Welcome back to another exciting episode of Saturday Night Movie Sleepovers! This week the boys are kicking the Summer Season off with a ‘bang’, taking on an epic action extravaganza, one that has become an out-and-out classic in cinema history and for some, the complete embodiment of the 1980s action genre on a whole. Dion Baia and J. Blake are going all in with absolutely no regards as they cover the Arnold Schwarzenegger exemplum, Commando, from 1985.
The fellas are unabashed about their love for this film, and as some attribute this movie a classic only because of it’s supposedly ‘camp’ valve or consider it a ‘guilty pleasure’, Blake and Dion instead firmly put their feet down and gush about their love for this Schwarzenegger classic. There’s so much to talk about here that they carefully break the film down, scene by scene, so not to miss any fan cherished moments, performances, or legendary dialogue. They explain the background behind the making of the film, realizing very quickly that this vehicle could be called the original version of the Liam Neeson fan-favorite, Taken. They methodically and painstakingly analyze the pacing, structure, and winding journey, leading to it’s eventual climax. So… how does this film hold up after 30+ years? Is it really ‘the gold standard‘ for action films of the time, and can it actually represent that genre perfectly on a whole? And is it the apex of that trend of 80s action-hero movies? Aside from Arnold, how are the other performances? And what the heck does the legendary silent film comedic star Harold Lloyd have to do with all of this? Well, grab your favorite Kalashnikov, RPG, combat vest and some burnt cork, because the boys are taking no prisoners in this brand edition of Saturday Night Movie Sleepovers!
Take a look at the original trailer!
Have a look at this short documentary on Commando.
Check out this unbelievably awesome 1/6th statue of John Matrix, for sale courtesy of Sideshow collectibles.
Here’s Dion in 2013 with Cheech Marion and Tommy Chong.
Brought up in the podcast, take a look at his highly recommended 2010 documentary entitled Marwencol.
Welcome to a very special, New Years edition of Saturday Night Movie Sleepovers. Blake and Dion picked a classic to usher in 2016, a film very close to the hearts at SNMS, a movie that shows us that anyone can go the distance, as long as you have the drive and determination. This week, the boys are taking on Rocky, from 1976.
After Dion and Blake quickly chat the Rick Baker Gremlins clay bust they forgot to bring up in their last podcast on Gremlins, the boys try to pack as much information as they can into a 2+ hour podcast about Rocky. They kick things off by speaking about their personal love for the film, which for Blake, ranks up in his top 3. From discussing the origins of Stallone’s story and the serendipitous moment for how Sly was even able to pitch it, to his firmness to play the lead and the shoe-string budget to get the film made, was it all really like catching lightning in a bottle? Is it really a sweet, upbeat story about never giving up? Could this film be done today and have the same feel and power? Did having such a tight budget actually end up making the film better ? Was Stallone’s guiding force the lone pilot that kept the project on course, seeing the movie through to completion? Well you’ll have to listen to find out in this brand new, New Years Edition of Saturday Night Movie Sleepovers!
Take a look at the story of getting Rocky made, as told by Sylvester Stallone himself, in Part 1 of 4. Here’s Part 2. Here’s Part 3. And here’s Part 4.
Check out the legendary fight that Sly (used to say) was the inspiration for his story of Rocky. Here is the March 24, 1975 Championship Match between Muhammad Ali and Chuck Wepner.
Here’s really rare footage of Sylvester Stallone Choreographing the end fight with Carl Weathers.
Have a look at Sylvester Stallone & Talia Shire Introducing Rocky at the American Film Institute.
Have a listen to the incredible Bill Conti Soundtrack.
And take a look at the moment when they won the Oscar for Best Picture.