Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more! On this week's episode, Ryan and Chris discuss star vehicles/vanity projects for musicians that were meant to launch their respective film careers, but... didn't quite pan out. We start with 1989's "UHF," the now cult classic "Weird Al" Yankovic vehicle that tanked horribly the summer it came out. We talk about Weird Al's career, how he has endured in the years since, and whether or not "UHF" will continue to pick up more of an audience as time passes. Then, we move onto a film that time has all but forgot, "Disorderlies." Intended as a vehicle for The Fat Boys, the film was not a financial failure (it made double its budget in 1987), but arguably a comedic one. Finally, we dive into the infamous 1991 Vanilla Ice vanity project, "Cool As Ice," an already weird film made even weirder by the fact that one of our greatest living cinematographers (Janusz Kaminski) exquisitely shot it.  You can find this and future episodes on our website thegoodbadwhat.com. You can subscribe to our show on Apple Podcasts, Anchor.fm, Spotify, Stitcher, iHeartRadio, Google Podcasts, and more! Feel free to email us at [email protected] if you have any questions, comments, or just want to say hello. You can follow us on Twitter and Instagram @thegoodbadwhat. You can also like us on Facebook. Our logo comes from Michelle Parkos, and our theme music comes from Paco.

Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more! On this week's episode, Chris and Ryan discuss International Games of Death; films that are not in the English language that involves a very dangerous game as the centerpiece. We start with the film that most people would think of based on that description, Kinji Fukasaku's iconic "Battle Royale." An entry point into Asian genre cinema for both of our hosts, they discuss their history with the film and how it holds up 21 years later. Then, we move into 2001's "Intacto," a Spanish film with a killer premise (What if luck was not a concept but something actually tangible and transferrable?) that it does almost nothing with. Finally, we discuss "13 Tzameti" from 2005, a film whose wind-up and pitch are brilliantly executed, only to peter out a bit at the end. We dedicate most of the show's running time to Géla Babluani's debut, and for good reason. You can find this and future episodes on our website thegoodbadwhat.com. You can subscribe to our show on Apple Podcasts, Anchor.fm, Spotify, Stitcher, iHeartRadio, Google Podcasts, and more! Feel free to email us at [email protected] if you have any questions, comments, or just want to say hello. You can follow us on Twitter and Instagram @thegoodbadwhat. You can also like us on Facebook. Our logo comes from Michelle Parkos, and our theme music comes from Paco.

Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more! On this week's episode, Ryan and Chris discuss anachronistic genre-benders; films that are set in one time period, but draw inspiration from another, be it the past or present. We start with Rian Johnson's 2012 sci-fi/western/film noir "Looper," which both of us were fans of back when it came out and discovered that it has aged exceptionally well (perhaps even Johnson's best film). Then, we move onto a film that aged poorly the second it hit multiplexes in 1999, Barry Sonnenfeld's misguided adaptation of "Wild Wild West," a film with terrific production design and steampunk aesthetic, yet tone-deaf in nearly every other regard. Finally, we dive into a true curiosity in Albert Pyun's 1985 "Radioactive Dreams," a film - like "Looper" - that is also a sci-fi/western/film noir, but goes about it in a completely different way, and stands head-and-shoulders above the majority of "The Road Warrior" knock-offs at the time.  You can find this and future episodes on our website thegoodbadwhat.com. You can subscribe to our show on Apple Podcasts, Anchor.fm, Spotify, Stitcher, iHeartRadio, Google Podcasts, and more! Feel free to email us at [email protected] if you have any questions, comments, or just want to say hello. You can follow us on Twitter and Instagram @thegoodbadwhat. You can also like us on Facebook. Our logo comes from Michelle Parkos, and our theme music comes from Paco.

Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more! On this week's episode, we tackle supercharged slashers; films that follow (to a certain extent) the slasher formula with a character who has supercharged powers through various means. For the "Good," Chris chose Wes Craven's oft-maligned 1989 funhouse ride "Shocker," which we argue is an absolute blast if you can get on its particular wavelength. Then, we move into 1993's "Leprechaun," the film that launched a long-running direct-to-video franchise that has many fun entries to its name, mostly thanks to Warwick Davis' devilish turn in the title role. Unfortunately, the first film is not one of the aforementioned "fun" entries. Finally, we spend the bulk of the episode breaking down 1992's "The Lawnmower Man," the loose-in-every-sense-of-the-word adaptation of a Stephen King short story - though more a souped-up sci-fi twist on "Flowers for Algernon" - that is completely bananas from the jump and gets weirder from there.  You can find this and future episodes on our website thegoodbadwhat.com. You can subscribe to our show on Apple Podcasts, Anchor.fm, Spotify, Stitcher, iHeartRadio, Google Podcasts, and more! Feel free to email us at [email protected] if you have any questions, comments, or just want to say hello. You can follow us on Twitter and Instagram @thegoodbadwhat. You can also like us on Facebook. Our logo comes from Michelle Parkos, and our theme music comes from Paco.

Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more! On this week's episode, we tackle psychosexual dramas, specifically ones that cross that taboo line between sexuality and violence. We start with David Cronenberg's 1996 dark odyssey "Crash," adapted from the J.G. Ballard novel and stars James Spader as a fictionalized version of the author who discovers an underground subculture of people who get off on car crashes. We then pivot to the 2015 adaptation of worldwide bestseller "Fifty Shades of Grey," and remark how it's even more clinical and less sexy than the deliberateness of "Crash." Finally, we move into 1990's "Night Killer," directed by "Troll 2" auteur Claudio Fragasso, and break down how what is supposed to be a serious adult drama turns into one part slasher and all parts insanity.  You can find this and future episodes on our website thegoodbadwhat.com. You can subscribe to our show on Apple Podcasts, Anchor.fm, Spotify, Stitcher, iHeartRadio, Google Podcasts, and more! Feel free to email us at [email protected] if you have any questions, comments, or just want to say hello. You can follow us on Twitter and Instagram @thegoodbadwhat. You can also like us on Facebook. Our logo comes from Michelle Parkos, and our theme music comes from Paco.

Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more! As promised from our last episode, we dedicate the entirety of our second Minisode to discussing the new “Mortal Kombat” film (currently in theaters and HBO Max). Is the film a flawless victory, or should it be ripe for a fatality? Listen to the episode to find out! Note: We mention it in the episode, but we do get into SPOILERS regarding the new “Mortal Kombat,” so if you haven’t seen the film and plan to, we suggest you come back and listen to the episode once you’ve seen it. You can find this and future episodes on our website thegoodbadwhat.com. You can subscribe to our show on Apple Podcasts, Anchor.fm, Spotify, Stitcher, iHeartRadio, Google Podcasts, and more! Feel free to email us at [email protected] if you have any questions, comments, or just want to say hello. You can follow us on Twitter and Instagram @thegoodbadwhat. You can also like us on Facebook. Our logo comes from Michelle Parkos, and our theme music comes from Paco.

Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more! Start the techno music and get ready to "Test Your Might!" On this week’s episode - to coincide with the release of the new "Mortal Kombat" film - Chris chose Fighting Game adaptations, starting with none other than the Paul W.S. Anderson-directed 1995 iteration of "Mortal Kombat," often considered not only the best adaptation of a fighting game, but one of the best video game adaptations period. On the opposite side of being revered, we then dive into the 1994 adaptation of "Street Fighter," starring a deeply committed Raul Julia and Jean-Claude Van Damme is also in it (sometimes). Finally, we come back around to the world of "Mortal Kombat" with 1997's completely impenetrable "Mortal Kombat: Annihilation." You can find this and future episodes on our website thegoodbadwhat.com. You can subscribe to our show on Apple Podcasts, Anchor.fm, Spotify, Stitcher, iHeartRadio, Google Podcasts, and more! Feel free to email us at [email protected] if you have any questions, comments, or just want to say hello. You can follow us on Twitter and Instagram @thegoodbadwhat. You can also like us on Facebook. Our logo comes from Michelle Parkos, and our theme music comes from Paco.

Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more! On this week’s episode, Ryan drags Chris through the muck of the direct-to-video wasteland with three films that star the sibling of a much more famous person. We start with 1993's "Skinner," a genuinely unsettling piece of horror sleaze in the same vein as "Maniac" and "The Driller Killer" in which Ted Raimi (brother of director Sam Raimi) plays a serial killer who skins his victims and wears it. Then, we move onto 1995's "Ice Cream Man," a feeble attempt at horror-comedy starring Clint Howard (brother of director Ron Howard) and a "standout" performance from the late Jan-Michael Vincent (and by "standout" we mean they literally had to stand him out to get him to do anything in his few scenes). Finally, we do our best to breakdown the plot of 1987's "Savage Harbor," aka "Death Feud," in which Frank Stallone (brother of Sylvester Stallone) and Christopher Mitchum (son of Robert Mitchum) play longshoremen who double as both terrible detectives and terrible street brawlers. *Note: "Skinner" is available on Blu-ray from our friends at Severin Films, and "Ice Cream Man" is available from our friends at Vinegar Syndrome ("Savage Harbor" is also available from Vinegar Syndrome but is sadly out-of-print)* You can find this and future episodes on our website thegoodbadwhat.com. You can subscribe to our show on Apple Podcasts, Anchor.fm, Spotify, Stitcher, iHeartRadio, Google Podcasts, and more! Feel free to email us at [email protected] if you have any questions, comments, or just want to say hello. You can follow us on Twitter and Instagram @thegoodbadwhat. You can also like us on Facebook. Our logo comes from Michelle Parkos, and our theme music comes from Paco.

Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more! On this week’s episode, Chris chose siege horror films, specifically ones in which our characters are completely side-swiped by the turn of events. We start the discussion with Jeremy Saulnier’s 2016 tension-filled, backwoods horror-thriller “Green Room,” followed by one of Eli Roth’s “best” movies - 2005’s “Hostel” - before closing out with the 1996 genre-bender “From Dusk Till Dawn,” directed by Robert Rodriguez and written by Quentin Tarantino. We analyze all three of them in regards to their different approaches to violence and how each flavor of it does (or doesn’t) work for the story being told. You can find this and future episodes on our website thegoodbadwhat.com. You can subscribe to our show on Apple Podcasts, Anchor.fm, Spotify, Stitcher, iHeartRadio, Google Podcasts, and more! Feel free to email us at [email protected] if you have any questions, comments, or just want to say hello. You can follow us on Twitter and Instagram @thegoodbadwhat. You can also like us on Facebook. Our logo comes from Michelle Parkos, and our theme music comes from Paco.

Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more! On our very first, long-teased Minisode, Ryan and Chris spend the entirety of the episode dedicated to one film: "Godzilla vs. Kong." The Adam Wingard-directed smackdown between two of cinema's iconic monsters has finally arrived in theaters and on HBO Max, and we discuss the film itself, the Warner Bros. MonsterVerse as a whole, its robust box office performance over the weekend, and much more! (Warning: We do get into spoilers, so if you plan on watching "Godzilla vs. Kong" and you haven't seen it yet, turn around, watch it, and then come back to listen!) You can find this and future episodes on our website thegoodbadwhat.com. You can subscribe to our show on Apple Podcasts, Anchor.fm, Spotify, Stitcher, iHeartRadio, Google Podcasts, and more! Feel free to email us at [email protected] if you have any questions, comments, or just want to say hello. You can follow us on Twitter and Instagram @thegoodbadwhat. You can also like us on Facebook. Our logo comes from Michelle Parkos, and our theme music comes from Paco.

Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more! This week, we continue with the second part of our “Godzilla vs. Kong” primer with a discussion about the history of King Kong, the Eighth Wonder of the World. We touch on nearly every “King Kong” film, but in the spirit of the show, we only go into complete detail on three. Last week, it just so happened that the “Godzilla” films we discussed went in chronological order for “good,” “bad,” and “what?” This week, they’re in reverse order, so we decided to flip our order so we could go chronologically and really contextualize the series and speak to its strengths and limitations. We start with our “what?” this time out, which is 1967’s “King Kong Escapes,” a co-production between Toho (it is directed by “Godzilla” mainstay Ishirô Honda) and Rankin/Bass that features an awesome Mechani-Kong and a terrible King Kong puppet. Then, we move into 1986’s infamous box office disaster “King Kong Lives,” which we argue should have really been called King Kong, uh, fornicates. Finally, we finish out the show discussing Peter Jackson’s brilliant, epic 2005 recreation of the original film, and how even within the limited confines of the “King Kong” series that he was able to find new ideas and textures to bring to the story. You can find this and future episodes on our website thegoodbadwhat.com. You can subscribe to our show on Apple Podcasts, Anchor.fm, Spotify, Stitcher, iHeartRadio, Google Podcasts, and more! Feel free to email us at [email protected] if you have any questions, comments, or just want to say hello. You can follow us on Twitter and Instagram @thegoodbadwhat. You can also like us on Facebook. Our logo comes from Michelle Parkos, and our theme music comes from Paco.

Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more! On this episode, we begin our two-part series leading up to the release of “Godzilla vs. Kong” (in theaters and on HBO Max on March 31) by diving into the 67-year history of the “Godzilla” series. We discuss how the series has endured as long as it has, and do our best to articulate why these picks fit into “good,” “bad,” and “what?” in a series that has a very set template and monster fights that are almost always charming, despite varying degrees of quality. We start with 1964’s “Mothra vs. Godzilla,” heralded by many as the best “Godzilla” sequel, as well as one of the last times the King of the Monsters was portrayed as a villain. We then leave the Showa-era and move into the Heisei-era with 1991’s “Godzilla vs. King Ghidorah,” in which you can hear Chris’ brain short-circuit in real-time trying to break down the plot. Finally, we move into the short-lived Millennium-era with the 2004 “everything-but-the-kitchen-sink” sensory-assault, “Godzilla: Final Wars.” You can find this and future episodes on our website thegoodbadwhat.com. You can subscribe to our show on Apple Podcasts, Anchor.fm, Spotify, Stitcher, iHeartRadio, Google Podcasts, and more! Feel free to email us at [email protected] if you have any questions, comments, or just want to say hello. You can follow us on Twitter and Instagram @thegoodbadwhat. You can also like us on Facebook. Our logo comes from Michelle Parkos, and our theme music comes from Paco.

Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more! On this episode, Ryan went with sequels that shifted drastically in tone from their predecessor, or predecessors (and may or may not have had too much to drink in the process, hence why this episode runs longer than usual). We start with 1986’s “The Texas Chainsaw Massacre 2,” Tobe Hooper’s splatter-y, darkly-comic follow-up to one of the most revered horror films ever made. We dive into the fact that this is largely the film Hooper wanted to make the first time out (at least tonally), and commend it for being a largely successful shift. On the unsuccessful spectrum, we swing into 1995’s “Batman Forever,” Warner Bros.’ knee-jerk reaction to the reception of Tim Burton’s “Batman Returns.” Not unlike recent Batman-adjacent non-movies “Suicide Squad” and “Justice League,” we discuss how it’s a film for no one as it was seemingly made by committee (Joel Schumacher innocent). Finally, we dive back into carte blanche territory with 1996’s “Escape From L.A.” Like Hooper, John Carpenter also said that this was the film he wanted to make in the first place, and we dissect whether that’s for better or ill (Spoiler: it’s both). You can find this and future episodes on our website thegoodbadwhat.com. You can subscribe to our show on Apple Podcasts, Anchor.fm, Spotify, Stitcher, iHeartRadio, Google Podcasts, and more! Feel free to email us at [email protected] if you have any questions, comments, or just want to say hello. You can follow us on Twitter and Instagram @thegoodbadwhat. You can also like us on Facebook. Our logo comes from Michelle Parkos, and our theme music comes from Paco.

Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more! On this episode, Chris picked slasher films, specifically the “whodunnit?” subsection of the slasher genre, and even more specifically, ones with deconstructionist and/or postmodernist elements. We start with what is likely the first film that comes to mind based on that description, which is 1996’s “Scream,” director Wes Craven and screenwriter Kevin Williamson’s razor-sharp cultural behemoth that is largely credited for revitalizing the slasher subgenre in the ‘90s. Then, we move onto the other film that along with “Scream” is credited for the slasher revival (and also penned by Williamson): 1997’s “I Know What You Did Last Summer.” Chris and Ryan get into a slight debate over whether or not it constitutes the “bad” label. Before moving onto the “What?”, we naturally had to fit in some chatter on 2000’s “Scary Movie,” the spoof hit whose “plot” riffs heavily on “Scream” and “IKWYDLS.” Finally, we go back to the '80s slasher heyday with 1983’s “Sleepaway Camp,” an unconventional slasher that, for all its weird rhythms and the infamous twist ending, also subverts the expected tropes of the subgenre. You can find this and future episodes on our website thegoodbadwhat.com. You can subscribe to our show on Anchor.fm, Spotify, Stitcher, iHeartRadio, Google Podcasts, and more! Feel free to email us at [email protected] if you have any questions, comments, or just want to say hello. You can follow us on Twitter and Instagram @thegoodbadwhat. You can also like us on Facebook. Our logo comes from Michelle Parkos, and our theme music comes from Paco.