Cinema Shock

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.

In this bonus episode, we take a quick detour into the world of direct-to-video mayhem with a loose discussion of DARKMAN II: THE RETURN OF DURANT and DARKMAN III: DIE DARKMAN DIE. We’re not going full deep dive here — just chatting about laser guns, Arnold Vosloo, questionable wigs, and whether these sequels hold any candle to Sam Raimi’s original cult classic.

After cutting his teeth on low-budget horror, Sam Raimi was ready for the big leagues. The breakout success of Tim Burton’s BATMAN had launched a new wave of comic-book-inspired films, and Raimi was eager to join the fray. But when he couldn’t secure the rights to characters like Batman or The Shadow, he did what any determined filmmaker would do: he invented his own. Enter DARKMAN — a twisted, operatic superhero tale about identity, vengeance, and science gone awry. In this episode, we trace the development of DARKMAN from Raimi’s original pitch through a turbulent studio production at Universal, exploring how creative clashes shaped the final film. We’ll also examine the movie’s legacy, how it opened new doors for Raimi, and why it remains a fan favorite decades later. Watch the unaired DARKMAN TV pilot: https://www.youtube.com/watch?v=EgiScRY0FRA 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 failure of CRIMEWAVE, Sam Raimi was at a crossroads. His career as a filmmaker was on shaky ground — until mentor Irvin Shapiro encouraged him to return to the film that put him on the map: THE EVIL DEAD. But rather than play it safe with a by-the-numbers sequel, Raimi went all-in. With a bigger budget (thanks to producer Dino De Laurentiis) and a creative vision fully untethered, Raimi used EVIL DEAD II as a proving ground for everything he loved: slapstick comedy, outrageous gore, cartoon physics, and Bruce Campbell in full manic glory. In this episode, we trace the wild road to EVIL DEAD II — from its early concept as a time-traveling horror adventure, to the fast-paced production, and its eventual legacy as a cult classic that helped redefine the horror-comedy genre. 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. Episode archives & more: www.cinemashock.net

For this bonus episode, we're doing something a little different: We're giving some tips and tricks for anyone who might be interesting in doing this whole podcasting thing. Ever thought about doing a podcast but didn't know how to start? Now you can get some advice from three dudes who *sort of* know how to do it.

After the runaway success of THE EVIL DEAD, Sam Raimi and his Michigan crew were given the opportunity to go legit—with real money, a Hollywood cast, and a script co-written by none other than Joel and Ethan Coen. The result? CRIMEWAVE, a screwball noir comedy that was plagued by creative interference, disastrous test screenings, and a studio that ultimately took the film away from its creators. In this episode, we trace the chaotic making — and unmaking — of CRIMEWAVE, the one film Sam Raimi has all but disowned. We’ll also look at how the experience helped shape Raimi’s future collaborations with the Coen Brothers and influenced the creative freedom he fought for going forward. 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. Episode archives & more: www.cinemashock.net

In this bonus episode, the guys discuss things they've been watching lately and try to figure out why Todd thinks MOON is a STAR TREK-adjacent movie (a subject to be further explored on a future episode of Computer, Resume Podcast)

It’s time for a new series here on Cinema Shock! This week, we kick off a multi-part exploration of the career of Sam Raimi, the filmmaker who went from Michigan movie-obsessed teenager to the director of some of Hollywood’s biggest blockbusters. But before SPIDER-MAN or DOCTOR STRANGE, Raimi made his name with a scrappy, super low-budget horror film that would go on to become one of the most iconic entries in the cult canon: THE EVIL DEAD. In this episode, we dig into Raimi’s early years making Super 8 shorts with friends like Bruce Campbell and Scott Spiegel, the long and grueling process of shooting THE EVIL DEAD in a freezing Tennessee cabin, and how a little help from Stephen King helped get the movie in front of horror fans around the world. It’s a tale of DIY ingenuity, exploding lenses, and a chainsaw-wielding cult legend in the making — the perfect start to our series: Sam Raimi: The Entertainer. 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 Roundtable discussion, we talk about everything from CHILD'S PLAY to WRATH OF KHAN to DELIVERANCE! We'll also be letting you know what to expect from our next longford series, which will begin NEXT WEEK! For episode archives, merchandise, and more, visit http://www.cinemashock.net

In this Cinema Shock Roulette episode, we’re heading deep into the foggy woods with PUMPKINHEAD, the 1988 creature feature that marked the directorial debut of legendary FX artist Stan Winston. Known for his Oscar-winning work on films like ALIENS, THE TERMINATOR, and JURASSIC PARK, Winston brought his creature chops and gothic sensibilities to this low-budget revenge tale starring Lance Henriksen as a grief-stricken father who summons a demon to exact vengeance. We’ll dig into the film’s folk horror influences, its practical effects legacy, and how it evolved from a poem into a cult-favorite franchise — even if the sequels never quite measured up. 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 and more, visit cinemashock.net

In this Roundtable discussion, the guys discuss what they've been watching lately (aside from the movies they watch for the show) and then spin the wheel to find out what the next Cinema Shock Roulette episode is going to cover! Want to know what's next? You'll have to listen! 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.

More than a decade after TITANIC, James Cameron returned to narrative filmmaking with a film that many doubted would succeed. The year was 2009, and AVATAR was a massive gamble: a wildly expensive, original sci-fi epic that leaned heavily on unproven technology and an entirely digital world. But Cameron once again proved the doubters wrong. In this episode, we trace the full story of AVATAR — from the seed of the idea back in the 1990s, to the development of its revolutionary 3D technology and performance capture, to its box office domination and long-term cultural impact. We’ll explore how Cameron made the most expensive movie ever feel like a sure thing, and how AVATAR changed the future of filmmaking (whether Hollywood was ready for it or not). 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, we'll take a look forward to the finale of our James Cameron series where we'll be discussing AVATAR! We also have a chat about all of the other things we've been watching lately, including SANDMAN, FAST TIMES AT RIDGEMONT HIGH, PREY, DAY SHIFT, THEY/THEM, ORPHAN: FIRST KILL, and REAR WINDOW! Are you caught up on our James Cameron series? If not, find all of the episodes at https://www.cinemashock.net/jamescameron

After the massive success of TITANIC, James Cameron disappeared from narrative filmmaking for over a decade — but he wasn’t sitting idle. In this episode, we explore the 12-year gap between TITANIC and AVATAR, a period in which Cameron shifted his focus toward deep-sea exploration, documentary filmmaking, and groundbreaking technological development. From Ghosts of the Abyss to co-developing new 3D camera rigs, Cameron was quietly laying the groundwork for the future of his career — and for the next evolution of cinematic storytelling. We’ll also look at the personal and professional changes Cameron underwent during this period, and how they shaped the director he would become in 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.

In Part 2, we pick up during the troubled production of TITANIC, where tensions on set reached their breaking point, cast and crew rebelled, and rumors of a doomed project dominated the press. We’ll break down the second half of the shoot, including the legendary water tank days, the film’s VFX innovations, and the now-infamous PCP-laced chowder incident. Then we’ll track the film’s test screenings, delayed release, and how it ultimately shattered all box office records — becoming a cultural behemoth and Academy Awards juggernaut. We’ll also look at TITANIC’s legacy: how it launched the careers of Leonardo DiCaprio and Kate Winslet, changed James Cameron’s trajectory forever, and helped usher in the modern blockbuster era. Because there's so much story to tell about TITANIC, we've decided to split it across two episodes. TITANIC Episode 1 was released last week. 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 and more, visit www.cinemashock.net.

In Part 1 of our deep dive into TITANIC, we look at how James Cameron went from being Hollywood’s reigning king of sci-fi to convincing Fox to bankroll a historical romance set aboard a doomed luxury liner. We’ll explore Cameron’s early fascination with shipwrecks, the pitch that sold the studio (“Romeo and Juliet on a boat”), and the massive production that would balloon into one of the most expensive films ever made. From deep-sea dives to full-scale ship sets, from casting decisions to early red flags — this episode covers the inception and pre-production of TITANIC, as well as the chaotic first half of its shoot. 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 and more, visit www.cinemashock.net.

After TERMINATOR 2 became the biggest hit of James Cameron's career — and the third highest grossing movie of all time — the director felt like he needed a change of direction. Maybe a small character-based drama? Well, that didn't work out. His next film would end up being a pseudo-remake of a French comedy called LA TOTALE! that he was introduced to by his friend Arnold Schwarzenegger. Their version of the story — which they called TRUE LIES — would be Cameron's first foray into comedy, but he didn't abandon his action movie roots, using his biggest budget yet to craft some of the most ambitious action set pieces of his career. In this episode, we trace the film's production, from concept to release and reception, and we dive into the film's legacy, including a lot of the controversy that still surrounds the film to this day. Next Episode: TITANIC. 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. Episode archives, merchandise & more: cinemashock.net

It's time for another Bonus Episode! This time around, we're talking about our thoughts going into our episode where we'll be covering James Cameron's TRUE LIES! We also talk about lots of other stuff we've been watching lately, including THE BOYS, MS. MARVEL, STAR TREK: STRANGE NEW WORLDS, THOR: LOVE & THUNDER, and much much more! Subscribe, listen, buy merch, etc: cinemashock.net

After the modestly budgeted success of THE TERMINATOR, James Cameron spent the next few years proving himself as one of the most visionary directors in Hollywood. But when he finally returned to the franchise that launched his career, he didn’t just make another sci-fi action film — he redefined what a blockbuster could be. In this episode, we dive deep into the making of TERMINATOR 2: JUDGMENT DAY — from its record-breaking budget and revolutionary visual effects to Arnold Schwarzenegger’s return as a reprogrammed killing machine. We’ll also explore how Cameron transformed the genre, how Linda Hamilton delivered one of the most iconic performances of her career, and how the film forever changed the summer movie landscape. 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, merchandise & more, please visit cinemashock.net

After conquering the box office with ALIENS, James Cameron turned his attention to an original idea—an underwater science fiction adventure inspired by his childhood fascination with the deep sea. But making THE ABYSS would prove to be anything but smooth sailing. In this episode, we explore the turbulent production of THE ABYSS, a film that tested the limits of filmmaking technology—and the patience of everyone involved. We’ll cover how Cameron’s obsession with realism led to one of the most grueling shoots in Hollywood history, how the film’s groundbreaking digital effects changed the game, and why its release left both audiences and critics divided. From cast mutinies to leaky sets, THE ABYSS nearly sank under its own weight—but it also set the stage for Cameron’s next decade of innovation and dominance. 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 surprise success of THE TERMINATOR, James Cameron was suddenly a hot commodity in Hollywood. While prepping his next project, THE ABYSS, Cameron took a detour into sequel territory—and not just any sequel, but a follow-up to one of the most beloved science fiction horror films of all time. In this episode, we’re diving deep into the creation of ALIENS, the 1986 action-horror juggernaut that cemented Cameron’s reputation as one of Hollywood’s top genre filmmakers. We’ll explore how Cameron landed the job, how he transformed Ridley Scott’s slow-burn horror into a full-blown combat film, and how Sigourney Weaver’s iconic performance as Ripley helped redefine what an action hero could look like. 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. Find more at cinemashock.net.

Before he became the king of the world with TITANIC and broke box office records with AVATAR, James Cameron was just a former truck driver with a fever dream about a killer robot from the future. In this episode, we’re kicking off our new series James Cameron: Man of Tomorrow with the 1984 film that put him on the map: THE TERMINATOR. We’ll trace the story’s origins in a nightmare during Cameron’s fever-ridden trip to Rome, his early years working with Roger Corman, and how he clawed his way into the director’s chair. Plus, we’ll explore how THE TERMINATOR almost didn’t happen, the behind-the-scenes chaos, and how a scrappy low-budget sci-fi film became one of the most influential action 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. Find more at cinemashock.net.

For this entry in our Cinema Shock Roulette series, we’re digging into one of the weirdest cult musicals to ever sprout up in mainstream Hollywood: LITTLE SHOP OF HORRORS. We’ll explore the origins of the story — from its roots as a Roger Corman B-movie, to the off-Broadway musical adaptation, and finally to Frank Oz’s lavish 1986 film version. Along the way, we’ll examine how this bizarre tale of a man-eating plant got greenlit by a major studio, how the jaw-dropping puppetry brought Audrey II to life, and how the film’s original ending proved to be way too dark for test audiences. It’s a tale of practical effects wizardry, showstopping songs, and one of the biggest compromises in cult film history. 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 Davis. Visit our website for episode archives, merchandise, and more: http://cinemashock.net

In this bonus episode, the guys discuss their thoughts going into the LITTLE SHOP OF HORRORS Cinema Shock Roulette episode, as well as discuss things they've been reading and watching lately!

With 1986’s THE FLY, David Cronenberg achieved something rare: a brutal, grotesque body horror film that was also a deeply emotional, tragic love story. A remake in name only of the 1958 sci-fi classic, THE FLY stars Jeff Goldblum as eccentric scientist Seth Brundle, whose teleportation experiments go horribly wrong. What follows is a horrifying — and oddly beautiful — descent into mutation, madness, and mortality. In this episode, we explore how Cronenberg came to the project, the groundbreaking effects that brought Brundlefly to life, and how this film became both a commercial hit and an enduring genre classic. Plus: Geena Davis, maggot birth nightmares, and the Oscar-winning makeup that still holds up 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, & Todd Davis. Visit our website for episode archives, merchandise, and more: http://cinemashock.net

After the hallucinatory violence of VIDEODROME, David Cronenberg took a sharp turn into more restrained territory with THE DEAD ZONE, a 1983 adaptation of Stephen King’s best-selling novel. Starring Christopher Walken as Johnny Smith — a schoolteacher who awakens from a coma with psychic abilities — THE DEAD ZONE trades visceral body horror for emotional devastation, political paranoia, and questions of fate, morality, and personal sacrifice. In this episode, we dive into how Cronenberg came to direct the project, the film’s stellar cast and evocative tone, and how it stands apart in both Cronenberg’s and King’s cinematic canons. Plus: how THE DEAD ZONE quietly helped shape the prestige horror boom we see today. ----more---- 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 Davis. Visit our website for episode archives, merchandise, and more: http://cinemashock.net

With VIDEODROME, David Cronenberg pushed his signature blend of body horror and cerebral sci-fi to new heights. Released in 1983, the film stars James Woods as Max Renn, a sleazy cable-TV exec who stumbles onto a pirated broadcast called “Videodrome” — and promptly begins to lose his grip on reality. A nightmarish meditation on technology, surveillance, sex, and media addiction, VIDEODROME was dismissed by many critics upon release, but has since been re-evaluated as one of Cronenberg’s most prophetic and iconic films. In this episode, we explore the film’s wild production history, the groundbreaking special effects work by Rick Baker, and the evolving legacy of a movie that predicted the age of screen obsession, viral content, and reality distortion. Up Next: THE DEAD ZONE (1983) THE FLY (1986) Coming Soon: The films of James Cameron 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 Davis. Visit our website for episode archives, merchandise, and more: http://cinemashock.net

After the deeply personal horror of THE BROOD, David Cronenberg returned with a more commercial effort — and a bigger budget — in what would become his breakout film: SCANNERS. Released in 1981, SCANNERS blends science fiction, espionage, and psychic body horror into a film that’s perhaps best remembered for one legendary moment of practical effects: the infamous exploding head. But there’s more to this movie than just gore. In this episode, we’ll trace the film’s chaotic production, how Cronenberg had to begin shooting without a finished script, and how SCANNERS helped elevate his status as an international cult filmmaker. 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 Davis. Visit our website for episode archives, merchandise, and more: http://cinemashock.net

In this bonus episode, our own Mr. Todd A. Davis sits down with legendary character actor Spencer Garrett. Throughout the interview, they discuss Garrett's entire career, working on everything from STAR TREK to STAR WARS, and with directors like Quentin Tarantino, Michael Bay and, most recently, Adam McKay on the new HBO series WINNING TIME: THE RISE OF THE LAKERS DYNASTY. Enjoy this bonus episode and be sure to subscribe to Todd's STAR TREK podcast, Computer, Resume Podcast, available everywhere!

After two successful low-budget horror films, David Cronenberg was suddenly one of Canada’s most bankable directors. But rather than immediately dive into another body horror spectacle, he took a detour with FAST COMPANY, a drag racing drama that would ultimately serve as a stepping stone to one of his most acclaimed early films: THE BROOD. Released in 1979, THE BROOD is widely considered to be Cronenberg’s first masterpiece — and his most personal film. Written during and inspired by his contentious divorce and custody battle, the film is a raw, angry piece of psychodrama dressed up in monster movie clothing. In this episode, we’ll explore how THE BROOD was financed during Canada’s short-lived “tax shelter era,” why critics accused Cronenberg of misogyny, and how the film’s nightmarish depiction of rage and repression helped cement his reputation as a provocateur of psychological horror. 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 Davis. Visit our website for episode archives, merchandise, and more: http://cinemashock.net

In the second episode of our series David Cronenberg: The New Flesh, we continue exploring the director’s early years with 1977’s RABID—a film that pushed the boundaries of body horror even further than its predecessor. Starring adult film icon Marilyn Chambers in her first major mainstream role, RABID tells the story of a woman who undergoes radical surgery after a motorcycle accident… and wakes up with a strange, phallic stinger under her arm that turns her into a literal carrier of disease and death. In this episode, we’ll dive into how Cronenberg followed up the controversy of SHIVERS, why Chambers was cast, and how RABID reflected his growing fascination with transformation, contagion, and the politics of the body. We’ll also explore the film’s production and release through the lens of Canada’s tax shelter era, and how RABID cemented Cronenberg’s place as a rising provocateur in horror 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, & Todd Davis. Visit our website for episode archives, merchandise, and more: http://cinemashock.net

Our latest Cinema Shock series, David Cronenberg: The New Flesh, takes a deep dive into the early films of the Canadian auteur that helped define the genre of body horror. We begin with 1975’s SHIVERS, Cronenberg’s first commercial feature and a landmark in Canadian cinema. A film about a parasitic STD that turns a luxury high-rise into a sex-crazed nightmare, SHIVERS shocked audiences and critics alike—earning both condemnation in Parliament and instant cult status. In this episode, we trace Cronenberg’s origins in the Toronto underground film scene, the controversial government funding that helped launch his career, and how SHIVERS established the obsessions—flesh, disease, transformation—that would define his work for decades to come. We also explore the film’s production history, its reception, and the legacy it left in its wake—both for Cronenberg and for Canadian genre cinema as a whole. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: RABID (1977) THE BROOD (1979) SCANNERS (1981) VIDEODROME (1983) THE DEAD ZONE (1983) THE FLY (1986) 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 Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

Our first pick in the new Cinema Shock Roulette series is a movie that needs no introduction—but it’s getting one anyway. Released in 2000, Kinji Fukasaku’s BATTLE ROYALE shocked audiences with its graphic depiction of schoolchildren forced into a government-run deathmatch. Based on the controversial novel by Koushun Takami, the film was instantly polarizing—banned in multiple countries, attacked by politicians, and impossible to ignore. In this episode, we trace the film’s journey from pulp novel to cultural lightning rod. We dive into the production, the Japanese censorship debate, the political context that made the film so dangerous, and how BATTLE ROYALE became a global cult phenomenon that still resonates today. And yes, we’ll talk about THE HUNGER GAMES comparisons, too. 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 Davis. Visit our website for episode archives, merchandise & more: http://cinemashock.net

As we reach the end of our journey through the filmography of Lana and Lilly Wachowski, we return to the world that made them household names—only this time, it’s a little different. Released nearly two decades after the original trilogy, THE MATRIX RESURRECTIONS was helmed by Lana Wachowski alone, marking the first solo directorial effort by either sibling. The result? A film that’s not just a sequel, but a reflection on legacy, grief, identity, and storytelling itself. In this final episode of The Wachowskis' Cinema of Fluidity, we explore how this fourth MATRIX film came to be—from the personal tragedy that inspired Lana’s return to the franchise, to Lilly’s decision to step away from it entirely. We also dig into the casting changes, creative choices, and meta-commentary that define RESURRECTIONS—and where it fits in the Wachowski canon. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: BATTLE ROYALE (2000) Up next: Long Live the New Flesh: The Body Horror of David Cronenberg 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 Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

Throughout this series, we've explored the films of Lana and Lilly Wachowski—but we couldn't ignore the one project that might be the purest expression of their creative voice: the Netflix original series SENSE8. Originally intended as a quick sidebar in our upcoming MATRIX RESURRECTIONS episode, our conversation about SENSE8 quickly outgrew those confines. It’s more than just a side note in their career—it’s the culmination of their ideas about identity, interconnectedness, gender, and love. And frankly, it deserves its own damn episode. In this bonus installment, we dig into the creation of SENSE8, from its unprecedented global production to the ways it reflects and expands on the Wachowskis’ core themes. We also talk about its cancellation, the fan-led push for closure, and why the series resonates so deeply with audiences around the world. 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 Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock