Cinema Shock

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

In the penultimate episode of our Wachowski retrospective, we take on the wildest and most maligned film in their catalog: JUPITER ASCENDING. Released in 2015, the film was intended to launch a new sci-fi franchise for Warner Bros.—a space opera that might do for the 2010s what THE MATRIX did for the turn of the millennium. Instead, it became the Wachowskis’ biggest critical and commercial failure, bewildering audiences with its dense mythology, eccentric performances, and over-the-top worldbuilding. But does it deserve its reputation as a punchline? In this episode, we trace the film’s creation and marketing struggles, explore its ambitious ideas (and baffling execution), and debate whether JUPITER ASCENDING is a misunderstood gem or simply a misfire. Either way, it marked the end of an era—their last theatrical feature before shifting to television and, eventually, one last return to the world of THE MATRIX. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: THE MATRIX RESURRECTIONS (2021) 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

If there's one constant in the careers of Lana and Lilly Wachowski, it's that their work tends to split audiences down the middle. And few of their films illustrate that better than CLOUD ATLAS. Released in 2012 and co-directed with Tom Tykwer, CLOUD ATLAS was called everything from a transcendent masterpiece to an overindulgent mess. But one thing’s certain—it was a passion project, powered into existence almost entirely by the determination of its filmmakers. In this episode, we track CLOUD ATLAS from its origins as a novel by David Mitchell through the Wachowskis’ years-long struggle to get the film made. We explore how they balanced six storylines across centuries, collaborated with Tykwer’s directing team, and created one of the most expensive independent films of all time. And we dig into how it fits thematically into the Wachowskis' body of work—touching on identity, transformation, and the interconnectedness of all things. 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

After the completion of the MATRIX trilogy, the Wachowskis took a short break from directing to write and produce V FOR VENDETTA for James McTeigue, but it wouldn't be long before they were back directing again, for their much-anticipated follow-up to their groundbreaking franchise. Their choice for a follow-up was a surprising one. In 2008, the Lana and Lilly Wachowskis released SPEED RACER, a kid-friendly live action adaptation of a 1960s Japanese cartoon. The results were divisive and the film received poor reviews and was a financial failure at the box office. But in the years since its release, SPEED RACER has garnered a significant cult following and is often called the Wachowskis most underrated and misunderstood film. In this episode, we'll track the long journey that the property took to the big screen, how the Wachowskis got involved, and how they created the film's unique visual look. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: CLOUD ATLAS (2012) JUPITER ASCENDING (2015) THE MATRIX RESURRECTIONS (2021) 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 and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

This week, our journey through the career of Lana and Lilly Wachowski takes a detour behind the camera—but not out of creative control. In 2006’s V FOR VENDETTA, the Wachowskis took on writing and producing duties, handing the directorial reins to their long-time assistant director James McTeigue. The result? A politically charged, visually striking adaptation of Alan Moore and David Lloyd’s cult-favorite graphic novel that became an unlikely box office hit—and a lasting symbol of resistance in popular culture. In this episode, we explore the origins of V FOR VENDETTA, from its publication in Thatcher-era Britain to its long path through Hollywood development hell. We discuss the Wachowskis’ changes to the material, the tension between Moore’s anarchism and the film’s populism, and how this movie went from polarizing release to iconic imagery for 21st-century protest movements. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: V FOR VENDETTA (2006) SPEED RACER (2008) CLOUD ATLAS (2012) 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

We've been promising it for months and Halloween finally seemed like a good time to let Todd "Horror Guy" Davis tell us his favorite horror movies of all time! In this special bonus episode, Todd and Justin sit down to discuss the picks, just in time for spooky season!

After the groundbreaking success of THE MATRIX, all eyes were on the Wachowskis to deliver the next chapter. What they delivered was not one but two sequels—released just six months apart in 2003—that attempted to expand the universe, deepen the lore, and blow audiences’ minds all over again. In this episode, we explore the creation of THE MATRIX RELOADED and THE MATRIX REVOLUTIONS—from the Wachowskis’ ambitious storytelling goals and high-concept worldbuilding to the jaw-dropping action sequences that pushed CGI to its limits. We also break down the backlash: why fans and critics were left scratching their heads, how expectations clashed with execution, and how the films have since been reappraised. Love them, hate them, or still figuring them out—these sequels were nothing if not bold. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: V FOR VENDETTA (2006) SPEED RACER (2008) CLOUD ATLAS (2012) 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

In the lead-up to the release of THE MATRIX RELOADED and THE MATRIX REVOLUTIONS, the Wachowskis made a bold and unprecedented move: they collaborated with some of the most acclaimed Japanese animation studios and directors to expand the MATRIX universe beyond live action. The result was THE ANIMATRIX, a groundbreaking anthology of short films that deepened the mythology, explored side stories and backstories, and brought anime aesthetics into the franchise in a big way. In this bonus episode, we discuss how THE ANIMATRIX came to be, the Wachowskis' deep love for anime, and how the project helped push the boundaries of franchise storytelling—blurring the lines between mediums, markets, and narrative formats. We also explore how these shorts connect to the larger MATRIX saga and what they reveal about the Wachowskis’ approach to worldbuilding. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: THE MATRIX RELOADED (2003) THE MATRIX REVOLUTIONS (2003) V FOR VENDETTA (2006) SPEED RACER (2008) 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

In 1999, THE MATRIX hit theaters like a digital lightning bolt. Combining cutting-edge special effects, philosophical depth, and next-level action, it wasn’t just a blockbuster—it was a paradigm shift. In this episode, we trace the origin and creation of THE MATRIX, from the Wachowskis’ early worldbuilding ideas to their battles to get the film made their way. We explore its Hong Kong action influences, cyberpunk roots, and the philosophical and trans allegories that helped define it as more than just a sci-fi thrill ride. We’re also joined by special guest Robyn Scott to help us break down the movie’s lasting legacy and why it still feels ahead of its time. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: THE MATRIX RELOADED (2003) THE MATRIX REVOLUTIONS (2003) V FOR VENDETTA (2006) SPEED RACER (2008) 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

Before they reinvented cinema with THE MATRIX, Lana and Lilly Wachowski exploded onto the indie film scene with a lean, stylish, and unabashedly queer neo-noir: BOUND. In the first episode of our new series, The Wachowskis' Cinema of Fluidity, we dive into the siblings' early years—how they went from house painters and comic book nerds to Hollywood screenwriters, and how a bad experience on their first produced script convinced them to take creative control by becoming directors themselves. We explore the making of BOUND (1996), from its pitch-perfect performances by Gina Gershon and Jennifer Tilly to the cinematography that caught critics’ attention, and how the film’s reputation has only grown over the years. Once seen as a stylish erotic thriller, BOUND is now rightly celebrated as a landmark in queer cinema—and the first major film directed by transgender women. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: BOUND (1996) THE MATRIX (1999) THE MATRIX RELOADED (2003) THE MATRIX REVOLUTIONS (2003) 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

For the final entry in our Sex + Violence: The Films of Paul Verhoeven series, we’re examining the director’s last film made within the Hollywood system: HOLLOW MAN (2000). Often dismissed by critics—and even by Verhoeven himself—HOLLOW MAN is rarely given the credit it deserves. While its story of invisibility and unchecked power may not have landed in its own time, the film’s special effects work was groundbreaking, and its themes hit differently in a post–#MeToo era. In this episode, we explore how Sony Imageworks and Tippett Studio achieved the film’s remarkable (and Oscar-nominated) visual effects, what Verhoeven hoped to accomplish with the project, and how the film’s reputation has shifted over time. Was HOLLOW MAN simply a misfire, or a misunderstood provocation in disguise? BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: HOLLOW MAN (2000) Up Next: The Wachowskis: Walking the Path 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

After the critical and commercial disaster of SHOWGIRLS, Paul Verhoeven returned to familiar territory: big-budget science fiction. This time, he re-teamed with ROBOCOP screenwriter Ed Neumeier to adapt Robert Heinlein’s 1959 novel Starship Troopers—but not in the way anyone expected. What Verhoeven delivered was less a straightforward adaptation and more a brutal, satirical takedown of militarism and fascist ideology, all wrapped in the glossy sheen of a 1990s teen soap and bug-splattering war epic. The result? Critics hated it. Audiences didn’t get it. And the film was dismissed as dumb jingoistic schlock. In this episode, we chart the course of STARSHIP TROOPERS from Heinlein’s source novel to Verhoeven’s gleeful subversion, its troubled marketing and release, and its slow but steady transformation into one of the most critically celebrated sci-fi films of its era. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: STARSHIP TROOPERS (1997) HOLLOW MAN (2000) 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

After the smash success of BASIC INSTINCT, Paul Verhoeven had the Hollywood clout to push boundaries like never before. For his next film, he wanted total freedom—no rating compromises, no MPAA edits. What he made was one of the most notorious movies of the 1990s. SHOWGIRLS. Written by Joe Eszterhas and pitched (literally) on a cocktail napkin, SHOWGIRLS was meant to be Verhoeven’s ultimate statement on American decadence and ambition. Instead, it was universally panned, laughed out of theaters, and quickly became shorthand for “Hollywood disaster.” But over time, the film’s reputation has shifted—from box office bomb to camp classic, and now to a legitimate subject of critical reappraisal. In this episode, we trace the full journey of SHOWGIRLS: its unlikely origins, wild production, disastrous release, and long road to redemption. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: STARSHIP TROOPERS (1997) HOLLOW MAN (2000) 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

After back-to-back sci-fi hits with ROBOCOP and TOTAL RECALL, Paul Verhoeven took a surprising left turn. Instead of another effects-heavy blockbuster, he chose a smaller, more intimate (but no less explosive) project—a sexually charged neo-noir thriller that would push American taboos to the brink. That film was BASIC INSTINCT. In this episode, we trace the origin of BASIC INSTINCT, from Joe Eszterhas’s record-breaking screenplay sale to the casting of Sharon Stone and Michael Douglas, to the intense scrutiny and controversy the film faced both during production and after release. We also unpack how the film plays today, and how Verhoeven’s unique blend of sexual provocation and formal precision made BASIC INSTINCT one of the defining—and most debated—films of the 1990s. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: SHOWGIRLS (1995) STARSHIP TROOPERS (1997) HOLLOW MAN (2000) 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

After the surprise success of ROBOCOP, Paul Verhoeven had officially made it to the A-list—and so it wasn’t long before Hollywood’s biggest star came knocking. Arnold Schwarzenegger, impressed by ROBOCOP’s mix of action and intelligence, personally recruited Verhoeven to direct his next film: TOTAL RECALL. But the story of TOTAL RECALL doesn’t start there. In this episode, we trace the film’s complex journey from its earliest incarnation as a Dan O’Bannon and Ronald Shusett script—written in the same era as ALIEN—through a decade of rewrites, studio changes, and near-deaths in development hell. We break down how the film finally came together under Carolco Pictures, how Verhoeven put his stamp on the production, and how its mix of ultraviolence, mutant horror, and psychological ambiguity turned it into a sci-fi classic. We also discuss the legacy of TOTAL RECALL, including the many attempts at a sequel—and the remake that couldn’t measure up. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: TOTAL RECALL (1990) BASIC INSTINCT (1992) SHOWGIRLS (1995) STARSHIP TROOPERS (1997) 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

For our very first Cinema Shock Roundtable, we’re gonna tie things into our current series on Paul Verhoeven by discussing the non-Verhoeven sequels to ROBOCOP. These Roundtable discussions are designed to be less structured than our regular episodes where we can play around with our format a bit. Got an idea for a bonus episode? Hit us up at @cinema_shock on Twitter or Instagram! For even further ROBOCOP discussion, check out this episode from our friends at The More You Nerd where they discuss the ill-fated 90s ROBOCOP TV series. BUY OUR MERCH: http://cinemashock.threadless.com 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

After the commercial disappointment of FLESH + BLOOD, Paul Verhoeven made a bold move—he left the Netherlands and relocated to the United States, determined to understand American audiences from the inside out. His first major project on U.S. soil? A dystopian action movie about a cyborg police officer called ROBOCOP. In this episode, we track the development of ROBOCOP—from the satirical, ultra-violent script by Ed Neumeier and Michael Miner, to Verhoeven’s initial dismissal (and eventual embrace) of the project, through its chaotic shoot and over-the-top violence that nearly earned it an X rating. We also explore the film’s legacy as one of the smartest, bloodiest, and most influential sci-fi films of the 1980s. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: TOTAL RECALL (1990) BASIC INSTINCT (1992) SHOWGIRLS (1995) STARSHIP TROOPERS (1997) 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

In our new series Sex + Violence: The Films of Paul Verhoeven, we’re diving into the provocative, satirical, and often controversial career of one of cinema’s boldest auteurs. We kick things off with a look at Verhoeven’s first English-language film: the brutal 1985 medieval epic FLESH + BLOOD, starring Rutger Hauer and Jennifer Jason Leigh. Before we get there, we also spend time exploring Verhoeven’s early life, his rise through Dutch cinema, and how his distinct blend of sex, violence, and social critique began to take shape in films like TURKISH DELIGHT and SPETTERS. Then, we get into the chaotic production of FLESH + BLOOD—from its battles behind the scenes to the uneasy balance of exploitation and artistry on screen—and how it set the tone for the American phase of Verhoeven’s career. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: ROBOCOP (1987) TOTAL RECALL (1990) BASIC INSTINCT (1992) STARSHIP TROOPERS (1997) 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

For the final film in Tobe Hooper’s Cannon Films trilogy—and the last wide theatrical release of his career—he returned to the movie that started it all. At the end of his three-picture deal with Cannon, the studio asked Hooper to deliver a sequel to his 1974 horror masterpiece. But THE TEXAS CHAINSAW MASSACRE 2 (1986) was not the film they—or most audiences—were expecting. Loud, gory, satirical, and often absurd, the film ditched the gritty realism of the original in favor of pitch-black comedy and over-the-top violence. In this episode, we follow the story of how CHAINSAW 2 came to be, how it baffled critics and audiences upon release, and how it gradually found a second life as a cult classic—now considered one of Hooper’s most distinctive and beloved films. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: FLESH + BLOOD (1985) ROBOCOP (1987) TOTAL RECALL (1990) BASIC INSTINCT (1992) 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

After the critical and commercial failure of LIFEFORCE, Cannon Films still had faith in Tobe Hooper—or at least, they had a contract to honor. Next up in Hooper’s three-picture deal was INVADERS FROM MARS (1986), a remake of the 1953 sci-fi cult classic. Cannon hoped the film could help change their reputation from B-movie factory to big-budget player. Instead, the result was a box office disappointment that only deepened the perception of Cannon’s creative chaos. In this episode, we explore how INVADERS FROM MARS came to be, the troubled shoot, and why the film ultimately failed to connect with audiences. Plus, we highlight the incredible creature effects by Stan Winston and his team, whose work remains one of the film’s few enduring legacies. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: THE TEXAS CHAIN SAW MASSACRE PART 2 (1986) UP NEXT: Sex + Violence: The Misunderstood Films of Paul Verhoeven 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

In this new three-part series, we pick up where The Tragedy of Tobe Hooper left off—right after the POLTERGEIST controversy—following Hooper into his wildest professional era: his years with Cannon Films. First up: LIFEFORCE (1985), a big-budget space horror film based on the novel The Space Vampires. With a screenplay by Dan O’Bannon and Don Jakoby (BLUE THUNDER), LIFEFORCE was Hooper’s attempt to kick off a new phase in his career—one with more control, more money… and much, much weirder material. In this episode, we dive into the film’s chaotic production, its strange creative choices (naked space vampires, anyone?), its reception by critics and audiences, and how it set the tone for Hooper’s Cannon trilogy—and the rest of his career. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: LIFEFORCE (1985) INVADERS FROM MARS (1986) THE TEXAS CHAIN SAW MASSACRE PART 2 (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

For the final entry in our Unsung Legacy of Dan O’Bannon series, we’re diving into the movie that finally gave O’Bannon full creative control—and a chance to prove what he could do when left to his own devices. After the early success of ALIEN, O’Bannon spent years struggling to gain traction in Hollywood. Burned by politics, studio rewrites, and his own stubborn reputation, he still hadn’t found a project that was truly his… until 1985’s RETURN OF THE LIVING DEAD. Originally brought on as a screenwriter, O’Bannon eventually stepped into the director’s chair and delivered a film that was part horror, part comedy, part punk rock, and all attitude. The result? A cult hit that redefined zombie cinema and helped inspire decades of undead mayhem. In this episode, we break down the story behind RETURN OF THE LIVING DEAD—from its legal roots in George Romero’s NIGHT OF THE LIVING DEAD, to the chaotic production process, and O’Bannon’s vision for something weirder, wilder, and more subversive. We’re joined by special guest Dan Wipert of the Film Trace podcast. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: LIFEFORCE (1985) INVADERS FROM MARS (1986) THE TEXAS CHAIN SAW MASSACRE PART 2 (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

Though largely forgotten today, BLUE THUNDER was a major box office success in 1983, spawning a TV series, video game, and plenty of knockoffs. But the film that audiences saw wasn’t exactly what Dan O’Bannon had in mind. In this episode, we explore the story behind BLUE THUNDER—an idea O’Bannon began developing not long after ALIEN’s release. Originally conceived as a politically charged, satirical action thriller about government surveillance and militarization, the script went through major changes once it landed in Hollywood. We trace its development through pre-production, how it evolved under director John Badham (SATURDAY NIGHT FEVER, WARGAMES), and how the final product compares to what O’Bannon originally envisioned. It’s another entry in the long history of Dan O’Bannon being both essential and overlooked. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: RETURN OF THE LIVING DEAD (1985) Up next: Tobe Hooper: The Cannon Years 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

Dan O’Bannon’s fingerprints are all over genre cinema—from ALIEN to RETURN OF THE LIVING DEAD, from Jodorowsky’s doomed DUNE to even an early hand in STAR WARS. But one of his more unexpected contributions came in the form of animation. In this episode, we’re diving into 1981’s HEAVY METAL, an animated anthology film based on the cult comic magazine of the same name. Known for its R-rated mix of science fiction, fantasy, and eroticism, the film features multiple segments—two of which were written by O’Bannon. We explore how HEAVY METAL came together, the bizarre production process that shaped it, its troubled path to home video, and the legacy it left behind—not just for animation, but for pop culture at large. And of course, we break down O’Bannon’s contributions and how they fit into the larger mosaic of his career. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: BLUE THUNDER (1983) RETURN OF THE LIVING DEAD (1985) Up next: Tobe Hooper: The Cannon Years 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

After the release of ALIEN, Dan O’Bannon should have been on top of the world. But thanks to a high-profile dispute over the film’s writing credits, his career didn’t soar the way you might expect. Fortunately, O’Bannon’s ALIEN co-writer Ronald Shusett had another project in the works—a slow-burn horror film about a small New England town with a zombie problem. He invited O’Bannon to co-write the script, and the result was DEAD & BURIED (1981), a cult horror oddity directed by Gary Sherman. In this episode, we unravel the conflicting accounts of O’Bannon’s contributions to the film (including O’Bannon’s own denial of involvement), explore how DEAD & BURIED came together behind the scenes, and highlight the early work of future genre icons like Robert Englund and makeup effects legend Stan Winston. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: HEAVY METAL (1981) BLUE THUNDER (1983) RETURN OF THE LIVING DEAD (1985) Up next: Tobe Hooper: The Cannon Years 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

In Part 1, we traced ALIEN’s path from a scrappy concept between Dan O’Bannon and John Carpenter to a greenlighted studio film backed by 20th Century Fox and producer Walter Hill. Now, with Ridley Scott on board as director, the story really kicks into gear. In this episode, we break down the production of ALIEN—from its nightmarish design process with H.R. Giger to the casting of Sigourney Weaver and the creation of some of the most iconic visuals in sci-fi history. We also examine how the film’s success shaped the future of the genre—and how, despite writing one of the most legendary scripts in sci-fi history, Dan O’Bannon remained overlooked by the industry he helped shape. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: DEAD & BURIED (1981) HEAVY METAL (1981) BLUE THUNDER (1983) RETURN OF THE LIVING DEAD (1985) 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

As we continue exploring the career of Dan O’Bannon, we now arrive at the film that forever tied his name to sci-fi horror: Ridley Scott’s 1979 masterpiece, ALIEN. Despite the film’s massive success, O’Bannon didn’t become a Hollywood power player. In fact, his journey through the ALIEN production reflects the same pattern that followed him throughout his career—critically essential, but constantly undervalued. In this episode, we trace the earliest origins of ALIEN: from an idea born during the making of DARK STAR, to a rejected Roger Corman project, and finally to a greenlit big-budget feature at 20th Century Fox. It’s the story of how Dan O’Bannon helped create one of the most influential sci-fi horror films of all time… and still got left behind. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: DEAD & BURIED (1981) HEAVY METAL (1981) BLUE THUNDER (1983) RETURN OF THE LIVING DEAD (1985) 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

In our new series, we’re exploring the career of writer, director, and genre trailblazer Dan O’Bannon. His name might not be as widely known as some of his collaborators, but O’Bannon left an enormous mark on genre cinema—as the screenwriter of ALIEN, the director of RETURN OF THE LIVING DEAD, and the uncredited brain behind some of sci-fi’s most iconic ideas. To begin our journey, we’re heading back to where it all started: USC film school, where O’Bannon met another promising student named John Carpenter. United by their shared love of science fiction and monster movies, the two collaborated on a low-budget student film that would go on to become a cult classic. That film was DARK STAR. In this episode, we trace the origins of their friendship, the making of the movie, and how this quirky sci-fi comedy set the stage for O’Bannon’s groundbreaking (and often underappreciated) career. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: ALIEN (1979) DEAD & BURIED (1981) HEAVY METAL (1981) BLUE THUNDER (1983) 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

This is the episode that gives our series its name. In the early 1980s, Tobe Hooper was given the opportunity of a lifetime: a chance to direct a big-budget horror film for Universal Pictures—written and produced by none other than Steven Spielberg, who was at the peak of his powers. That film was POLTERGEIST, and it would become the most commercially successful movie of Hooper’s career. But it also became his most controversial. Ever since its release, questions have swirled about who actually directed the film—Hooper or Spielberg? The speculation has been so persistent that it’s often overshadowed the movie itself… and cast a long shadow over Hooper’s career going forward. In this episode, we explore how POLTERGEIST came to be, the origins of the authorship controversy, and the impact it had on Hooper’s legacy. And yes—we weigh in on what we think really happened on set. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: THE FUNHOUSE (1981) POLTERGEIST (1982) 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

After the success of SALEM’S LOT, Tobe Hooper finally had the Hollywood credibility he’d been chasing—but the road to his next project was still full of potholes. That next project was THE FUNHOUSE (1981), a twisted little slasher made under Universal Pictures. Though it was Hooper’s first studio-backed film intended for theatrical release, the budget was modest and the expectations were clear: cash in on the booming slasher craze. In this episode, we take a look at Hooper’s post-SALEM’S LOT career, the development of THE FUNHOUSE, and how the film fits into both the slasher wave of the early ’80s and Hooper’s evolving (and often unpredictable) directorial style. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: POLTERGEIST (1982) Up Next: Dan O'Bannon: Hollywood's Secret Weapon 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

After the disappointing reception of EATEN ALIVE, Tobe Hooper's career seemed to be floundering. But fate—and Stephen King—had other plans. As Warner Bros. began developing a film adaptation of King’s bestselling vampire novel Salem’s Lot, a savvy producer screened THE TEXAS CHAIN SAW MASSACRE while searching for a director. The moment he saw it, he knew Hooper was the right man for the job. In this episode, we trace the rocky road between EATEN ALIVE and SALEM’S LOT, and how the project shifted from theatrical feature to network television miniseries. We dive into the creative decisions that shaped the adaptation, the challenges of bringing graphic horror to CBS, and how Hooper helped deliver one of the scariest things to ever air on TV. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: THE FUNHOUSE (1981) POLTERGEIST (1982) Up Next: Dan O'Bannon: Hollywood's Secret Weapon 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

After the breakout success of THE TEXAS CHAIN SAW MASSACRE, Tobe Hooper and co-writer Kim Henkel landed a major three-picture deal with Universal. But before they could cash in on that opportunity, Hooper had to fulfill a prior obligation—one that would derail his momentum almost immediately. That obligation? A commitment to exploitation producer Mardi Rustam to direct a low-budget killer crocodile movie called EATEN ALIVE. In this episode, we dig into the troubled production of Hooper’s grimy sophomore effort, from its artificial soundstage swamp to its over-the-top performances and chaotic behind-the-scenes energy. We explore how the film reflects Hooper’s obsessions while failing to recapture the impact of CHAIN SAW, and how this bizarre detour complicated his transition into mainstream Hollywood BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: SALEM'S LOT (1979) THE FUNHOUSE (1981) POLTERGEIST (1982) 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

In 1974, a little indie horror film from Texas shocked the world—and launched the career of Tobe Hooper. With THE TEXAS CHAIN SAW MASSACRE, Hooper introduced audiences to one of horror’s most iconic villains, Leatherface, and helped lay the groundwork for what would become the slasher genre. But while the film became a touchstone of American horror, Hooper’s career afterward was marked by frustration, interference, and missed opportunities. In this first episode of our series The Tragedy of Tobe Hooper, we trace the chaotic, low-budget production of THE TEXAS CHAIN SAW MASSACRE, the real-life influences that shaped its gritty realism, and how it went from regional curiosity to international sensation—and one of the most influential horror films of all time. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: EATEN ALIVE (1976) SALEM'S LOT (1979) THE FUNHOUSE (1981) POLTERGEIST (1982) 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

This week, we arrive at the blood-soaked finale of our Six Degrees of Kill Bill series. For the last six episodes, we’ve traced the cinematic lineage behind Quentin Tarantino’s KILL BILL—from spaghetti westerns and samurai classics to manga adaptations and grindhouse revenge tales. Now it’s time to take on the main event. In this episode, we dive deep into the creation of KILL BILL itself—from its inception on the set of PULP FICTION, to the years-long development of the screenplay, to the ambitious and tumultuous shoot that took Tarantino around the world. We also explore the reasoning behind the decision to split the film into two volumes, the legacy of its bold stylistic choices, and how it became one of the most iconic cult films of the 21st century. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: THE TEXAS CHAINSAW MASSACRE (1974) EATEN ALIVE (1976) SALEM'S LOT (1979) THE FUNHOUSE (1981) 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

This week on The Six Degrees of Kill Bill, we return to Japan to explore a film with deep roots in manga, samurai cinema, and grindhouse remix culture: SHOGUN ASSASSIN. The film traces its origins back to Kazuo Koike—writer of LADY SNOWBLOOD and creator of his true magnum opus, Lone Wolf & Cub, a sprawling, violent manga epic that ran for six years and nearly 9,000 pages. That manga inspired a series of six Japanese films in the early 1970s, but it wasn’t until 1980 that American audiences truly caught on. That year, a pair of producers took footage from the first two LONE WOLF & CUB films, dubbed it into English, added a moody synth soundtrack, and released it to U.S. grindhouses as SHOGUN ASSASSIN. The result was a cult hit—and a direct influence on Quentin Tarantino, who featured the film prominently in KILL BILL VOL. 2. In this episode, we trace the full story: from Koike’s manga, to the original Japanese productions, to the recut cult phenomenon that became SHOGUN ASSASSIN. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: KILL BILL VOL. 1 & VOL. 2 (2003/4) Up Next: The Tragedy of Tobe Hooper 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

When KILL BILL begins, the first image we see—after the Miramax logo, of course—is the iconic Shaw Brothers shield. It’s more than just a stylish nod; it’s a direct homage to the Kung Fu cinema that helped shape Quentin Tarantino’s sensibilities as a filmmaker. In this episode, we dive into the history of the legendary Shaw Brothers Studio, whose influence on martial arts cinema can’t be overstated. Their golden age in the 1960s and ’70s introduced global audiences to the Kung Fu genre and left an indelible mark on KILL BILL, particularly during the House of Blue Leaves sequence in VOL. 1 and the Pei Mei chapter in VOL. 2. Our film of focus is THE 36TH CHAMBER OF SHAOLIN (1978), directed by Lau Kar-leung and starring Gordon Liu—who, fittingly, plays two different roles in Tarantino’s revenge saga. We also can’t talk about this movie without talking about Wu-Tang, so yeah… we go there. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: SHOGUN ASSASSIN (1980) KILL BILL VOL. 1 & VOL. 2 (2003/4) Up Next: The Tragedy of Tobe Hooper 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

That iconic yellow jumpsuit The Bride wears in KILL BILL VOL. 1? Bruce Lee wore it first. Originally intended as Lee’s fifth film, GAME OF DEATH was meant to be his magnum opus—a culmination of his martial arts philosophy, Jeet Kune Do, and a bold new vision for what martial arts cinema could be. But after Lee’s untimely death in 1973, the project was left incomplete, with only a fraction of the original footage shot. That didn’t stop the producers. In 1978, they cobbled together a finished film using doubles, trick photography, and just 11 minutes of Lee’s original footage—all in an effort to cash in on his global fame. In this episode, we explore Bruce Lee’s life and career leading up to GAME OF DEATH, the bizarre rise of the Brucesploitation genre in the years after his death, and how the mishandling of his unfinished masterpiece ironically led to one of his most enduring visual legacies. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: 36TH CHAMBER OF SHAOLIN (1978) SHOGUN ASSASSIN (1980) KILL BILL VOL. 1 & VOL. 2 (2004/5) 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

For week three of our Six Degrees of Kill Bill series, we’re heading to Sweden to discuss what Quentin Tarantino once called “the roughest revenge film ever made!” Released in the U.S. as THEY CALL HER ONE EYE, Bo Arne Vibenius’s 1973 exploitation classic THRILLER: A CRUEL PICTURE provided clear visual and character inspiration for Daryl Hannah’s Elle Driver in KILL BILL—right down to the eyepatch. In this episode, we’re joined by our good friend (and Christina Lindberg superfan) DJ Wilson to trace the evolution of Swedish exploitation cinema. From its roots in the earliest days of filmmaking to its collision with the arthouse stylings of Ingmar Bergman and into the grindhouse boom of the 1970s, we explore how Sweden became an unlikely hotspot for some of the most infamous films in genre history. Special thanks to Daniel Ekeroth and his book Swedish Sensationsfilms, which helped guide this journey into the strange and sensational. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: GAME OF DEATH (1978) 36TH CHAMBER OF SHAOLIN (1978) SHOGUN ASSASSIN (1980) KILL BILL VOL. 1 (2003) & VOL. 2 (2004) 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, merch and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

In our Six Degrees of Kill Bill series, we’re exploring the films that Quentin Tarantino has cited—or outright lifted from—in crafting his 2004 revenge epic. And few films were more influential than Toshiya Fujita’s LADY SNOWBLOOD. In this episode, we dig into the film’s origins as a cult manga, the surprising story behind its adaptation, and how Fujita and screenwriter Kazuo Koike brought it to the screen. We also take a brief (but fascinating!) detour into the Meiji era of Japanese history to understand how that context shapes the story, characters, and political undercurrent of the film. From its operatic bloodshed to its chapter-based structure and visual homages, LADY SNOWBLOOD isn’t just an influence on KILL BILL—it’s practically its spiritual ancestor. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: THRILLER: A CRUEL PICTURE (1973) GAME OF DEATH (1978) 36TH CHAMBER OF SHAOLIN (1978) SHOGUN ASSASSIN (1980) 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

We're big fans of Quentin Tarantino here at Cinema Shock, and it’s no secret that he wears his influences proudly. His films are filled with references to the genre movies he grew up on—and nowhere is that more evident than in his two-part martial arts western revenge epic, KILL BILL. In this first episode of our Six Degrees of Kill Bill series, we're heading to Italy to explore one of the clearest influences on that film: Giulio Petroni’s 1967 spaghetti western, DEATH RIDES A HORSE. With a story of long-delayed vengeance, stylish shootouts, and a haunting Ennio Morricone score, this Lee Van Cleef revenge tale laid the groundwork for much of what Tarantino would later channel into KILL BILL. Join us as we trace the connections, break down the film’s legacy, and dig into why this underrated gem still kicks hard. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: THRILLER: A CRUEL PICTURE (1973) LADY SNOWBLOOD (1973) GAME OF DEATH (1978) 36TH CHAMBER OF SHAOLIN (1978) 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

After the crash-and-burn of THE LONG KISS GOODNIGHT, Shane Black disappeared from Hollywood for nearly a decade. When he returned, it was on his own terms—and with a directorial debut that would change everything. In the final episode of our Black Christmas series, we’re joined by writer and friend of the show DJ Wilson to explore how KISS KISS BANG BANG brought Shane Black back into the spotlight. We discuss how Joel Silver helped get the film made, how Black’s script resurrected Robert Downey Jr.’s career, and how this offbeat noir comedy became a cult favorite—and a stepping stone to Iron Man. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: DEATH RIDES A HORSE (1967) THRILLER: A CRUEL PICTURE (1973) LADY SNOWBLOOD (1973) GAME OF DEATH (1978) 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, with special thanks to 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

By the mid-90s, Shane Black was still riding high—despite the underwhelming performance of THE LAST BOY SCOUT. When his next spec script hit the market, it sparked a bidding war that ended with a record-breaking $4 million sale to New Line Cinema. In this episode, we’re joined by Zack Daigle, co-founder of the annual McArathon Christmas movie fest, to discuss THE LONG KISS GOODNIGHT. We dive into the high-stakes script sale, Renny Harlin’s direction, Geena Davis’s role as a suburban mom/secret assassin, and how the film’s failure marked a turning point in Shane Black’s career. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: KISS KISS BANG BANG (2005) 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, with special thanks to 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

After the success of LETHAL WEAPON, Shane Black became the hottest screenwriter in Hollywood. But with great hype comes even greater chaos. In this episode, we’re joined by Myles Griffin of The More You Nerd podcast to unpack the wild story behind THE LAST BOY SCOUT. From a record-setting spec sale to a production hijacked by Bruce Willis and Joel Silver, to a post-production process that saw seven editors try to wrestle the film into shape—it’s a miracle this movie made it to theaters at all. We trace the film’s troubled path from page to screen and explore how it became a cult classic in spite of itself. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: THE LONG KISS GOODNIGHT (1996) KISS KISS BANG BANG (2005) 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, with special thanks to 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