Cinema Shock

After THE ELEPHANT MAN, David Lynch took on the biggest challenge of his career: adapting DUNE. It didn’t go well. Here’s how one of the most infamous sci-fi flops came to be. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andy Lancaster | Benjamin Yates | curtcake5k | Jvance325 | MagicBloat | Nate Izod | Elton Novara Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

David Lynch’s strange road to Hollywood began here—with a haunting biopic about humanity, dignity, and monstrous cruelty. This is the story of how THE ELEPHANT MAN came to be. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andy Lancaster | Benjamin Yates | curtcake5k | Jvance325 | MagicBloat | Nate Izod Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

We dive into the long, strange journey behind ERASERHEAD — from David Lynch’s early years at AFI, to the film’s near-abandonment, to its resurrection as a cult classic that redefined the midnight movie scene. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andy Lancaster | Benjamin Yates | curtcake5k | Jvance325 | MagicBloat | Nate Izod Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

We kick off David Lynch: Between Two Worlds with a look at the origins of one of cinema’s most distinctive voices — from Lynch’s suburban upbringing and art school years to the eerie, experimental short films that laid the groundwork for ERASERHEAD and beyond. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

Before we close out our exploration of Midnight Movies with David Lynch’s ERASERHEAD, we’re taking a detour into the glitter-soaked, fishnet-wrapped world of what may be the most iconic midnight movie of them all: THE ROCKY HORROR PICTURE SHOW. It all started as a quirky stage production in a small experimental theater in London—but what followed was a pop culture explosion. ROCKY HORROR defied its disastrous box office debut and transformed into the longest continuously running theatrical release of all time. In this episode, we trace the film’s journey from the original stage musical to the cult sensation it became. We’ll explore its critical reception, its disastrous early screenings, its resurrection on the midnight circuit, and how it became a global rite of passage for weirdos and outsiders everywhere. Whether you’re a longtime fan or a curious first-timer, we’ll give you the full story behind THE ROCKY HORROR PICTURE SHOW. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

In this standalone episode, we're discussing Richard Kelly's modern cult classic DONNIE DARKO! DONNIE DARKO's journey to the screen was one fraught with difficulties from the very beginning: Few studios were willing to take a chance on a young, unproven director, and once the film did finally get made, getting it released at all was nearly impossible, with most distributors intimidated by the unconventional film. Once it was finally released, it was a huge flop. So how did DONNIE DARKO go on to become one of the most significant cult films of the last 25 years? In this episode, we tell the full story behind the film, from its inception, through production and release, and ultimately, how the film found new life to become the classic that we know it as today. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

For the final episode in our series David Fincher: Rules of the Game, we're taking a look at the story behind his 2007 true crime drama ZODIAC. For his follow-up to the crowd-pleasing popcorn thriller PANIC ROOM, David Fincher went in a far different direction with a meticulously researched look at the investigation into the real life Zodiac Killer murders in northern California in the late 1960s. In this episode, we trace the creation of ZODIAC, from its origins as a true crime book (written by San Francisco Chronicle cartoonist Robert Graysmith, who's portrayed by Jake Gyllenhaal in the film) through its years in development at different studios, all the way through Fincher's involvement, the filming, and eventual release. Up Next: DONNIE DARKO. UPCOMING LIVE EVENT: Cinema Shock & GutPunch Cinema present Cult Class: DONNIE DARKO. A live screening of Richard Kelly's cult classic, with an introduction by the Cinema Shock Team. Coffee Underground | Greenville, SC Tuesday, May 21 Doors: 6:30 | Movie: 7:00 Tickets: https://gutpunchcinema.square.site/ Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

FIGHT CLUB had been a grueling shoot for David Fincher and, at least upon first release, had alienated both audiences and critics alike. So when it was time for Fincher to move on to his next film, he sought out something a little simpler, something that wouldn't involve the hundreds of locations that he'd dealt with on FIGHT CLUB and one that was designed as pure entertainment. A "popcorn movie." It should have been simple. Unfortunately, the reality of shooting his next film was anything but easy. It ended up being a difficult shoot for a variety of reasons, not the least of which was Fincher's own inability to be flexible, a hard-earned lesson that he took with him to future projects. In this, the penultimate episode of our David Fincher series, we trace the full production history of PANIC ROOM, from script to screen and beyond. Up Next: David Fincher — Rules of the Game, Part 7: ZODIAC. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

After back-to-back successes with SE7EN and THE GAME, David Fincher found himself at the top of Hollywood's A-list, proving that he could produce hit films without abandoning his dark sensibilites. His next project, however, would put his reputation to the test. Although it's now considered a classic — and may very well be Fincher's most widely-seen film — when FIGHT CLUB was released in 1999, it was met with controversy, a negative critical reception, and disappointing box office returns. In this episode, we'll trace the entire history of FIGHT CLUB, from its inception as a novel to Fincher's development of the film and subsequent battles with the studio over the story's content, all the way through its divisive release in the fall of 1999, as well as how its legacy stands today, a quarter century after its initial release. Up Next: David Fincher — Rules of the Game, Part 6: PANIC ROOM. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

After the success of SE7EN, David Fincher returned to a film that he'd started developing before deciding to prioritize the serial killer film that would put him on the map. That film was THE GAME, a twist-filled thriller that's often overlooked and underappreciated during discussions of the director's filmography, but one that still features all of the skill, cynicism, and wit that have become staples of Fincher's work. In this episode, we'll discuss the creation of THE GAME, from script to shoot to screen and everything in-between, as we continue our deep dive into the films and career of David Fincher. Up Next: David Fincher — Rules of the Game, Part 5: FIGHT CLUB. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

After his disastrous experience on ALIEN 3, David Fincher retreated back into the world of music video and commercials, vowing to never again direct a feature film. That is, until a script by a young, first-time screenwriter named Andrew Kevin Walker crossed his desk. That script — about a serial killer who chooses his victims based on the Seven Deadly Sins — would prove to be the perfect canvas for Fincher's dark, exacting sensibilities. Making SEVEN (or SE7EN if ya nasty) didn't come without its share of headaches or interference from the studio. The now-iconic ending was a particular point of contention. But Fincher, having learned his lesson on ALIEN 3, was determined to make the film his way, no compromise. On this episode, we dive into the history behind SEVEN, from the evolution of Walker's script, through the difficult shoot and battles with the studio, through the film's release and ultimate success. Up Next: David Fincher — Rules of the Game, Part 4: THE GAME. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

After spending years in Development Hell, the production of ALIEN 3 finally moved forward once first-time feature director David Fincher came on board. But it wasn't smooth sailing from there. The story of ALIEN 3's production is one of a legendary disaster, one where studio interference turned the film into one that was so compromised that its director disowns it to this day. In this episode, we will discuss all of the trials and tribulations that Fincher and his cast and crew went through while making ALIEN 3 and we'll discuss its legacy not only in the annals of science fiction, but in the scope of Fincher's overall career. Is ALIEN 3 the unmitigated disaster that many (including its director) would have us believe it is, or was it simply misunderstood by audiences who saw it in 1992? Up Next: David Fincher — Rules of the Game, Part 3: SE7EN. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"People will say, 'There are a million ways to shoot a scene', but I don't think so. I think there're two, maybe. And the other one is wrong." — David Fincher David Fincher has a reputation for being an exacting, meticulous director, one who sees an entire film in his head and who will do whatever it takes to get that vision onscreen. While that way of working has helped him to produce a filmography filled with modern classic — everything from the cult classics THE GAME and FIGHT CLUB to award winning prestige films like THE SOCIAL NETWORK and ZODIAC — it also has a tendency to cause friction between him and anyone who isn't fully on board with his vision. In this new series, David Fincher: Rules of the Game, we'll be exploring the first decade and a half of Fincher's career, beginning with his oft-maligned debut film, ALIEN3 In this introductory episode, we'll explore the years that the third ALIEN film spent in development hell, a time in which is went through multiple story variations, nearly a dozen writers, and several directors before Fincher ever even came on board. We'll also be taking a look at Fincher's life and career before ALIEN3 and the years that he spent as an award-winning and highly influential director of commercials and music videos. Up Next: David Fincher — Rules of the Game, Part 2: ALIEN3. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

For our next series here on Cinema Shock, we're going to be taking a look at the films of David Fincher, including his feature film debut ALIEN3. Since ALIEN3's history — which includes years spent in development hell, multiple directors and multiple screenwriters — is so tightly weaved into the history of the films in the franchise that preceded it, we wanted to give our listeners a chance to revisit the stories behind the productions of those films. We recently re-published our episode covering Ridley Scott's ALIEN and we continue the story here, with James Cameron's ALIENS. This episode was originally released in June of 2022 as part of our series James Cameron: Man of Tomorrow. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

For our next series here on Cinema Shock, we're going to be taking a look at the films of David Fincher, including his feature film debut ALIEN3. Since ALIEN3's history — which includes years spent in development hell, multiple directors and multiple screenwriters — is so tightly weaved into the history of the films in the franchise that preceded it, we wanted to give our listeners a chance to revisit the stories behind the productions of those films, beginning with Ridley Scott's ALIEN. This episode was originally released in April of 2021 as part of our series The Unsung Legacy of Dan O'Bannon. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

In this special bonus episode, Justin, Gary and Todd take a look at every sequel to ONCE UPON A TIME IN CHINA! Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

For the final entry in our Cinema Shock Roulette Extravaganza (but certainly not our last Cinema Shock Roulette episode), we're headed to Hong Kong to take a deep dive into the production of Tsui Hark's seminal martial arts film, ONCE UPON A TIME IN CHINA. In this episode, we'll discuss not only the production of ONCE UPON A TIME IN CHINA, but the history of Chinese folk hero Wong Fei-hung on film, the early careers of Tsui and star Jet Li, and how this film reshaped the Hong Kong film industry, not only revitalizing the period martial arts film genre, but also spawning no less than five sequels, which in turn helped launch the career of martial arts sensation Donnie Yen. Up Next: David Fincher — Rules of the Game, a 7-part series on the career of director David Fincher. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

In this Cinema Shock Rewind episode, we're re-publishing our episode covering THE 36TH CHAMBER OF SHAOLIN! As was the case with GAME OF DEATH, our previous Rewind episode, the history of THE 36TH CHAMBER OF SHAOLIN has some significant ties with the history of martial arts cinema in Hong Kong, which directly influences the creation of Tsui Hark's ONCE UPON A TIME IN CHINA. We're providing this episode as a refresher for older listners and new listeners alike, as it provides some fun context and cross-over with our upcoming episode covering Tsui's film. THE 36TH CHAMBER OF SHAOLIN was originally published in January 2021 as part of our Six Degrees of Kill Bill series.

In this Cinema Shock Rewind episode, we're republishing our episode covering Bruce Lee's GAME OF DEATH. The story of Bruce Lee ties in directly to our upcoming episode covering the production of ONCE UPON A TIME IN CHINA, so we're providing a refresher here for new listeners or longtime listeners who may want to revisit it. GAME OF DEATH was originally published in January 2021 as part of our series The Six Degrees of Kill Bill.

In this episode, Justin & Gary take a look at Andrzej Żuławski's controversial 1981 cult film POSSESSION! This existential relationship drama (slash body horror?), inspired by the director's own painful divorce, is an acting showcase for its stars, Sam Neill and Isabelle Adjani, and up until the last few years, was almost impossible to find in the US in its original, unedited form. This week, we'll take a detailed look at Żuławski's career in his native Poland, how he was forced to leave his home country by Poland's Communist government, and the circumstances that led to him filming a movie that Time Out called "extreme but essential viewing". Synopsis: A young woman left her family for an unspecified reason. The husband determines to find out the truth and starts following his wife. At first, he suspects that a man is involved. But gradually, he finds out more and more strange behaviors and bizarre incidents that indicate something more than a possessed love affair. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop.. For episode archives, merch, show notes, and more, visit cinemashock.net

Gary and Justin sit down and talk with professional wrestler 'Thrillbilly' Silas Mason about being in the ring with Zac Efron and Jeremy Allen White for A24's new film THE IRON CLAW - In theaters now! Check out this interview and let us know what you think! Should we try to do more interviews? Also let us know if you've seen The Iron Claw yet! You can hit us up on all social media - @cinema_shock Silas currently wrestles for Billy Corgan's (The Smashing Pumpkins) professional wrestling promotion, The National Wrestling Alliance (NWA). Check them out at youtube.com/@nwa and @nwa on all social media. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop.. For episode archives, merch, show notes, and more, visit cinemashock.net

Think SILENT NIGHT, DEADLY NIGHT PART 2 was the end of the story? Oh, you sweet summer child. In this bonus episode, we take a quick detour through the rest of the franchise — from the incomprehensible SILENT NIGHT, DEADLY NIGHT PART 3: BETTER WATCH OUT! to the experimental oddity of SILENT NIGHT, DEADLY NIGHT PART 4: INITIATION, and the toy-obsessed weirdness of SILENT NIGHT, DEADLY NIGHT PART 5: THE TOY MAKER starring Mickey Rooney (yes, really). It’s a grab bag of direct-to-video holiday horror, loosely connected by name only — and we’re unwrapping them all. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop.. For episode archives, merch, show notes, and more, visit cinemashock.net

In this holiday-themed installment of Cinema Shock Roulette, we’re decking the halls with blood and sleigh bells as we dive into the yuletide controversy of SILENT NIGHT, DEADLY NIGHT (1984) — the slasher that sparked national outrage and was pulled from theaters after just two weeks. But we don’t stop there. We’re also unwrapping SILENT NIGHT, DEADLY NIGHT PART 2, the low-budget sequel that reused nearly half the footage from the first film — and somehow gave us one of the most memeable moments in cult horror history: “Garbage Day!” From protest picket lines to killer Santas, from Catholic guilt to VHS resurrection, we’re tracing the strange and sleazy legacy of this infamously naughty franchise. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

What if ALIEN had been directed by Clive Barker? In this episode of Cinema Shock Roulette, we’re diving into EVENT HORIZON, Paul W.S. Anderson’s cult sci-fi horror film that famously crashed and burned at the box office before becoming a late-night classic. We’ll explore the troubled production, including studio interference, a rushed edit, and the now-legendary lost footage. We’ll also dig into the film’s HELLRAISER-inspired depiction of Hell, the incredible set design, and how it ultimately found its audience among horror fans and convention goers years later. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop.. For episode archives, merch, show notes, and more, visit cinemashock.net

What if John Hughes movies did murder? In this Roulette episode, we dig into Michael Lehmann’s pitch-black 1989 teen satire, HEATHERS — a film that skewered high school cliques, weaponized sarcasm, and launched a thousand “Dear Diary” imitators. We’ll talk about how Daniel Waters’ script turned every studio exec pale, how Winona Ryder risked her rising career to play Veronica, and how a young Christian Slater channeled Jack Nicholson into a performance that’s somehow both magnetic and terrifying. From the film’s rocky road to production to its legacy as a cult classic, this is the story behind the original teenage time bomb. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

How do you describe a film like HOUSE? Equal parts haunted house horror, surrealist art film, Looney Tunes cartoon, and experimental cinema, Nobuhiko Obayashi’s HOUSE (HAUSU) is one of the wildest, most unique cult movies ever made. But behind the madness is a fascinating story of how a commercial filmmaker and former ad man channeled the imagination of his 11-year-old daughter into one of the most visually inventive horror films of the 1970s. In this episode of Cinema Shock Roulette, we take a deep dive into the making of HOUSE, exploring how Obayashi defied Japan’s studio system, weaponized pop culture surrealism, and accidentally created one of the most enduring Midnight Movies of all time. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

This Halloween, we’re sinking our teeth into one of the most iconic horror films ever made: NOSFERATU (1922). A few weeks ago, we had the honor of co-hosting the very first Cinema Shock live event — a special screening of F.W. Murnau’s silent horror classic, presented alongside our friends at GUTPUNCH. At the event, we scratched the surface of the film’s eerie legacy… but we knew that Nosferatu deserved a proper Cinema Shock deep dive. So in this special episode, we’re tracing the full story behind the creation — and near destruction — of Murnau’s unauthorized Dracula adaptation. From legal battles with Bram Stoker’s widow, to the groundbreaking use of shadows and location shooting, to the lasting impact on vampire cinema, this is the tale of how NOSFERATU rose from the grave to become one of the most influential horror films of all time. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

After wrapping up our look at John Waters’ early filmography, we’re back for one final spin around the block — this time with HAIRSPRAY (2007), the glossy, big-budget remake of Waters’ most mainstream hit. Adapted from the Broadway musical (which was itself adapted from the 1988 original), this version of HAIRSPRAY featured an all-star cast, splashy production numbers, and a budget big enough to make Divine spin in her grave. And yet, the film was a box office smash and earned the blessing of the Pope of Trash himself — who even shows up for a cameo. In this epilogue episode, we explore how HAIRSPRAY became a franchise, what this big-screen remake kept (and lost) from Waters’ original vision, and how the once-subversive Baltimore story found its way to the center of mainstream American pop culture. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

By the late 1980s, John Waters was ready for a change. After a decade of shocking audiences with boundary-pushing midnight movies, he set his sights on something a little more… family-friendly. The result was HAIRSPRAY — a pastel-soaked 1960s dance-party satire that retained Waters’ signature weirdness while appealing to a much broader audience. In this episode, we dig into how Waters transitioned from underground cult provocateur to mainstream darling, how a then-unknown Ricki Lake became the face of the film, and how HAIRSPRAY overcame a modest box office performance to become one of the most enduring and beloved films in Waters’ entire filmography — inspiring a Broadway musical and a big-budget Hollywood remake nearly two decades later.

With POLYESTER, John Waters cleaned up his act — well, sort of. This 1981 melodrama spoof marked a major turning point in Waters’ career: a bigger budget, a suburban setting, and his first taste of (semi-)mainstream success. It was also the first time he cast 1950s teen idol Tab Hunter, a move that shocked audiences and opened doors. In this episode, we explore how POLYESTER emerged from Waters’ desire to move beyond pure shock and into broader satire. We’ll talk about his collaboration with New Line Cinema, his use of William Castle–style gimmickry with the infamous “Odorama” scratch-and-sniff cards, and why POLYESTER might be the most deceptively subversive film of his early career. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

With DESPERATE LIVING, John Waters pushed his vision into wild new territory — a surreal, grotesque fairy tale set in the trash-strewn, totalitarian town of Mortville. Made without Divine for the first and only time in this era, the film instead centers on an unhinged cast of women revolting against a corrupt, fascist queen. In this episode, we explore the chaos and controversy behind the making of DESPERATE LIVING, including the film’s challenging production, its reception in the underground film circuit, and how it further expanded Waters’ mythology of filth and transgression. This is John Waters at his most unrestrained — and unhinged. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

After the underground success of PINK FLAMINGOS, John Waters and his Dreamlanders set out to make a film that was just as transgressive — but with a more structured narrative and bigger ambitions. The result was FEMALE TROUBLE, a grotesque satire of fame, beauty, and the American obsession with crime. In this episode, we explore how FEMALE TROUBLE pushed the boundaries of taste even further, casting Divine as a teenage delinquent turned homicidal glamour icon. We dig into the production of the film, how it was received by fans and critics, and how it solidified Waters’ place as the Pope of Trash. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

In this episode of John Waters: Divine Filth, we’re diving into the depraved, legendary cult classic that made John Waters and Divine underground icons: PINK FLAMINGOS (1972). Shot for just $10,000 on 16mm, PINK FLAMINGOS follows Divine in a grotesque and hilarious battle for the title of “Filthiest Person Alive.” With scenes of chicken sex, foot licking, public indecency, and a now-infamous final act that still repulses audiences, it quickly became a film that viewers had to dare their friends to sit through. But what really turned PINK FLAMINGOS into a phenomenon was the midnight movie circuit. After a disastrous daytime premiere, the film found its true audience in the middle of the night—where its transgressions were greeted with laughter, cheers, and sometimes walkouts. It ran for years at New York’s Elgin Theater, earning its place alongside El Topo, The Harder They Come, and The Rocky Horror Picture Show as one of the foundational films of the midnight movie movement. In this episode, we explore how John Waters turned his underground vision into a national scandal, how Divine became a drag icon, and how PINK FLAMINGOS helped launch a whole new era of transgressive cult cinema. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"One must remember that there is such a thing as good bad taste and bad bad taste." — John Waters The filth hits the fan in the very first entry of our new series John Waters: Divine Filth, as we dive headfirst into the gloriously blasphemous chaos of MULTIPLE MANIACS (1970). Filmed on a shoestring budget with Waters’ early Dreamland crew, MULTIPLE MANIACS is a black-and-white barrage of bad taste — featuring Divine, a traveling sideshow of depravity, a giant lobster named Lobstora, and a certain unspeakable act involving a rosary. In this episode, we explore how Waters transitioned from underground Super 8 provocateur to cult cinema legend, how MULTIPLE MANIACS built on the DIY ethos of Baltimore’s art freak scene, and how Divine fully embraced her emerging status as the filthiest star alive. It’s a film that’s confrontational, hilarious, and shockingly personal — and it set the stage for everything that would follow in Waters’ career. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

He seems like the perfect husband. The ideal father. But behind that neatly trimmed mustache and suburban charm… is a body count. In this Cinema Shock Roulette episode, we’re digging into the underrated 1987 psychological slasher THE STEPFATHER, starring the terrifyingly good Terry O’Quinn as a man obsessed with building the “perfect” family — no matter how many lives he has to destroy along the way. We’ll explore the real-life crime that inspired the film, how it emerged as a sleeper hit amid a sea of 1980s horror, and why O’Quinn’s chilling performance helped the movie achieve cult status. Plus: how this sharp, satirical horror gem fits into the era’s wave of domestic thrillers. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

After the massive success of SPIDER-MAN 2, all eyes were on Sam Raimi to deliver an even bigger third chapter. But SPIDER-MAN 3 ended up becoming one of the most divisive superhero films of its era. In this episode, we unpack how SPIDER-MAN 3 spiraled into creative conflict — from studio-mandated villains to an overstuffed narrative that left even Raimi unsatisfied. We’ll trace the production struggles, explore the backlash, and examine how the fallout derailed plans for SPIDER-MAN 4 and pushed Raimi away from the franchise altogether. Love it or loathe it, SPIDER-MAN 3 is a crucial chapter in the evolution of superhero cinema — and one that reshaped Sam Raimi’s career. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

After the massive success of SPIDER-MAN, expectations for a sequel were sky-high — and somehow, SPIDER-MAN 2managed to soar even higher. In this episode, we dive into the making of what many fans and critics still consider one of the greatest superhero films ever made. We’ll cover the behind-the-scenes drama that almost kept Tobey Maguire from returning, the casting of Alfred Molina as Doc Ock, and how Raimi balanced action, emotion, and slapstick horror to create a sequel that improved on the original in nearly every way. We’ll also explore the evolution of Peter Parker as a character, the film’s now-iconic train fight sequence, and how SPIDER-MAN 2 helped solidify the modern superhero movie as both art and commerce. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

After decades of false starts, rights battles, and abandoned scripts, SPIDER-MAN finally swung into theaters in 2002 — and changed the superhero genre forever. In this episode, we continue our series on Sam Raimi’s Spider-Man Trilogy by tracing the production of the first film in the series, from how Raimi landed the job (despite not being the studio’s first choice), to casting Tobey Maguire, and how the filmmakers balanced comic-book spectacle with real emotional depth. We’ll also explore the film’s groundbreaking visual effects, its post-9/11 marketing challenges, and the massive cultural impact that made SPIDER-MAN one of the defining blockbusters of the 2000s. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

When we wrapped our Sam Raimi: The Entertainer series, we promised we’d be back to talk about Raimi’s SPIDER-MAN films — and folks, we keep our promises. But before we dive into the production of Raimi’s blockbuster trilogy, we’re kicking things off with something a little different: a look at the decades-long saga that brought Spider-Man to the big screen. From the aborted Cannon Films version in the ’80s to James Cameron’s infamous unmade script — and all the legal, financial, and creative chaos in between — this is the full story of how Peter Parker finally swung into theaters under the direction of Sam Raimi. So join us for The Road to Spider-Man, the first entry in our new series covering Sam Raimi’s SPIDER-MAN TRILOGY. Show Notes: 📺Watch: Supaidāman on YouTube: https://youtube.com/playlist?list=PLLkrfQ-ub5c8J1Zqh8dZ_ZDOXDQ8ejWQr 📖Read: Ted Newson & John Brancato's SPIDER-MAN Script: https://www.youscribe.com/BookReader/Index/2388129/?documentId=2365547 📖Read: James Cameron's SPIDER-MAN Scriptment: http://www.script-o-rama.com/movie_scripts/s/spider-man-scriptment.html Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

For this installment of Cinema Shock Roulette, we’re taking a dive into what might be Shane Black’s most overlooked gem: THE NICE GUYS. Released in 2016, this hilarious and hardboiled detective flick pairs Ryan Gosling and Russell Crowe as mismatched investigators stumbling through a tangled conspiracy involving porn, pollution, and the auto industry — all set against the grimy backdrop of 1970s Los Angeles. While this episode stands alone, it also serves as a spiritual epilogue to our Shane Black: Black Christmas series. If KISS KISS BANG BANG was the film that reignited Black’s career, THE NICE GUYS is the one that distilled his voice to its purest form: razor-sharp dialogue, bruised masculinity, and a real affection for Hollywood’s forgotten underbelly. We’ll trace the film’s long road to production, the near-miss casting choices, its critical reception, and its cult status as one of the best buddy comedies of the 21st century. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

After a nearly decade-long break from filmmaking following THE HOLY MOUNTAIN, Alejandro Jodorowsky returned in 1989 with what many consider his most emotionally resonant film: SANTA SANGRE. Produced by Claudio Argento (brother of Italian horror legend Dario Argento), SANTA SANGRE fuses the surrealism and religious symbolism of Jodorowsky’s earlier work with the lurid style of Italian giallo and psychological horror. The result is a blood-soaked Oedipal nightmare told through a carnival lens — part art film, part exploitation, and all Jodorowsky. In this episode, we explore how SANTA SANGRE came to be, the real-life trauma and spiritual beliefs that inspired it, and how it marked a turning point in Jodorowsky’s creative life. We’ll also trace its critical reception, its cult legacy, and its surprising emotional depth — even as it delivers some of the most grotesque imagery in his entire filmography. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

After the underground success of EL TOPO, Alejandro Jodorowsky was given total creative freedom — and a sizable budget courtesy of John Lennon and Yoko Ono — to create a follow-up film. The result was THE HOLY MOUNTAIN, a psychedelic, symbolic, and boundary-smashing spiritual epic. From the opening frames, where Jodorowsky himself plays a mystical Alchemist shaving the heads of two nude women, it’s clear this is no ordinary film. THE HOLY MOUNTAIN is a journey through war, capitalism, religion, power, illusion — and ultimately, transcendence. In this episode, we explore the making of THE HOLY MOUNTAIN, including how Jodorowsky cast the film using Tarot cards, the intense spiritual training he put his actors through, and how he crafted some of the most unforgettable imagery ever put to film. We also trace the movie’s rocky distribution history, its critical reevaluation, and the cult legacy that’s made it a rite of passage for adventurous cinephiles. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

In the annals of cult cinema, few films are as infamous — or as influential — as Alejandro Jodorowsky’s 1970 masterpiece EL TOPO. A violent, hallucinatory blend of spaghetti westerns, Zen Buddhism, surrealist theater, and esoteric philosophy, EL TOPOfollows a black-clad gunslinger on a spiritual journey of transformation and destruction. It shocked audiences, confused critics, and helped define the midnight movie craze after its unorthodox release strategy — including an underground New York run championed by none other than John Lennon and Yoko Ono. In this episode, we explore how EL TOPO came to be, the countercultural movement that embraced it, and the unlikely influence it had on everyone from Dennis Hopper to David Lynch. We’ll also dig into Jodorowsky’s uncompromising vision, the controversy surrounding its imagery, and its lasting legacy in the world of transgressive cinema. Show Notes: 📰Read: Is 'El Topo' A Con? by Vincent Candy (The New York Times, 1971): https://www.nytimes.com/1971/05/23/archives/is-el-topo-a-con-is-el-topo-a-con.html 📰Read: Should 'El Topo' Be Elevated to 'El Tops'? by Peter Schjeldahl (The New York Times, 1971): https://www.nytimes.com/1971/06/06/archives/should-el-topo-be-elevated-to-el-tops.html Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

Before he became the godfather of midnight movies and a psychedelic prophet of cinema, Alejandro Jodorowsky made his directorial debut with a black-and-white surrealist nightmare called FANDO Y LIS. Based on a play by Fernando Arrabal and made on a shoestring budget in Mexico, FANDO Y LIS caused riots when it premiered and was banned in its home country. But it also marked the beginning of a bold and uncompromising artistic vision—one that would go on to shape cult cinema for decades. In this episode, we trace Jodorowsky’s journey from avant-garde theater provocateur to first-time filmmaker, explore the chaotic production and reception of FANDO Y LIS, and discuss how this taboo-breaking debut laid the groundwork for the films that would follow. Show Notes: 📺Watch The Severed Heads: https://www.youtube.com/watch?v=H1rhIqZDs2Q 📺Watch scenes from Sacramental Melodrama: https://www.youtube.com/watch?v=f-jIkgB76LY Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

In this episode of Cinema Shock Roulette, we dive into the totally bonkers, synth-fueled, ninja-packed world of MIAMI CONNECTION, a forgotten 1987 indie action film that rose from obscurity to become a full-blown cult phenomenon decades later. Filmed in Orlando, funded by a Taekwondo grandmaster, and featuring a rock band called Dragon Sound who fight crime in their spare time, MIAMI CONNECTION is a singular vision of friendship, martial arts, and cocaine-smuggling ninjas on motorcycles. We’ll explore how the film was made on a shoestring budget by martial artist/philosopher Y.K. Kim, how it was panned and lost for decades, and how it was rediscovered and resurrected by Alamo Drafthouse to become a midnight movie sensation. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

Well, we just wrapped up our 7 episode series on the career of Sam Raimi, and you know what that means: It's time for another Cinema Shock Roulette episode! Roulette episodes are randomly selected from an ongoing list (which you can find over on Justin's Letterboxd) and are designed to function as standalone episodes, not part of a larger series. It allows us to explore the history behind cult films that may not fit into a larger theme or filmmaker's filmography. What's our next Roulette episode gonna be? We don't know! We'll choose it during the course of this episode, so you'll have to listen to this week's Roundtable to find out what it is!

After a decade spent in the world of big-budget blockbusters — including three SPIDER-MAN films — Sam Raimi returned to his horror roots with 2009’s DRAG ME TO HELL. The result? A lean, mean, gross-out machine packed with bodily fluids, demonic goats, and Raimi’s signature mix of slapstick and sadism. But DRAG ME TO HELL wasn’t just a nostalgic exercise — it was Raimi proving he could still go toe-to-toe with the new generation of horror directors, delivering a fast-paced supernatural thrill ride with bite. In this episode, we dive into Raimi’s motivations for returning to horror, the roots of the DRAG ME TO HELL script, and how the film’s blend of morality tale and chaos fits snugly into the filmmaker’s larger body of work. GoFundMe for Alyssa Fowler: https://gofund.me/60e5d127 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

After the cult success of ARMY OF DARKNESS, Sam Raimi took a sharp stylistic detour — straight into the sun-drenched, bullet-riddled world of the American Western. Released in 1995, THE QUICK AND THE DEAD brought Raimi’s hyper-stylized camera work and comic-book energy to the genre, complete with whip pans, POV bullets, and a rogue’s gallery of gunslingers. It was also a star-studded affair: a pre-TITANIC Leonardo DiCaprio, a pre-fame Russell Crowe, a grizzled Gene Hackman, and producer-star Sharon Stone, who fought to get Raimi hired in the first place. In this episode, we explore how Raimi’s Western homage got made, why it was overlooked upon release, and how it’s since become one of the more fascinating oddities in his filmography — as well as a key pivot point toward his blockbuster future. The Playboy Interview with Keanu Reeves: https://www.playboy.com/read/the-playboy-interview-with-keanu-reeves GoFundMe for Alyssa Fowler: https://gofund.me/60e5d127 The Love-Alive Charity: https://love-alive.org Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

As a bonus to our ARMY OF DARKNESS episode, we’re cracking open the Necronomicon one more time to talk about the wild and often ridiculous world of Army of Darkness comic books. Since the early 2000s, Ash Williams has been battling Deadites across time, space, and intellectual property in a sprawling series of comics from Dynamite Entertainment and beyond. In this episode, we take a look at the many iterations of Ash in print — from crossovers with Re-Animator, Xena, and Hack/Slash, to multiverse-spanning events, time travel shenanigans, and even a team-up with Barack Obama. We’re not doing a full deep dive, but we’ll hit the highlights, the weirdest storylines, and what these comics reveal about the enduring cult appeal of Raimi’s chainsaw-wielding antihero.

Following the success of DARKMAN, Sam Raimi finally had the clout — and the backing of both Universal Pictures and longtime supporter Dino De Laurentiis — to make a third EVIL DEAD film. But rather than return to the series’ roots, Raimi aimed his boomstick at something much bigger. With ARMY OF DARKNESS, the EVIL DEAD franchise took a sharp left turn into Ray Harryhausen–inspired fantasy adventure, complete with skeleton armies, time travel, and wisecracks aplenty. The horror may have taken a back seat, but Raimi’s style — and Bruce Campbell’s chin — were bigger than ever. In this episode, we dig into the chaotic production of ARMY OF DARKNESS, the studio meddling that delayed its release, and the alternate endings that nearly were. We’ll also explore how this oddball epic went from box office underperformer to certified cult classic. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.