:11):
I'm Gavin, just Gavin.

Speaker 1 (01:32:14):
Just Gavin.

Speaker 2 (01:32:15):
It's likely Donna. It's like share You're like, yeah, you're
not selling it to me, do but no, I mean
the whole run down. I mean the character's names that
Ethan Taylor, Sense, Audrey Gavin, Greg kim Eddie. I mean
it's like they just played mad limbs with the most
common names of nineteen ninety four.

Speaker 4 (01:32:38):
Exactly because before the Internet, otherwise it was the Internet. Right,
you could just be like every fifth name when you
look at this baby name lists, that's what I use
a lot of times when I need names. It's baby nameless.

Speaker 2 (01:32:47):
But uh yeah, what they should have done is they
should have gone through all of wings House's characters from
all of his movies and called him, called him one
of those names, because wings Houses characters always have like
fantastic names. I mean, look at some of these names,
some of these names that he got to play in CSI,
just a regular episode of CSI.

Speaker 1 (01:33:06):
He's Tony Lash, Tony lat Wingshauser is Tony Lash. He
plays ap Cade in The Mentalist, doesn't even have a
first name.

Speaker 2 (01:33:16):
This is app in some of his earlier movies. Let's
go back to some of his earlier movies. Even in Mind,
Body and Soul, not a great wings Houser movie, but fine,
John Stockton, it's just got a it's you know what
I mean.

Speaker 1 (01:33:28):
It's not like Gavin, you know, I mean Gavin Gavin Stocked.

Speaker 4 (01:33:32):
Just Stockton would have been That would have been a
great name.

Speaker 2 (01:33:36):
In between, he plays a character called Jack Maxwell. Maxwell
would have been a great name. Beast Master two, he
plays Arklon. I mean, he could have been Gavin Arklon.
Isn't just Gavin. Van Vandermere in Pale Blood is one
of my favorites. Because you're writing that down, you're like
Van Van's a good strong now, but then Van Vandermere,

(01:33:57):
uh just Les Ryder. In Street Asylum, you know what
I mean.

Speaker 1 (01:34:01):
So this is they should have Kavanaugh in La Bounty
a great name Fatigue instead of Gavin. But anyway, so
since lamps Gavin and you're like, we're gonna get a
tig makeo fight and we don't. That's it. We get
one hit and that's it.

Speaker 2 (01:34:20):
Then they all kind of all the other fighters are
like scattering and beginning to fight amongst themselves as well.
And obviously we follow ten Jan Roberts and Corey Feldman
because they're like, well, it's a PM film, so we
have to have like more car chases and bike chases
and everything and end it with a chase, and then
we'll end it with a fistfight, a martial arts fight.
After Corey Felman says the best line ever where he goes,

(01:34:44):
there are no rules out here. There were no rules
during the tournament. One of your dudes put on a
black belt, when he's put on a green belt. When
he's a black belt, there was people like you were
about to tear someone's throat out, and everyone was just
gonna let you do it.

Speaker 1 (01:34:59):
Like what, there are rules out here as well. There
are police, there are there are like societal rules there.
You know, there are.

Speaker 2 (01:35:06):
Ordinances, like there were a lot of rules in life.
He's like, there are no rules out here. No, No,
there were no rules in the gymnasium where you were
having this phony, baloney, trumped up tournament that didn't exist
with anyone.

Speaker 1 (01:35:17):
That's where there were no rules. Mate, out here, there
are rules.

Speaker 2 (01:35:21):
So my only sad thing is is I would have
loved but you could have still had the car chase,
the bike chase, and the and the fight between Corey
and uh ten Jan to end it. But I would
have loved a blazing saddles ending where they all ran
out of the gymnasium and all just started fighting in
the street, you know.

Speaker 1 (01:35:40):
What I mean.

Speaker 2 (01:35:41):
And I would have like an anchorman, you know what
I mean, Like I would have loved just they all
run out into the street. Mako's fucking laying out Teague,
you know, Teag's trying desperately to fight him back with
his stomach, but it isn't working. All the kids are
fighting amongst themselves, you know what I mean, Like even
Trisha Vessi starts pulling hair and just smacking mothers around,

(01:36:02):
Like I just it should have to really end it
with a joyous cacophony of madness. They should have all
spilled down into the street and fall. And that's the
only trick I think that PM missed here. And I'm
not want to lamp a lot of criticism their way,
but I'll give them that exactly.

Speaker 4 (01:36:19):
I wonder because all those kids were just the ones
that were just the extras doing the food fight stuff.
They were high school kids. They all got thank you
credits and just by their first names as well, even
they didn't get their full names, they just got their
first name, right, And I wonder if there was a
talk about maybe having them fight and realizing like, oh,
we can't do that with them, because we can't have
them actually fight, dude.

Speaker 2 (01:36:39):
Even if they went outside and an epic food fight
broke out again and in the middle of the food fight,
Peague and Maco were like martial arts. But then there
was this massive food fight and it was filmed, you know,
like the opening to Saving Private right.

Speaker 1 (01:36:59):
Down to the beach again. Yes, they had had like
the beach scene and there was a huge food fight
on the beach.

Speaker 4 (01:37:07):
You have to have right is Aaron Gray gets a
ride there from that police detective who's like, yeah, we.

Speaker 1 (01:37:13):
Haven't talked about them yet.

Speaker 4 (01:37:13):
We got to get yeah, I mean that police detective.
So she gets a ride there and then the food
fight breaks out and she's like, you know what, detective,
and he's like what and sheises him in the face,
like yeah, that's what I'm saying.

Speaker 2 (01:37:26):
We needed a blazing saddles ending look and then you
can have Then it just cuts back to Feldman and
he's on the bike, riding around or whatever. At that point,
we've seen them square off so many times that or
at least we know the square off's happening that there's
not necessarily that much emotional weight to them squaring off
at the end of the movie. The the fun would

(01:37:49):
have been to have had one last full blown kids
involved romp. Right, But yes, as you brought it up,
let us talk about that detective because I don't know
whether they blew the entire budget on Van Patton, Corey Feldman,
Aaron Gray, make O, Tigue and Roberts. But what the

(01:38:11):
who was this guy Eddie Eddie Wilde. He has this
great name, Eddie Wilde. Fucking tig should have been called
do you know what?

Speaker 1 (01:38:21):
He should have just been called tigu fuck any other
name T is a good enough name, you know what.

Speaker 4 (01:38:27):
I mean, real name, his real name, Marshall T is
better than Gavin, Like, yes.

Speaker 2 (01:38:33):
Yeah, But so this guy, Eddie Wilde, Oh my goodness.
He's in a movie called Art Deco Detective, which I
don't know whether they looked up what directed by Philippe
Mora as well?

Speaker 1 (01:38:49):
Wow? Okay who was? Yeah?

Speaker 2 (01:38:53):
Well, Phillip Morra was an osplitation director. He made He
made Mad Dog Morgan in the Outback with Dennis Hopper.
Philip mour made Yes some he made a Breeder part
with Rucker Howard and Donald Pleasance.

Speaker 1 (01:39:11):
I think, right, is that horror movie?

Speaker 4 (01:39:13):
I mean. The thing you also kind of forgot to
mention about Eddie Wilde is that his name Eddie is
spelled ed d. I yes, that's it, there's no e
after the I.

Speaker 1 (01:39:24):
No.

Speaker 2 (01:39:25):
But yeah, so he is, like he's been in some things.
Has Eddie wild not a lot? I mean, he stops
acting in two thousand and one by the looks of it.

Speaker 1 (01:39:37):
Now, this is interesting.

Speaker 2 (01:39:38):
So he did do stunts for a movie called Killing
for Love and a movie called Camilla. He does a
motorbike stunt, so I don't know, maybe he was part
of the stunt team, and they were just like, Eddie,
do you want to be a detective in this or something?
I have no idea he's before this, he was in
direct Hit and Ice for PM Entertainment. After this, they
don't use him again. But yeah, I don't know what

(01:40:02):
he was all about, what his deal was, but he
played the whole thing like he had a serious brain
injury a week ago and was still recovering on heavy drugs.

Speaker 1 (01:40:13):
He played the whole thing like he was sedated.

Speaker 4 (01:40:16):
Well, it was like I was saying, we were messaging
back and forth, and it's like they wanted either Joey
Travolta or Frank Peshi in this role or somebody like
that Al s Appenza, somebody along those lines, and they
were all busy. So it's like, all right, Eddie, Yeah,
here's your big shot, you know, and right.

Speaker 2 (01:40:31):
But I feel like even if they'd had cole s
McKay as the detective, it would have been more entertaining
because Coles McKay is at least like, you know, has
energy and his upbeat and you know, engaging in that way.
This detective, you know, the only thing you can say
really about him, or the part that he plays in

(01:40:52):
the film is that he at least unlike any other
detective in any other movie like this and this again
where sort of PM in order for them to get
the end result they want, because we know for a
fact that you can't claim, well, a ghost told me
that it was maceed to the face, right. You've got

(01:41:15):
to have at some point a detective say I believe
this is to the case, and I'm going to make
this case and I'm going to figure it out, because
you can't just say, well, my ghost brother told me
as a defense, apparently, you you need that character to
believe ted. Jan Robertson kind of go on his own case.
So the fact that he does that is like a

(01:41:36):
nice scripting point because it's not something that you would
see in another movie.

Speaker 1 (01:41:41):
I just don't know what.

Speaker 2 (01:41:43):
They hired this guy, because they might have gone, look,
the detective is not that big a role. But I mean,
I don't know, it's throughout the whole movie. It's a
pivotal plot point, like they might have just found it funny.

Speaker 1 (01:41:55):
I don't know. Maybe he was a friend with Jerry P. Jacobs,
who knows.

Speaker 4 (01:42:00):
No, I agree completely, Yeah, it's it's a fascinating piece
of this. Yeah, you know, I don't know. The only
thing that that I had on this movie is you
know you were talking about on my podcast about you know,
the in Defensive pot you know podcast where they were
talking about how PM understands the concept of movies. Yeah,
and they understand like pieces, but they don't understand like
that the whole putting it together. And you see that

(01:42:23):
really clearly here with the whole Chekhov's gun thing where
so so Tedji and Roberts when he's trying to get
with the Scorpions, they're they're robbing this this either with
the van Ey swap meet right there, they're robbing.

Speaker 1 (01:42:34):
Because apparently Tig needs a ship ton of TVs and DVD.

Speaker 2 (01:42:40):
Players to do what with, to what to sell for what,
or just to fill up his mansion with it. I
have no idea, right, Like, there's no indication because he says, well,
that's not a lot of stuff. As if he has
gangs of other dojo's collecting more stuff. Does he for
what purpose? Where and when?

Speaker 1 (01:42:58):
Any?

Speaker 4 (01:42:58):
Sorry exactly, you know, we don't know, right, So it
just happens. If there's a guy who is like a
new a guard who's like new, you know, and he's
walking around shooting at them because you know, he finds
out they're there. Ted Jann Roberts is the whole Manne's
routine where he's like up on top of a ledge
and jumps down and knocks him down and they disarm
him and the guns on the ground and Feldman picks
it up. Well, okay, so the gun's there, So now

(01:43:18):
we know the gun needs to be used later. So
the you know, the screenwriter for this film, the filmmakers,
they understand the whole Chekhov's gun thing. If you show
the gun here, you've got to use it later. Well,
they using it later was just when the whole ballroom
blitz thing starts to break out. Feldman grabs the gun
and then like the cops disarm him, and then he
attacks the cops and goes and runs. That's it for

(01:43:39):
the gun. The gun shows. I guess it's enough to
clear the gymnasium, but actually everybody runs away. I don't like,
they're kind of all running. It was like the gun
didn't seem to play any party. But it's almost like
this thing like, well, we got to bring the gun
back somehow, How do we do that?

Speaker 1 (01:43:53):
Right?

Speaker 4 (01:43:54):
The rules say we need to bring it back that
we maybe.

Speaker 2 (01:43:56):
They brought it back so that they could at least
like when he gets arrested at the end of the movie,
he can't be arrested for murder because there's they say
they washed the mace off. So even if he was like,
but my dead brother's ghosts said they maced him in
the face, they'd be like, well, there's no evidence of mace.
So although also, can you imagine the scene we don't
get in this movie is of the Scorpion Gang, the

(01:44:19):
four of them or whatever, carrying this dead body around
and like washing its face down, like.

Speaker 4 (01:44:26):
Yelling at each other, well, a woe's gonna rag or something.

Speaker 2 (01:44:29):
Leg grab the leg. No, no, no, you can't do that.
It's slipping and slipping, you know whatever. There's a whole
weekend that Bernie's sequence in this movie that's like cut
out where they wash off all the faces, all the
maze of the face, They wipe down all the thing.
They obviously remove any footprints on fingerprints or anything apparently

(01:44:51):
that would tie them to it. So I suppose does
he get arrested at the end of the movie, just
for you know, he's chasing being chased by the police
on the dirt bike. He fires the gun in the gymnasy,
like there's certain little things they might be able to
get him on that that maybe that's going to be
enough to put him away long enough for the family

(01:45:12):
to feel safe and better.

Speaker 1 (01:45:13):
I have no idea.

Speaker 4 (01:45:14):
Well, I thought the friend Eddie confessed to because he
calls yeah.

Speaker 1 (01:45:19):
I mean, the friend says, yes, it happened. It happened.

Speaker 2 (01:45:21):
But yeah, I mean, any any lawyer would just be like, Okay,
prove it, you know what I mean, beyond a reasonable doubt.

Speaker 4 (01:45:31):
That's good.

Speaker 1 (01:45:32):
Yeah, you know what I mean.

Speaker 4 (01:45:33):
That's another piece. I guess the gun right, he had
a firearm in a situation like that.

Speaker 2 (01:45:38):
Well, because he also when the brother is killed, Eddie
shows up once the brother is already at the bottom
of the stairs, so he can say, yes, someone pushed
him down the stairs.

Speaker 1 (01:45:49):
He can't say he pushed him down the stairs or
how it happened.

Speaker 2 (01:45:53):
Uh you know, I mean he can say that the
gang has all been talking about how he was pushed
down the stairs, but he can't personally say that he
witnessed it. I mean, not that I don't know why
we're going so deep into Listen, the detective walks Cory
Felmon away in the handcuffs, and then the family lives
happily ever after.

Speaker 1 (01:46:12):
That's all we need to know.

Speaker 2 (01:46:14):
But you know, I don't know why we're going so
hard into the Wow, there's no evidence that if there's
court cases on SVU or Lauren Order or something.

Speaker 1 (01:46:22):
You know, you're making a.

Speaker 4 (01:46:25):
Great point that actually that was how they used Checkov.
Actually I probably should have given them more credit for
Chekhov's gun, that they used it as a means to
get Feldman arrested. So in that sense it actually did
play more of a part than I guess. I think
of the traditional checkoffs gun where it's like pointed at
somebody and you know they might get shot or something
like that.

Speaker 1 (01:46:41):
Yeah, And look, I mean.

Speaker 2 (01:46:44):
In general, someone like Feldman wants in the system is
probably going to either confess or you know whatever.

Speaker 1 (01:46:51):
Like, there's any number of things we can imagine happening.

Speaker 2 (01:46:55):
The as much as Marshall Tue makes the movie, the
detective actor Eddie Wilde almost derails it. I would have
loved And look, I know we have a lot of
character actors in here, and I know that there's a
lot of stuff going on that I'm really enjoying. And
you know, Glad I've seen this movie. Glad I own

(01:47:17):
this movie. We'll watch this movie again. But you can't
help wishing that, you know, we got some other weird
mid nineties character actor to play that detective role. It
would have been like Frank Peshy would have been absolutely perfect.
But he was probably making a movie with Fred Williamson

(01:47:39):
in the Philippines, so you know what I mean, or
Italy or somewhere. So yeah, he was probably making The
Big Score or one of those po Boy productions from
the mid nineties, which are fantastic, by the way, check
out all of Fred Williamson's po Boy productions, except.

Speaker 1 (01:47:54):
That Three Days one? Is it three Days to a Kill?

Speaker 4 (01:47:58):
Three Days to Kill?

Speaker 1 (01:47:59):
Yeah? God, that's all. That's really painful talk about a
movie that makes absolutely no fucking sense whatsoever, right, you.

Speaker 4 (01:48:08):
Know, buzzing work because you were talking with Jacobson Heart
or Joe Hart about how Bo s Fenson didn't seem
like he was like all that impressed with Real Frontier,
and it's like he was in Three Days to Kill.

Speaker 1 (01:48:19):
Wasn't he Yeah, yeah, yeah, oh no, I mean this
is the thing bos s Fencon and I think I
even said it, but both Fencon. It's not like Bo S.

Speaker 2 (01:48:26):
Fencon throughout the eighties, nineties, and two thousands was like
doing Sterling work. I know, everyone was like, well he
was a great character actor in the seventies. Sure, that's
just maybe. But by the time he got to work
with PM, Like, what else was he doing? I mean, listen,
I love all those B movies. I'm not like slagging
off the be movies. I'm just saying Stanley Lane Bow like,
it's not like you're starring in Jurassic Park or fucking

(01:48:51):
Mission Impossible franchise. Like, he was just doing strength to
video stuff, and good for him. A lot of strength
video stuff sustained a lot of those guys from the seventies.
Fred Williamson is a prime example. Robert Forster is another
great example. Pamerea, etcetera, etcetera. So come on, get off here,
get off.

Speaker 4 (01:49:09):
Exactly when I heard that, I was just like, that's interesting,
Like that's I wouldn't I wouldn't have expected that, you.

Speaker 2 (01:49:15):
Know who we could have had as a detective in
this which would have made it enjoyably quirky and who
had a history with PM.

Speaker 1 (01:49:22):
Michael J. Pollard would have been completely bizarre detective in
this movie. It would have been.

Speaker 2 (01:49:27):
An added layer of I'm sorry what Pollard is a detective?

Speaker 4 (01:49:32):
Can you imagine when you see him show up at
the house, right the very first scene where he shows
up the house and it's Michael J. Pollard, just like
just like you know, coming in with it, like do.

Speaker 1 (01:49:40):
You have the hat?

Speaker 4 (01:49:41):
Like that he has an art of dying or something
like that, Like.

Speaker 2 (01:49:43):
No, I mean Poulard likes to wear a beret, right,
isn't yeah beret fan? He wears a beret at least
or four different movies.

Speaker 4 (01:49:52):
Yeah, to see him act opposite Aaron Gray would have
been the most amazing thing to like her and Roberts
Ted Jay Robbers trying to make s of him while
he's there taking notes, like and just like thinking of
all the questions of the detective asks well did he
seem to press lately, like imagining Pollard.

Speaker 1 (01:50:07):
Asking did he seem the press lightly like like looking
up or whatever, making his little like eyes that he
does like that and his a little like gren and whatever. Yeah,
it would have been great. Yeah, but someone like Paula
would have been good equally.

Speaker 2 (01:50:23):
Another Art of Dying alum who does very little in
that movie, who could have been in this movie, Sarah Douglas.
I would have loved to have seen a female detective.
You know, we have him in this movie, and we
have Aaron Gray as as the two female leads.

Speaker 1 (01:50:38):
I would have loved to have seen maybe a couple
of other women in here.

Speaker 2 (01:50:41):
That would have been cool and you could have filled
that role out in the Detective. But anyway, so overall thoughts,
I think we've we've gone through that favorite scenes. Do
you want to whip through any favorite scenes?

Speaker 4 (01:50:53):
I mean, we we've covered most of them at this point.
I think I think the other one is we talked
about so the scavenging that equals fighting on the beach,
and when when Greg the older brother is showing what
he can do against this other guy they're fighting each other,
he gets kind of low and the guy goes to
swing his foot and kick him, and like you call it,

(01:51:14):
like a Jean Claude Van Damn face, he makes this
kind of van damage face and then he nails him
right in the crotches.

Speaker 2 (01:51:19):
A chop he does a cock chop right in the
happy place. Yes, yes, that is brutal in order to
win the scavenging fight on the beach. Yeah, against grown
adults who really should know better, grown adults who are like, yeah,
we'll give up a bike to a child who we're
gonna now beat seven stages of shut out of It
doesn't make any sense at all, but.

Speaker 1 (01:51:39):
Okay, but yeah he does. He does. He does a
dung a dung wallop. Yeah right.

Speaker 4 (01:51:51):
He would have been the one thing that we didn't
cover that he does.

Speaker 2 (01:51:56):
When he chums his wang is what he does right
in the right and it's it's filmed that way as well,
Like you see his legs up in a split because
he's doing a kick, and you see the brother like
palm him right in the right in the Yeah.

Speaker 4 (01:52:13):
Yeah, it's like like William Riker and next generation just
boom yeah.

Speaker 2 (01:52:16):
And it makes he does make a Van Dam blood
sport face when he does it, which is fantastic. Look
if you're gonna steal still for the best and and
who doesn't love a screaming Van Dam you know, cockpunt
to the if Look if it's good enough for Van
Dam and Bola young. It's good enough for whoever the
two actors were who played these.

Speaker 1 (01:52:37):
Great.

Speaker 2 (01:52:37):
I mean, the brother was great. It's it's almost a
shame he had to die, but he was. He was
great and obviously another great martial artists. And I have
to say I love the way that Art Camacho has
them do proper martial arts stances. It's not just that
they like go into fights from like a standing mode,
they properly like do the little hoycup of the the

(01:53:00):
pants and stand in the right position and everything like that.

Speaker 1 (01:53:04):
I love all that stuff.

Speaker 4 (01:53:06):
Yeah, yeah, it was it was a well that was
the thing too. So it's very well Corey. I mean,
those fight scenes were really well choreographed. I mean. The
other thing is funny about that is that when Greg
shows up because he's on his bicycle because he couldn't
get the car right because his Aaron Gray, she wouldn't
let him have the car. So he's riding his bicycle
and he's up on the kind of the cliff and
he sees them down there and he thinks like, oh,
something's wrong, and he actually gets down to where the
scorpions are is like, hey, guys, break it up, and

(01:53:27):
they're like wait what you guys freaking up Like we're
talking about.

Speaker 1 (01:53:31):
There's money riding on this, but I got fifteen bucks
on a motorbike. I'm about to win. Yeah, No, I mean, look,
that was all great. I loved I loved that scene.
The food fight. Obviously we've talked to that. The Marshall
t teaching macin Valley was great.

Speaker 2 (01:53:48):
The stomach fight. I just so, there's this whole sequence
in the middle of the movie. How is the kid
fucked up? Like, what is it again that the kid
does that?

Speaker 4 (01:53:59):
So he loses a fight to Ted Jan Roberts in
the cafeteria. So they're in the cafeteria after his brother died, right,
they go just be like, oh, hey, you know, if
anything we can do and Teddrin one of them puts
his hand on Teddrans, Hey, don't don't touch me, and
they fight. So he's kind of the third guy in
the gang and Ted J. Roberts almost beats him up.
He only they finally break the fight up. That's right,

(01:54:19):
Marcia like you can't get there. Yeah.

Speaker 1 (01:54:21):
Yeah. So next time they're in the dojo, Tig is
gonna tig this guy a lesson.

Speaker 2 (01:54:26):
He's gonna tig all over this guy, and uh, he
really does. I mean, he beats seven shapes the shit
out of this kid. How the kid is like not
walking like it's funny, Like Ted Jhen Roberts has a
massive bruise after the fight with the kid later on, Uh,
this kid has no visible bruising despite Tig wiping the
floor with him repeatedly. And the way the fight ends.

Speaker 1 (01:54:48):
You know, this kid, he keeps saying to this kid, like,
you've got to get up, You've got to focus, You've
got to like walk through the pain and fight through
the pain and everything else. So this poor kid, who
at a certain point I just ups and walk out.
But apparently not this kid, kid sees value in this
teaching somehow. You know, this kid keeps standing up every
time he's knocked down and blah blah blah blah blah.

Speaker 2 (01:55:10):
And eventually Tig just stands still. Uh, the kid goes
to like whale on his stomach. Tig is obviously like
tensing his stomach muscles or whatever, and the kid basically
repeatedly punches Tigue in the stomach until the kid is defeated,
until the kid can literally not punch him anymore and

(01:55:33):
falls to the floor, and.

Speaker 1 (01:55:34):
I'm like, did he just defeat an opponent purely by
standing still and doing absolutely? Did Tig's stomach just win
a fight in this movie? And the answer is yes
it did, Yes, it did. Yeah, Tig just stared like
at him with the tea stare. Uh, and the combination

(01:55:59):
of the stair and the stomach muscles defeated this Paul
Bustard and Uh we were hypothesizing last night. Uh, what
would happen if Sagall and Tigue square off? Would Segall's
haft stomach halt? And I'm being polite, he's a fat bustard.
But would Chagall's stomach halft beat tigs is tight muscular

(01:56:24):
stomach or would tigs stomach prevail? That's the question the world.

Speaker 4 (01:56:34):
I mean you feel like you feel like, especially in
ninety four when the when the cigall heft was coming,
I mean, yeah, I I you know, from sigal standpoint,
of course, that's part of the reason why you know,
he would always kind of frame his movie so that
he was always the winner, and he also sat a
lot in his movie, so it's hard to see if
he would stand up to do this. But I think
if you did a fair fight, no stunt devils. Yes,

(01:56:55):
he would. He would win in a heartbeat. He would
just stand there and and Sigall would bounce off of him.
I think even with the heft, because the heft would
create kind of like the big ball kind of we're
kind of like.

Speaker 1 (01:57:04):
A ripple effect as well.

Speaker 4 (01:57:08):
Yeah, he would just fall over.

Speaker 2 (01:57:10):
It wouldn't be much. There wouldn't be much tension to it.
There's not much weight behind it. There's weight in front,
like there's a lot of weight in front, but there's
no heft behind the weight. I imagined last night, Uh,
this wonderful scene where it would all be filmed from
shoulders up, and Tigue and Sigal would be facing off

(01:57:31):
with each other, and Tigue would be doing the menacing
stare and you know, the tigue angry grimace, right, and
then Sigal would be doing his did he fall asleep
with his eyes open?

Speaker 1 (01:57:43):
Look?

Speaker 2 (01:57:44):
You know, because facially, once it once it started to
balloon by the by the mid two thousands, facially Sigal
just hasn't. I don't think he's raised an eyebrow in
fifteen years. But here he's staring out uh with a
very kind of sleepy stare. Tigue is like doing the

(01:58:04):
like menacing strong thing, and all you hear, you don't
see the bellies fighting. All you hear is just a
sort of limb.

Speaker 1 (01:58:14):
Ofll's belly just flapping against Tigue's muscle. Because I don't
know why. That's funny to me.

Speaker 4 (01:58:22):
It's like a rumbling kind of sound. Yeah, like yeah,
once he hits it, like once it starts to slapping.
Happens once that that middle that that the whatever is
going on in the stomach, it starts to move right,
it's and it's like who.

Speaker 1 (01:58:39):
Well you start to see. What you start to see
is you start to see rolls roll Upal's face. So
like like a.

Speaker 2 (01:58:48):
Tidal wave, right, it starts at at an epicenter then
kind of works its way out right and that creates
the waves. So if the epicenter is his belly button,
the waves like roll out on his body and up
his cheeks and at a certain points you can just
see the cheeks are going He's still asleep, of course, but.

Speaker 4 (01:59:10):
Of course that that like that chocolate donut go tea
that he would have in the hair, right, liked of
the hair.

Speaker 1 (01:59:17):
And the shop that he paints exactly.

Speaker 4 (01:59:21):
Like everything starts to get a little more disheveled as
the waves starts to feel like the hair's coming out
a little bit more.

Speaker 1 (01:59:25):
And just tea is nothing's bothering team. It's just like
I've got this, I've got.

Speaker 4 (01:59:36):
Yeah. And for people standard like whoever the judge is right,
maybe it's that ponytail like Judge from this movie is
the one who's like watching it going like no.

Speaker 2 (01:59:44):
You can't judges, like this is actually happening, and there's
like a big but light yeah, carry on.

Speaker 7 (01:59:50):
Sorry exactly, but I mean I wonder if you could
you have to be maybe there'd be a camera there
so you can bet on this with your you know,
online sports betting, right, you know, like what the odds
are and you you know you can do it in
house betting.

Speaker 2 (02:00:03):
Yeah, yeah, no, no, no, look it's it's it's fine.
If anyone can take seal down a peg or two,
it's it's tea. And then lastly, as we close out,
let us talk just quickly about that incredible song maybe again,
I'll play it on the show, But a Dangerous Place,
written by a Halfpenny and son by vocalist Sharon.

Speaker 1 (02:00:24):
Shax, It's a, it's a bad dude. It's a it's
a mid nineties It's kind of feels a bit like
Heart the band Hot right, so Heart and Wilson Phillips.
It's got a very kind of Wilson Phillipsy kind of
vibe to it.

Speaker 4 (02:00:41):
Right, Yeah, I was thinking my combination was like nineties alternative,
like a like a Juey and a Hatfield or Belly
or something like that, mixed with like a B side
off Celene Dion's Where Does My Heart Beat Now? Single?
Right right? That would be like a Selendon B side
that you know, yeah, deep cuts for like the big
fans of hers, like you know, take It Back or whatever.

Speaker 1 (02:01:01):
And I just.

Speaker 2 (02:01:04):
For all our Quebeccian fans, for all our French Canadian
fans out there, the deep cup of Stale Dion's Canadian
out But but no, it's it's a great song.

Speaker 1 (02:01:17):
I love it.

Speaker 2 (02:01:18):
I love discovering, you know, because again I always think
to myself, because I know, because I make music here
on my mac or whatever, and I know what even
what it takes for me to just bang out a
song that like sounds like a song and has multiple
instruments on it and whatever and so the idea that
Halfpenny writes not one, but two songs for this movie.

(02:01:41):
I think he writes the country western song that the
guard is listening to it the Van Night Swamp.

Speaker 4 (02:01:51):
No it is because it's listed to the credits, so
that that he wrote that song.

Speaker 1 (02:01:55):
Disturb its swampy, which is my favorite line of the
whole Did we need to know that anyway? But no,
I'm going to write a song called the Breaking at
the Van I swap.

Speaker 4 (02:02:09):
Will they pull the van up? And you see swap
meat in big letters on the Buildings't that's good enough?
But then you find out it's the Van Ni swamp meat, right, Like?
I don't think it gets much better than that.

Speaker 1 (02:02:20):
No, it doesn't.

Speaker 2 (02:02:20):
Because the more, the more specific something is, the better
it is, you know what I mean, the more detail
that there is, Like a lot of the stuff I
write a lot of the either the comedy schedules I
wrote for the aftermovie Diner or some of the intros
and some of the bullet points that I do for
this show.

Speaker 1 (02:02:37):
It's the details.

Speaker 2 (02:02:38):
It's not oh, a funny thing happened, It's like how
specific and you know, ridiculous can you become and so
Van night swap meet. You know, there are four words
that I don't even know what either any of the
words mean or why you would need a guard to
guard it, or why there are a bunch of TVs
boxed up?

Speaker 1 (02:02:56):
What are they swapping them for? How did or are
they swap them for meat? I have no idea anyway.

Speaker 2 (02:03:04):
Uh, so the Van knowswap meat is fantastic, and yes
the country western song that he's listening to there and whatever.
So the fact that like on occasions, you know, the
shotgun of Jones is the famous one from Shotgun.

Speaker 1 (02:03:18):
Stop Gun.

Speaker 2 (02:03:21):
Uh those those ones are out shut stock Gun, which
is just my first such a jam. So I so
hope if anything comes from this podcast, right, whether we
get to make a documentary, whether we get to you know,
travel to locations where they made the movies, whatever it is,

(02:03:41):
my dream would be that one of these companies, Mondo
or whatever who does these new vinyl reissues, finds all
the songs that were made for PM Entertainment films and
releases a vinyl record just of the song and maybe
a few like like the cafeteria sequence, you know, certain

(02:04:06):
soundtrack bits like the car chase sequence, the bike chase,
car chase sequence in Steel Frontier with the drumming.

Speaker 1 (02:04:15):
Yes, like just a few like soundtrack clips on a vinyl. Dude,
I would be so happy. I would be over the
moon if they did. I really would, I really would.

Speaker 2 (02:04:28):
Anyone listening to this who is like, oh my god,
we could do that so easily. I mean, just imagine
it starts with Shotgun of Jones, Like that's what That's
the first song on.

Speaker 1 (02:04:39):
The fucking album. Like it can only go up from.

Speaker 4 (02:04:42):
Okay, now I'm trying to think of other great ones
from because Shotgun Jones is the one that always comes
to my mind, like that's just you know, after seeing
that movie. I'm just like, I don't know that a
movie has a better.

Speaker 1 (02:04:52):
Right well, I mean a dangerous place. I love this song.
This is great.

Speaker 2 (02:04:57):
There was one it doesn't mention the I mean you've
off the fucking soundtracks of the Wingshouser too, Out of
Dying and Live to Die. I mean that some of
the jazz madness that's in that, I mean that that
alone could be like forty five just of the the

(02:05:20):
well they like the Benny Hill chase sequence from Out
of Dying and Living to Die where it's Benny Hill,
but it's done in like esoteric uh you know, I
impenetrable jazz as opposed to the anetax, which has a melody.

Speaker 1 (02:05:36):
It's just a yeah, oh fantastic.

Speaker 2 (02:05:41):
Can you imagine it the soundtrack, the PM Entertainment soundtrack.

Speaker 1 (02:05:45):
Someone needs to do that, man, Jesus.

Speaker 4 (02:05:47):
Yeah, because their songs, right, I mean, somebody's got to
know where those songs are, right, maybe Halfpenny, Maybe he's
got them all somewhere.

Speaker 2 (02:05:54):
Oh, I'm reaching out to Halfpenny. You better believe the
half Pennies on my list of people to talk to. Look, man,
stranger fucking things have happened. If Hard Ticket to Hawaii
can get a vinyl release, why the hell not the
PM Entertainment Compendium or something would be like, and it's
just an anthology of just fucking all the good music
that's in PM Entertainment films.

Speaker 4 (02:06:16):
Yeah, yeah, it would it would be you know, that
would be kind of an interesting thing to do a
couple of those jazz you know, those those those jazz
songs from me.

Speaker 2 (02:06:23):
Have re evaluated by like a whispering radio DJ from
like FAM or something, or like the Serious Jazz Channel.

Speaker 3 (02:06:31):
Now coming up sections from Art to Dying and I know, sorry,
we did that Art of Dying, or and coming up
we have a few esoteric jazz sections from the movie
Art of Dying, and I have to say, some of
these really speak to me deep down in my soul. Brother,
it's a real, uh do what masterpiece that we're about

(02:06:55):
to hear. That really to some crazy cats playing on
this album, and yeah, he goes really in depth into
or whatever. And then he's like, so here we are
sections of Art of Dying.

Speaker 1 (02:07:05):
And then.

Speaker 4 (02:07:11):
Just been like, coming up here, we've got a song
called Who's Putting the Bite on Mitten from the film
Living to Die. My favorite son said.

Speaker 1 (02:07:22):
Now Who's putting the Bite?

Speaker 2 (02:07:23):
And that's great, and you know, and look, they need
to reissue wings Houses album. Come on now, we want
wings Living Right. We need his album back because again
you can include in the Art of Dying. When she
goes to the Roadhouse, one of Hows's songs is playing
on the juice right, God's Right walk into a roadhouse

(02:07:45):
and they have Living Right Live Rights album on the jobs.

Speaker 4 (02:07:50):
Just go for the bartender with a fistful of cash
and just be like, I need all the quarters you
got like this.

Speaker 1 (02:07:55):
Yeah, but by the way, I am not leaving till
we've heard Wings Living Rights album at least five times
back to Francs. So just everyone just strap in because.

Speaker 4 (02:08:07):
This is right. Sorry, yeah, this is what Well, that's.

Speaker 2 (02:08:10):
My dream, sir, and maybe if we talk about it,
we manifest it. So let's wrap this up. We're gonna
do ranking within PM entertainment films, and then you I've
not seen any other Ted Jhen Roberts, but you're going
to rank it within Ted J. Roberts movies. And then
we're going to head out because we're coming up to
the two hour macs, so ranking within PM entertainment films,
so you go ahead first.

Speaker 4 (02:08:32):
So yeah, I've got this number twelve. Now, I did
have this a little bit higher recently. I actually before
I saw Steel Frontier, I had this at nine, but
I Steel Frontier put ahead of it. I think Living
to Die just talking about that one, I still kind
of a riot. I've realized I can't have the three
Daniel's Rs above this one, but twelve, yeah, is where
I have this. Now I've only seen two other Ted

(02:08:53):
Jen Roberts movies. So Hollywood Safari, this is definitely much
better than Hollywood Safari. And I do like this one
better than Magic Kit. That's the only one I've seen
of his I'm still going to see.

Speaker 1 (02:09:02):
So this is top of the three. This is top
of exactly.

Speaker 4 (02:09:06):
Yeah, and I'd be curious to know if Magic Kid
too is It's probably the next one i'll see, or
Power Within. I don't think that either of those. I
can't imagine them being better than this one.

Speaker 1 (02:09:16):
No, I mean the Power Within.

Speaker 2 (02:09:17):
I'm interested because it's got Zabka and it might be
more within the tone of this one, whereas Magic Kid
is obviously going to be more goofy and childish.

Speaker 1 (02:09:27):
I'm aware of that already.

Speaker 2 (02:09:29):
I have to say, these rankings are becoming really difficult
because essentially I just love all these movies. It definitely
look it's not in my top ten. It can't be
in my top ten. It may eke into the top fifteen,
is how I'm feeling about it. So that's kind of
where it is now, probably in the thirteen fourteen, somewhere

(02:09:52):
around that kind of spot. I need to go back
into my letterbox and really really think again about my
rankings and my listings for this because you know, we
were talking about the Tracy Lord's one that I just watched,
Intent to Kill, and again, that was a surprise.

Speaker 3 (02:10:10):
Man.

Speaker 2 (02:10:11):
I did not expect that to be as enjoyable and
as whacked out and fun and like a feminist death
wish movie and everything else. Like, I didn't expect that
to be that good.

Speaker 1 (02:10:21):
You know.

Speaker 2 (02:10:21):
I'd seen The Time to Die and been like, it's fine,
it's good. It's a decent thriller, but it's you know,
it's certainly not making the top twenty, and then suddenly
Intent to Kill is in my top fifteen because I
really enjoyed it. But you know, then, you know, are
these movies, though, Intent to Kill in a Dangerous Place?

Speaker 1 (02:10:38):
Are they as good as The Three Hours? Are they
as good as Steel Frontier? Are they good as T
four Serra Tolerance, you know, Ring of Fire three.

Speaker 2 (02:10:45):
Once you start like listing these movies out, you're like,
they're not really they're probably you know, in the same
way that they're kind of mid era PM because they're
between the earlier Grindhouse ones and the later Glossier ones.
They're sort of mid range. You know, if there are
whatever there are seventy five eighty ninety, I don't even
know how many PM movies there are, but let's say

(02:11:06):
there's ninety of them. It's in the top twenty probably
or in the top twenty five somewhere like that, and
it'll shuffle around as I watch and rewatch all these movies.
But and I don't know whether people care about the
rankings or not. I just think it's good to kind
of let people know because PM entertainment if you've never
come across it before, if you come across it and

(02:11:27):
you look at all the titles, you might you know.

Speaker 1 (02:11:30):
I certainly was like.

Speaker 2 (02:11:31):
Well, for every four or five great ones that I
would watch, I would watch one and I'd go, okay,
you know, a bit of a shame that doesn't It
didn't hit me like those other ones what I'm finding
doing the podcast and branching out and doing a Ted
Jan Roberts one and like figuring out Steel Frontier and
various other ones that I hadn't come close.

Speaker 1 (02:11:52):
Pure Danger was another one that I put on. I
know we haven't covered it yet for this show, but.

Speaker 2 (02:11:58):
Is another one that I'm just like, well, wait a minute,
if it's this good, like if you're dangerou is this good?
Is that in my top five now, like it's you
know what I mean, it's it's it's pretty difficult. So
uh uh that's where it's all I'm saying is that
for my first dipping my first toe into the river
of Roberts, this was a very very welcome, warm, pleasant river, clean,

(02:12:22):
unpolluted and uh full of Marshall t stomach muscles.

Speaker 4 (02:12:29):
For sure. Now, now I do I actually put this
in one above Ring a Fire three, just because I
really like the beginning of Ringing Fire three and in
the end of it, but the middle kind of bogged
down of it for me, and this kind of was
a more consistent, you know, even though it doesn't have
the highs that Ring a Fire three. So but you
know that again, you could you could, you know, I
could you can make a case for why you like

(02:12:50):
Ring a Fire three better as well. It's like, like
you said, it's like you're almost kind of splitting hairs
or as the owner of the Dallas Cowboys would say,
circumcising mosquitos.

Speaker 1 (02:12:58):
Like that's what well, look, PM continues to deliver. PM
continues to show us the way, and it continues to say, listen,
a film doesn't need to be pigeonholed by one genre,
have seventy eight genres in one film, and don't worry
about it. Don't worry about it. A throwing, a van

(02:13:22):
Patten and a tague and you're good to go, my friend. Anyway, Matt,
thank you ever so much again for being on this
episode of the PM Entertainment podcast. Round it out.

Speaker 2 (02:13:31):
Let people know where they can find you online, social
media's and all that good stuff, and we will close
this out.

Speaker 4 (02:13:39):
Yeah, So, Dtvconnoisseur dot blogspot dot com. That's where you
can find everything I am on Facebook, DTV Connoisseur, Blue Sky, Instagram,
and then of course the podcast v DTVC podcast. You
can find that on all the major podcatchers, so definitely,
you know, subscribe, check that out as well. John was
on recently. It was a really fun episode on the
three bedroom ized Films, So yeah, definitely check that out.

Speaker 2 (02:14:00):
Yeah, and I'll be posting that on aftermovie Dina dot
come under my guest spots page once I have any
time to do.

Speaker 1 (02:14:07):
House cleaning when it comes to my internet presence. But
thanks ever so much for this MAN Entertainment podcast.

Speaker 4 (02:14:17):
How many fatal eras did we witness today?

Speaker 1 (02:14:20):
Hesitation, sir good, he who hesitates is dead. Taylor Mercy,
sir right, you spare.

Speaker 8 (02:14:31):
An opponent today, he will not spare you tomorrow.

Speaker 5 (02:14:34):
To spare an enemies to make a friend.

Speaker 1 (02:14:37):
That's what my old Sante teaches.

Speaker 4 (02:14:39):
Those are the words of a loser.

Speaker 9 (02:15:18):
Thankee Mama foods.

Speaker 1 (02:15:27):
In a day job say.

Speaker 8 (02:15:34):
In my home, I'm holding on to better days. You
follow one your way away from my life, but it's
up inside.

Speaker 9 (02:15:54):
My friends say the pain will subside, but it cuts me.
Dude to my gon as baber one thing that you
serve the us, it's on your The world is on

(02:16:15):
b Paranjoss like the one in my heart that was
the bill of your things. Won't bend sot hallo day

(02:16:47):
job as this.

Speaker 5 (02:16:53):
My home, like.

Speaker 9 (02:16:59):
Sime ready to wit, slow.

Speaker 8 (02:17:16):
Up on me, just can't let's go.

Speaker 9 (02:17:21):
I know you fell like the g s. My heart
is on.

Speaker 5 (02:17:29):
So it's on my head blowing on.

Speaker 9 (02:17:34):
By takedom slakes like holl my heart the memory see

(02:18:00):
yeah

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Episode 8 - A Dangerous Place

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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 8 - A Dangerous Place