This week, Dave and Bryan are joined by Jeffrey Nelson, co-creator of the Scream Factory label for Shout Factory, to talk about the utterly unhinged Charles Bronson detective movie, 10 To Midnight. It's the tale of a cop, a father, his bleeding heart liberal, college-educated partner, and a serial killer whose nude and on the loose. Bronson could catch his man if it weren't for all the sleazy lawyers and liberal courts who want to coddle the criminal element instead of punish them. You'll be hard-pressed to find another movie that so brazenly espouses the dominant political theory of the Reagan 80's. It's a real NRA fever dream and an unintentionally hilarious piece of camp from the Cannon Group.

This week Bryan and Dave are joined by Aileen Clark of the Uy Que Horror podcast to take a trip back in time to 1990 when Turtlemania ruled the preteen scene. We explore the Teenage Mutant Ninja Turtles phenomenon through the lens of Steve Barron's bizarre adaptation that struck closer to the dark indie turtles comics of the mid-80's than the colorful pizza-obsessed party dudes of Saturday morning cartoons. Does the movie hold up to modern scrutiny? Well, not exactly, but it's a fascinating franchise, nonetheless.

Alright, boppers! This week Bryan and Dave put one of their favorite movies under a microscope for a giant-sized 99 Cent Rental episode about Walter Hill's 1979 gang odyssey, The Warriors. Few movies made as much of an impact on the exploitation market at The Warriors and fewer still impacted the rental market with such an iconic poster and rental box. In its day its marketing was driven by public outrage over gang violence at the movies but how much of that was true? We go over all of it. Can you dig it?

This week Bryan and Dave take in David Cronenberg's digest of divorce horror, The Brood. Samantha Eggar spawns killer munchkins, Art Hindle isn't very good at anything he does, Oliver Reed is a condescending jerk. It's a movie possessed of a terrible anger and frustration as Cronenberg, emotionally exhausted and unable to process his feelings put it all on the page and the result is the hard divorce horror movie that meant to spit in the face of Kramer vs. Kramer. Not for the faint of heart, The Brood is often like looking into the affairs of a person who chose to confide in you specifically in order to get something heavy off their chest but are you up to the task?

This week, Bryan and Dave are ready for their close-up as they address a listener request to explore Billy Wilder's Sunset Boulevard through the lens of horror and cult and, well, they don't exactly pull it off but they do turn in a deep dive into Hollywood's silent era, the golden age of sound, and how it manages to keep up the fabulous illusion of fantasy with a ruthless stranglehold on every piece of machinery that surrounds it and supports it, including the very people that make it all possible.

Sunset Boulevard is a drag queen's dream come true. Silent star, Gloria Swanson returns to the screen to portray the larger-than-life fallen star, Norma Desmond with grand sweeping gestures and some of the most quotable dialog in Hollywood history. Every aspect of this movie is lifted up and supported by every other piece. From Billy Wilder's writing and direction, to the photography of John Seitz, to the costuming of Edith Head, to the score provided by Franz Waxman.

Join us for a deep dive into one of the greatest movies ever produced by Hollywood.

This week Bryan and Dave take a look at the criminally horror movie by Tobe Hooper, The Funhouse from 1981. Tobe Hooper caught everyone's attention with the absolutely legendary horror movie, The Texas Chainsaw Massacre and continued to toy with the tropes established in that movie through his other killer hillbilly movie, Eaten Alive, and straight into this one when he finally seems to get it all out of his system.

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This week Dave and Bryan take a look at Allan Arkush's follow up to Rock n Roll High School, the rock musical Looney Tunes mayhem of Get Crazy. It's a story of three filmmakers butting heads over the movie they were trying to make. Arkush intended for a nostalgia-drenched tribute to his teenage years at The Fillmore East in the style of Scorcese's The Last Waltz, the producer wanted a fast and stupid visual comedy in the style of Airplane! and the Executive Producer wanted a movie that was going to fail and fail badly so his tax shelter investors could turn a healthy profit. Somehow, they all got what they wanted in the end.

Here's a taste of this week's episode of Bring Me The Axe, looking at Fred Dekker's 1986 drive-in zombie pastiche, Night of the Creeps. It's a cult favorite that's just wall-to-wall tropes that Bryan and Dave loved to death when they were kids but have things aged well with the passing of time? Some of them, sure. Others, not so much. Subscribe, listen, and find out why.

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