Mike “McBeardo” McPadden has done it again; trawling through the sludge of a film subgenre to find the commonalities while holding up both the gems and the most execrable examples of teen flicks in his latest book, Teen Movie Hell.
Episode 415: The Mad Max Series
On this epic episode of The Projection Booth, we remember the road warrior, the man we called Mad Max. In the roar of an engine, he lost everything and became a shell of a man, a burnt-out desolate man, a man haunted by the demons of his past, a man who wandered out into the wasteland. And it was here, in this blighted place, that he learned to live again.
Ben Buckingham and Mike Thompson join Mike White to discuss the ever-shifting landscape of George Miller’s Mad Max series from its audacious beginning as a bikie exploitation / revenge Mad Max (1979) to the post-apocalyptic Western Mad Max 2: The Road Warrior (1981) to the troublesome Mad Max Beyond Thunderdome (1985) and concluding (?) with the spectacular Mad Max: Fury Road (2015).
Interviews feature actors from three of the four films — Roger Ward, Vernon Wells, Virginia Hey, Bruce Spence, Hugh Keays-Byrne — as well as author Luke Buckmaster, author of Miller and Max.
Episode 416: Daughters of Darkness (1971)
It seemed a fairly ordinary night when Stefan and his wife Valerie, two young, normal, healthy kids on their honeymoon. They stop in Belgium on their alleged way to England where they check into a nearly abandoned hotel. There they encounter the mysterious Countess Bathory and her assistant Ilona. From there, some strange things start to happen in Harry Kumel’s Daughters of Darkness (1971).
Special Report: Other Side of the Wind Redux
On this special episode of The Projection Booth we’re looking at Orson Welles’s The Other Side of the Wind again. Way back in May 2015, four years ago, it was still something of a dream that this film would ever get completed and shown to the world. There were rumors but there had been rumors before.
Ken Stanley and Rob St. Mary join Mike to discuss Orson Welles’s latest film along with special guests Bob Murawski, Josh Karp, and Joseph McBride.
Episode 414: Outland (1981)
Peter Hyams’s Outland (1981) plays like a Western in space with Sean Connery as Marshall W.T. O’Neil, the head lawman at a rough and tumble mining colony where a mysterious series of deaths puts him at odds with the powers that be.
Special Report: Cinetopia 2019
On this special episode of The Projection Booth, Mike talks to festival director Ariel Wan about the 2019 Cinetopia Film Festival. The fest takes place in Ann Arbor, Bloomfield Twp, Dearborn, Detroit, and Royal Oak between May 10 – 19, 2019. For more information visit www.cinetopiafestival.org
Special Report: A Woman’s Work – The NFL’s Cheerleader Problem
On this special episode of The Projection Booth, Mike talks to director Yu Gu, former Oakland Raiderette Lacy Thibodeaux-Fields, and former Buffalo Jill Maria Pinzone about the documentary A Woman’s Work: The NFL’S Cheerleader Problem which tackles the startling pay inequity of the National Football League.
Episode 419: M (1931)
Fritz Lang’s M (1931) is the story of a child murderer (Peter Lorre) in Berlin during the last years of the Weimar Republic. When the police fail to capture the terror of Berlin it’s up to the criminal underworld to do the job.
Episode 412: The Passover Plot (1976)
We get passionate about a film with a very inflammatory title, The Passover Plot. Released in 1976 the film was directed by Michael Campus and based loosely on a book by Hugh J. Schonfield. It’s basically another retelling of The Passion Play
Spencer Parsons and Chris Bricklemyer join Mike to talk about Zalman King playing Jesus, Donald Pleasence chewing scenery, and food that’s good enough for Jehovah.
Special Report: The Age of Disenchantments
On this special episode, Mike talks to author Aaron Shulman about his book The Age of Disenchantments: The Epic Story of Spain’s Most Notorious Literary Family and the Long Shadow of the Spanish Civil War and the El Desencanto (Jaime Chávarri, 1976). Both the book and the movie deal with the Paneros of Madrid, Spain — a fascinatingly dysfunctional family.
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