It’s a brand new episode of The Flickcast. Still going strong. We’re doing this!

On this episode Chris and Joe get deep into all-things Dune as they discuss the new trailer for the highly anticipated film, casting highlights from the film, Ridley Scott’s Raised By Wolves, the basics of sci-fi films and tv shows, Amazon’s The Boys, the negative effects of not being able to binge watch, cancel culture and, most importantly, the return of Rick Moranis. 

They also manage to talk about a certain world event (but just a little), further developments in film and television production and how great it is to see so much Sci-Fi programming these days. Plus, of course, the usual more. 

WARNING: This episode contains discussions about COVID-19, mental health and quarantine. We understand not everyone is in a place to talk about or hear discussions surrounding these issues. Please do what’s best for you. Stay safe everyone.

As always, if you have comments, questions, critiques, offers of sponsorship or whatever, feel free to hit us up in the comments, on Twitter, Instagram or, yes, even Facebook. Or shoot us an email. We don’t mind.

We’re back baby!

Subscribe: Apple Podcasts | Spotify | iHeartRadio | Stitcher | TuneIn | RSS

That’s right kids, we did it again. It’s a brand new episode of The Flickcast just for you. And you. And you too. We’ll try to keep it going next week.

In the meantime on this week’s episode, Chris and Joe are still angry, but a bit less angry this time. Topics this week include Mad Max: Fury Road, Agents of SHIELD finale, the Arrow and Flash finales, the end of Mad Men, Twin Peaks coming back for really real this time, DC Legends of Tomorrow, Supergirl and a whole lot more. Yep. More. It’s a big show.

Picks this week include Chris’ pick of the Darth Vader comic from Marvel and Joe’s pick of the new Simpsons LEGO minifigures.

As always, if you have comments, questions, critiques, offers of sponsorship, or whatever, feel free to hit us up in the comments, on Twitter, at Facebook, Google+ or via email.

Subscribe: Apple Podcasts | Spotify | iHeartRadio | Stitcher | TuneIn | RSS

After taking a week off, we’re back with an all-new episode of The Flickcast. We’ll try not to take any more time off, but no promises. Hey, we have lives too.

Anyway, on this week’s show, Chris and Joe discuss and debate The Expendables 3, the upcoming HBO series Westworld, the look of the new stormtroopers (and  more) from Star Wars: Episode VII, TV series like The Last Ship, The Strain and Outlander and yes, even the relative merits of Jedi facial hair. Of course, that’s not all they talk about. There’s also the usual “more.”

Picks this week include Chris’ pick of the FX series The Bridge and Joe’s pick of Portland hot spot Pip’s Original Donuts.

As always, if you have comments, questions, critiques, offers of sponsorship, or whatever, feel free to hit us up in the comments, on Twitter, at Facebook, Google+ or via email.

Subscribe: Apple Podcasts | Spotify | iHeartRadio | Stitcher | TuneIn | RSS

You don’t really need it because who cares about the plot, but here it is anyway.

In The Expendables 3, Barney (Stallone), Christmas (Statham) and the rest of the team comes face-to-face with Conrad Stonebanks (Gibson), who years ago co-founded The Expendables with Barney. Stonebanks subsequently became a ruthless arms trader and someone who Barney was forced to kill… or so he thought. Stonebanks, who eluded death once before, now is making it his mission to end The Expendables — but Barney has other plans.

Barney decides that he has to fight old blood with new blood, and brings in a new era of Expendables team members, recruiting individuals who are younger, faster and more tech-savvy. The latest mission becomes a clash of classic old-school style versus high-tech expertise in the Expendables’ most personal battle yet.

And yes, a ton of stuff blows up and all of these dudes keep on kicking ass. Well, as much as they can at their age. Nobody wants to break a hip.

Check out the trailer (more of a teaser really) after the break. Expendables 3 arrives August 15, 2014.

Machete Kills plays like a late Roger-Moore era Bond film — and not just because there’s a lot of visual cues and ideas taken from Moonraker — the action and the humor are constantly fighting for dominance, and the humor, regardless of whether it’s appropriate or not, makes sense within the context of the scene or not, hell, is funny or not, usually wins out. Though, to be fair, the plot of Machete Kills is a lot easier to follow than the plot of Octopussy.

Machete (Danny Trejo), in case you didn’t see the first film…or the trailer on which it was based, is an ex-Federale-turned-spy-or-something-like-that-but-all-around-badass, seemingly indestructible and legendary throughout Mexico. His latest “case” has him busting up a gun-running ring, apparently sponsored by the U.S. Army, and distributed to the Mexican cartel. Gun fights, explosions, dramatic standoff music, and hell ensues. Machete is somehow the only survivor when the cops show up, and by the next scene we’re in the local sheriff’s office and Machete is swinging from the ceiling with a noose around his neck. And then the President calls.

And the President is…Charlie Sheen. Naturally. He needs Machete to hunt down and kill Mendez (Damian Bichir), a nutty terrorist with a vendetta against the cartel who’s moved on to threatening the U.S. with a nuclear device. The catch is that once Machete finds him, Mendez reveals that the trigger for the bomb is tied to his heartbeat, so once he dies, boom. And he’s also put a hit out on himself that everyone in Mexico is trying to cash in on.

This week on The Flickcast Chris and Joe once again dig deep into all the geek news, views, and more, you could possibly need. The boys kick it off this time around with a discussion on “Blockbuster” screenwriting and movies and the recent interview with writer Damon Lindelof.

There’s also more discussion on Expendables 3 and the final casting for the movie and the success and relative merits of World War Z. Then, they shift gears and talk about who should play Batman in the next movie now that Christian Bale is out. Who do they like? You’ll just have to listen.

They also get into other topics like the absurd charms of the movie Olympus Has Fallen, a recent fan poll ranking Star Trek movies that put Into Darkness last, even after the parody movie Galaxy Quest, recent leaks of trailers for X-Men: Days of Future Past and Guardians of the Galaxy, the current state of sci-fi movies and a whole lot more.

This weeks picks include Joe’s pick of the A&E TV series Longmire and Chris’ pick of the recent sci-fi movie Europa Report.

As always, if you have comments, questions, critiques, offers of sponsorship or whatever, feel free to hit us up in the comments, on Twitter, at Facebook, Google+ or via email.

Subscribe: Apple Podcasts | Spotify | iHeartRadio | Stitcher | TuneIn | RSS

Great news fans of post-apocalyptic action, the entire Mad Max trilogy is finally hitting Blu-ray this Summer in one awesome box set. That’s right, all three movies, including Mad Max, The Road Warrior and Beyond Thunderdome, are getting the Blu-ray, box set treatment.

There’s no word yet on what special features the trilogy box set will contain, but you can bet it will likely have lots of behind-the-scenes goodies, making-of videos, photos and more for you to enjoy. Plus, expect interviews with the filmmakers and probably Mad Max himself, Mel Gibson, to grace the set too.

Of course, this isn’t the first time Mad Max or The Road Warrior have graced a Blu-ray release. This is, however, the first time Beyond Thunderdome has and is also the first time all three movies have been put together and given this kind of box set treatment.

So, if you’ve been waiting for an excuse (and an opportunity) to get all three of these great movies on Blu-ray, looks like this might be a great time to do it. The collection is currently priced at $49.99 and will hit store shelves on June 4th.

This week’s Christmas pick is the 1987 buddy cop classic Lethal Weapon. The film stars Mel Gibson, Danny Glover, and Gary Busey.

Being the first film in the successful movie franchise, Lethal Weapon is not just a classic action film, but it’s also a Christmas film as well. The film centers around two L.A.P.D. detectives who are reluctantly partnered together in order to solve a murder that was disguised as a suicide.

Roger Murtaugh (Glover) is an aging officer who has just celebrated his fiftieth birthday and is looking forward to an early retirement. Martin Riggs (Gibson) is a burnt out, borderline psychotic officer who is grieving over the recent death of his wife.

After an undercover drug bust in which Riggs’ life was in jeopardy, Riggs’ superiors have him transferred to homicide where he is partnered with Murtaugh who is aware of Riggs’ illustrious reputation. Both men see this new partnership as an inconvenience and are less than thrilled to work with one another.

This week’s pick is the final chapter of the Mad Max Trilogy, or at least it is until George Miller gets Fury Road out of the film can and into theaters after almost thirty years since the franchise dried up. Mel Gibson stars for the last time as the post apocalyptic do-gooder in Mad Max Beyond Thunderdome (1985).

Thunderdome is my least favorite of the films for several reasons, mostly because of how soft Max has gotten in his old age. The film opens where it’s obvious that it has been several years (namely by Mel’s long 80s metal do) since Max helped the outpost settlers of the wasteland battle the Humungus and his barbarians.

As Max is trucking across the desert, he is knocked clear off his camel driven monster truck by a plane piloted by Jedediah (played by Bruce Spence from The Road Warrior). Jedediah steals Max’s rig and leaves him marooned in the desert with nothing. Following the tracks, Max arrives at what is known as Bartertown, a desert outpost where survivors of the nuclear holocaust come to trade precious materials.

This week’s pick is The Road Warrior (a.k.a. Mad Max 2: The Road Warrior) (1981). Mel Gibson dons his black leather uniform once again in this second installment of the franchise.

The Road Warrior begins with a narration sequence with an elderly man’s voice as it is shown to the audience the widespread pandemonium, which has steered the world towards nuclear Armageddon. Mad Max I shows the audience the beginning of the end. The Road Warrior picks up after the world has been destroyed and society hangs by a narrow thread.

Max roams the wasteland of Australia with his battle-torn black V-8 interceptor and his cattle dog foraging for supplies mainly food, and fuel for his gas-guzzling supercharger. Much like the first film, the first several minutes of the film offer an amazing chase sequence where Max is being pursued by a band of marauding punks led by the vicious Wez (Vernon Wells) who plan to kill Max and take his vehicle and what precious supplies he has left.

Max foils their attempt and wreaks two vehicles in an amazing crash sequence. Max commanders what fuel he can from one of the wreaked cars and fends off an attack by Wez who was shot in the arm with an arrow.  Collecting what he can Max sets off again with his dog and his even more damaged vehicle.

This week’s Monday Pick is the 1979 action thriller Mad Max, a film that lunched one of the most lucrative franchises in film history. The Mad Max trilogy has spawned many imitations over the last thirty plus years, but they fail to add up to George Miller’s fantastic vision of the ultimate dystopian future.

Mel Gibson (who was virtually unknown at the time) stars as police pursuit man Max Rockatansky. He patrols the highways of the not too distant future Australia that is on the verge of complete anarchy and lawlessness. In the first installment of the series, Miller shows the audience that in this future, resources like food, water, and gasoline are becoming scarce and society is beginning to break down. The Main Force Patrol (MFP) is the uniformed highway safety enforcement whose main purpose is to stop marauding gangs who pose a threat to the society they are desperately trying to preserve.

The first ten minutes of Mad Max are filled with some of the most impressive and dangerous stunts ever performed in any film before or since. The MFP is in pursuit of an escaped convict who calls himself the Night Rider. Along with his girlfriend, the two take off in one of the force’s fastest V-8 pursuit vehicles and are successful in evading several pursuit units.

On the surface, The Beaver is the story of Walter Black’s struggle with depression and the unorthodox means with which he copes, and, finally, his desperate attempt to return to a normal life. On a deeper level, it presents a much darker problem: What if one morning you woke up to find you had lost all interest in your family?

No reason, no explanation, just disinterest and dissatisfaction with the very things you thought were supposed to make you happy. This is Walter Black, played by Mel Gibson in perhaps the best performance of his career. Walter is CEO of a successful toy company, is married to a beautiful, smart woman successful in her own right (and played by director Jodie Foster), and has two children.

However, Walter’s life is far from perfect: His son Porter (Anton Yelchin) hates him and keeps an ongoing list of post-it notes detailing each quirk of his father that he himself exhibits and needs to rectify. Hhis youngest son Henry feels so ignored that he retreats into anonymity, so much so that when his own mother picks him up from school, she needs to make several passes to find him. His wife Meredith herself struggles to keep her family together before throwing up her hands and throwing Walter out.

But serious as these family problems are (and they aren’t particularly serious—what teenage boy doesn’t resent his father? What child doesn’t feel neglected? What mother doesn’t feel she’s the family adhesive?) they’re not the cause of Walter’s depression, or at least he seems so oblivious to them that it seems unlikely.