I love a good ensemble film, one where a bunch of characters some together and pool their collective talens in order to achieve a common goal. In this week’s episode I’ll be recommending a few films in which multiple characters team up and head out!

Smokey and the Bandit (1977)

Big Enos and his son have a taste for Coors beer, which back in the 1970s was illegal to ship east of the Mississippi. The two are willing to pay big money to anyone who can make the run from Georgia to Texas and back and deliver 400 cases of Coors in less than 28 hours, and the Bandit (Burt Reynolds) and his pal Cletus (Jerry Reed) are just the ones to pull it off. Unfortunately for them, the Bandit picks up a runaway bride named Carrie (Sally Fields) who left Junior, the son of Sheriff Buford T. Justice (Jackie Gleason), at the alter. With a Smokey from Texas hot on their tail, it’s “east bound and down” in a race to deliver the goods before the law ruins their fun.

The Great Muppet Caper (1981)

When Kermit, Fozzie, and Gonzo blow their first (and last) job as reporters for a newspaper in England, the trio must team up to clear their names and prevent the theft of Lady Holiday’s most expensive posession, the Baseball Diamond. Featuring a slew of cameos and starring Diana Rigg as Lady Holiday and Charles Grodin as her crooken brother, Nicky. Personally, I think this sequel to The Muppet Movie is actually better. Yeah, I said it.

Police Academy 4: Citizens on Patrol (1987)

In the fourth Police Academy film, citizens are being recruited to assist our favorite police department through their new outreach program, Citizens On Patrol (C.O.P.) The new recruits are unqualified buffoons… which makes them a lot like the officers already on the force.

Cannibal: The Musical (1993)

The sky is blue, and all the leave are green… that is, until Alferd Packer returns from a prospecting expedition gone wrong and instead of finding other survivors, search parties find evidence of (gulp) cannibalism. Written by and starring Matt Stone and Trey Parker of South Park fame, Cannibal: The Musical features an interesting plot, catchy musical numbers, and jokes you can really sink your teeth into (no pun intended).

I love a good “Hero’s Journey” plot, but films with groups of characters joining up to accomplish a common goal can be even more fun. If two is company and three’s a crowd, ensembles are a whole bunch of fun!

Welcome to another episode of The Video Store Podcast. This week I am recommending four movies about undercover work. That can mean a lot of things in movies. Sometimes it is a young cop trying to prove himself. Sometimes it is a guy returning to a place where everyone already knows him. Sometimes it is a job that starts out dangerous and then gets worse because the people doing it begin to lose track of who they are supposed to be.

I have always liked this kind of story because it gives crime movies a built in problem right away. The person at the center has to lie, but the lie only works if part of it feels true. That is where these movies live. None of them treat undercover work as clean or especially clever. It is usually sweaty, stressful, and bad for everyone involved.

No Man’s Land (1987)

No Man’s Land stars D. B. Sweeney as a young cop who goes undercover to get inside a Porsche theft ring run by Charlie Sheen. It was directed by Peter Werner and written by Dick Wolf, which is a little interesting now because most people probably connect Wolf with Law and Order and television crime stories. Here he is working in a very eighties lane, with stolen sports cars, Los Angeles money, and Charlie Sheen doing the smooth rich kid criminal thing.

This is not the deepest movie on the shelf, but it has a good setup and a lot of period texture. The car stuff helps. A crime ring built around stolen Porsches feels very much of its moment, and the movie understands the appeal of that world even while it is showing you the danger underneath it. Sweeney is good as someone who is not quite ready for the assignment, and Sheen is believable as the guy who makes bad choices look attractive.

The cast also includes Randy Quaid, M. Emmet Walsh, Lara Harris, and Bill Duke. I always like when Bill Duke shows up in something, and in this week’s lineup he shows up twice, once here as an actor and later as the director of Deep Cover (1992). That was not the reason I picked these four, but it is a nice bit of video store shelf connection.

State of Grace (1990)

State of Grace stars Sean Penn as Terry Noonan, an undercover cop who returns to Hell’s Kitchen and reconnects with the people he grew up with. The problem is that those people are now tied into the Irish mob, and some of them still see him as one of their own. That makes the undercover part more personal than usual. He is not just pretending to belong. In some ways, he already did.

The cast is a big part of the reason to watch this one. Ed Harris is controlled and cold as Frankie Flannery, Gary Oldman is all nerves and damage as Jackie, and Robin Wright gives the movie more emotional weight than it would have had with a thinner version of that role. John Turturro and John C. Reilly are in there too, which gives the movie one of those casts where you keep noticing people before they became more familiar.

It was directed by Phil Joanou, written by Dennis McIntyre, shot by Jordan Cronenweth, and scored by Ennio Morricone. That is a lot of strong names attached to a movie that never became as famous as it probably should have. Part of the problem is timing. It came out in 1990, the same year as Goodfellas, and that is a tough shadow for any New York crime movie to stand in. State of Grace is not Goodfellas, and it is not trying to be.

Rush (1991)

Rush is a heavier version of the undercover story. Jason Patric and Jennifer Jason Leigh play narcotics officers working a drug case in 1970s Texas, and the movie is less interested in the mechanics of the investigation than in what the job does to them. It is about crossing lines, then having trouble finding those lines again.

The movie was directed by Lili Fini Zanuck and based on Kim Wozencraft’s novel, which was inspired by her own time as an undercover narcotics officer. Pete Dexter wrote the screenplay, and the cast includes Sam Elliott, Max Perlich, and Gregg Allman. That last bit always makes the movie feel slightly stranger on paper than it plays on screen, because Allman fits into the world of the movie pretty naturally.

Rush is not a casual watch. Jason Patric was very good in this period at playing men who seem like they have already made peace with ruining themselves, and Jennifer Jason Leigh makes her character’s slide feel believable without turning it into a big speech. Eric Clapton did the music, and the soundtrack became better known than the movie in some circles because of Tears in Heaven. The film itself is rougher and less sentimental than people might expect from that association.

Deep Cover (1992)

Deep Cover stars Laurence Fishburne, still credited here as Larry Fishburne, as a police officer recruited by the DEA to go undercover in Los Angeles. Jeff Goldblum plays the lawyer and criminal operator he gets close to, and Goldblum gives the movie a different kind of villain than the usual street level dealer. He is funny, polished, and awful in a way that feels very specific to him.

This was directed by Bill Duke, and it is one of the best undercover crime movies of the period. It has the shape of a genre film, but it is also angry about the systems around the drug war. Fishburne is excellent because he never plays the character as a cool movie cop enjoying the danger. He looks like someone being hollowed out by the job, which makes the movie more interesting as it goes along.

The title song is also a major part of the movie’s history. Deep Cover was Dr. Dre’s debut solo single and introduced a lot of listeners to Snoop Doggy Dogg. That song has lived on in a big way, but the movie deserves to be remembered right alongside it. It is sharp, stylish, and still feels a little mean around the edges.

All four of these movies are about people who are supposed to keep their identities separate, and none of them are very good at it for long. No Man’s Land (1987) gives you the flashy version with stolen cars and rich criminals. State of Grace (1990) makes it about old friends and old wounds. Rush (1991) turns the assignment into something punishing and personal. Deep Cover (1992) takes the undercover story and pushes it into something colder and more political.

If I were standing behind the counter this week, these are the four I would point you toward. They are not all doing the same thing, but they belong together on the same rental stack. Undercover movies work best when the job stops being just a job, and each of these gets there in its own way.

Welcome to the Video Store Podcast.

The balloons are up. The popcorn machine is running full blast. The sno-cone machine is free today.

Here at the Video Store Podcast, we’re celebrating 100 episodes!

For this special anniversary, we wanted to do something worthy of the occasion. No clip-show flashbacks. No “greatest hits” countdown. Instead, we headed behind the counter and pulled out four of the biggest VHS releases of all time, the movies that didn’t just dominate the box office, but helped define the home video revolution.

These were the rentals everyone wanted. The tapes that were always checked out on Friday night. The films that transformed the VCR from a luxury item into the centerpiece of family entertainment.

For our 100th episode, we’re revisiting four legendary films that helped build video store culture as we knew it.

Star Trek II: The Wrath of Khan (1982)

Directed by Nicholas Meyer, this sequel took the Star Trek franchise in a sharper, more dramatic direction. Admiral James T. Kirk faces his greatest adversary, Khan Noonien Singh, in a tense and deeply personal battle of strategy, revenge, and sacrifice. With Ricardo Montalbán delivering one of science fiction’s most unforgettable villain performances, The Wrath of Khan remains one of the greatest sequels ever made.

Its real legacy, however, may be what happened after theaters.

Paramount made a bold gamble and priced The Wrath of Khan at just $39.95. The result shocked the industry. The tape became the highest-selling VHS release to date.

That decision helped reshape home media forever and opened the door for the home video collecting boom of the 1980s.

Raiders of the Lost Ark (1981)

Harrison Ford’s Indiana Jones burst onto screens in 1981 with whip-cracking charisma, globe-trotting action, and one of cinema’s most instantly recognizable openings. From the giant rolling boulder to the snake-filled Well of Souls, Raiders delivered nonstop thrills while redefining what modern adventure filmmaking could be.

When it arrived on VHS in late 1983, priced at the same consumer-friendly $39.95, Raiders generated massive pre-orders and sold more than a million copies within two years. It became one of the first films to demonstrate that a blockbuster could enjoy a hugely profitable second life in home video.

It was the kind of movie families brought home again and again, the perfect repeat-viewing experience that made it a cornerstone of early home libraries.

The Karate Kid (1984)

The Karate Kid was one of those movies families rented over and over again until every line of dialogue was memorized. Released in 1984, the story of Daniel LaRusso, Mr. Miyagi, and the All-Valley Karate Tournament struck a perfect balance of heart, humor, action, and inspiration.

On VHS, The Karate Kid became one of the defining family rentals of the decade.

Unlike the spectacle-driven blockbusters on this list, its success proved that emotionally resonant, character-driven stories could thrive in the home video market. It became a staple of Friday night rentals, sleepovers, and repeat family viewings.

Batman (1989)

The summer of 1989 belonged to Batman.

Tim Burton’s Batman wasn’t just a hit movie, it was a full-scale cultural event. Michael Keaton’s brooding Dark Knight, Jack Nicholson’s unforgettable Joker, Danny Elfman’s thunderous score, and Gotham’s gothic atmosphere transformed superhero cinema forever.

It was darker, moodier, and more cinematic than anything audiences expected from a comic book adaptation.

Then came the VHS release.

Warner Bros. priced Batman at an aggressive $24.95, making it one of the most accessible blockbuster home video releases of its era. Stores stacked walls of black-and-gold VHS boxes. Cardboard standees filled lobbies. Television commercials hyped its release like another theatrical event.

The theatrical release made Batman a cultural obsession. The VHS release made it part of everyday life.

Thank You for 100 Episodes

From Star Trek II changing VHS pricing forever, to Raiders proving the power of repeat home viewing… from The Karate Kid becoming a family rental institution to Batman turning home video into a national event, these weren’t just great movies.

They were the tapes that defined Friday nights.

They built home video libraries, filled video store shelves, and helped create the culture we celebrate every week here at the Video Store Podcast.

To everyone who has listened, shared the show, and stopped by the store these past 100 episodes: thank you!

Until next time — be kind, rewind.

Happy Memorial Day weekend! If you’ve got a 3-Day Weekend, we’ve got a trilogy that will fit the bill for you. Make a plate and join us for a great weekend of movie trilogies.

Guardians of the Galaxy

This hilarious trilogy in the Marvel Cinematic Universe has something for everyone. Comedy, action, great stunts and effects, and a killer soundtrack for every single film. This film trilogy is a conga line of straight bangers, just like each soundtrack. Guardians of the Galaxy 1, 2, and 3 will split your sides and make you tear up with their found-family motif. It’s truly a film trilogy that everyone can enjoy.

The Lord of the Rings

Peter Jackson’s multi-award-winning The Lord of the Rings trilogy is an epic cinematic masterpiece. With a cast of Oscar winners, a gorgeous score from Howard Shore, incredible cinematography, and groundbreaking practical and CGI special effects, these films are hard to beat. Plus, they’re about as long as your long weekend, so no need to do anything other than get up to change the disc and get more snacks! We’ve got both the theatrical cuts and extended editions of each film, so pick your preference!

John Carpenter’s Apocalypse Trilogy

If you want something a little different in terms of trilogies, how about a trilogy of three separate films that don’t share a story, but instead a theme? That’s exactly what director and composer John Carpenter’s Apocalypse Trilogy is. This trilogy comprises John Carpenter’s The Thing (1982), Prince of Darkness (1987), and In the Mouth of Madness (1995). They’re considered the Apocalypse Trilogy because the protagonists of these films don’t stop the Apocalypse, but are rather meant to bear witness to the world’s end. Flack covers John Carpenter’s The Thing in greater detail in his “Halloween Spirit!” episode, and Pitfall Gary has a great treatment of Prince of Darkness in his “John Carpenter, Master of Horror,” episode. I spend more time focusing on In the Mouth of Madness, which takes much inspiration from the works of H. P. Lovecraft and Stephen King. Check out this trilogy of terror on the John Carpenter shelf in our horror section.

Star Wars

It’s hard not to think of trilogies and not have Star Wars come immediately to mind, especially since it’s a trilogy of trilogies within itself! Today, I focused on the original trilogy, as that’s the one that everyone seems to agree on. Star Wars forever changed the game for science fiction films, and really, the entire film landscape. Not just with its special effects, but with its merchandising. Those effects are felt to this day, and for that reason, make it a great way to spend a long weekend.

Thanks for joining us here at the Video Store Podcast for your 3-Day weekend. We hope you have a safe and happy Memorial Day weekend.

I love a good heist film. These films always feature a group of criminals coming together to pull off a crime none of them could do on their own. I always enjoy the interaction and banter between the members of the gang, and despite trying to figure out what the group is about to do, like the police chasing them, I’m usually one step behind. There are many classic films including the Oceans 11 franchise, Point Break, and The Italian Job. Here are four of my favorites.

First up is Reservoir Dogs (1992), the directorial debut of Quentin Tarantino. In this film, things go terribly wrong after six men known only by aliases like Mr. White and Mr. Pink attempt a jewelry heist. By the end of the film several members of the gang have been killed, an undercover cop has infiltrated the group, and one very unlucky police officer ends up tied to a chair. Reservoir Dogs is not for the faint of heart, but then again neither is a good jewelry heist.

House of Games (1987) is a lesser known film that features a group of conmen who cross paths with a psychiatrist, Margaret Ford. Ford is sucked in by the group’s jobs, alternating between being a member and a mark of the group’s cons. When Mike, the leader of the group pushes Margaret too far, the two go head to head in a battle of the minds… and also, bullets.

Third up is The Usual Suspects, the groundbreaking film from 1995. After meeting in the clink, five local criminals team up to begin working together. The danger mounts when the group begin working for the mysterious crime lord Keyser Söze, a criminal so underground that no one has ever seen his face. The story unfolds through the eyes of Verbal Kent as he relays the group’s activities to a detective. By the end of the film you’ll discover that Kent may not have been entirely truthful to the police… and by the very end you’ll be hit with a twist that will not only blow your mind but demands you watch the film a second time.

Wrapping up this week’s episode is one of my favorite films of all time, 1998’s Ronin.
”Ronin” were samurai who lost their masters and roamed the earth as mercenaries for hire, which defines the criminal masterminds that come together in this film. Four men are hired to obtain a briefcase, despite not knowning what’s in the case, who has it, or who' they’re delivering it to. The stakes continue to rise as one mission leads to another, and things really spin out of control when one member of the gang attempts to make off with the briefcase for his own purposes. Starring Robert De Niro as Sam, the self-appointed leader of the gang. Ronin features a twisty plot, non-stop tension, and jaw-dropping car chases. A must watch.

On this episode of The Video Store Podcast, I am recommending four movies about the people who get called when somebody has made a mess, crossed the wrong person, or needs a situation to go away quietly. The movies this week are Sweet Smell of Success (1957), Wise Guys (1986), La Femme Nikita (1990), and Pulp Fiction (1994). They all deal with that idea in different ways, from a press agent trying to stay useful, to mob errand boys trying to stay alive, to handlers working inside a government machine, to a man who arrives with a plan when everyone else is panicking.

I start with Sweet Smell of Success (1957), which may be the coldest movie on this list. Tony Curtis plays Sidney Falco, a press agent who is always working an angle and always trying to stay useful to Burt Lancaster’s J. J. Hunsecker. Hunsecker has the power, but Falco is the fixer. He is the one moving through restaurants, clubs, offices, and sidewalks trying to make things happen for people who would rather not get their own hands dirty. The film was directed by Alexander Mackendrick, with cinematography by James Wong Howe and music by Elmer Bernstein. It was shot partly on the streets of New York, and it still feels like a movie made out of cigarette smoke, bad favors, and late night anxiety.

Then I move to Wise Guys (1986), a Brian De Palma comedy that feels a little odd in his filmography, which is part of what makes it interesting. Danny DeVito and Joe Piscopo play low level mob guys who are useful until they are not. They run errands, take orders, and try to read the room, but the room keeps changing on them. Harvey Keitel, Dan Hedaya, Ray Sharkey, Frank Vincent, and Captain Lou Albano are all in the cast, which gives the movie a nice mix of mob movie faces and broad comedy. It is not De Palma in thriller mode, but you can still see his interest in people trapped inside systems they do not fully control.

The third recommendation is La Femme Nikita (1990), Luc Besson’s French action thriller about a young woman pulled into a government program that turns her into an assassin. The fixer here is not only one person. It is the whole structure around her. Tchéky Karyo’s Bob is part handler and part threat, someone who can seem kind while reminding Nikita that her new life is not really hers. Jeanne Moreau also appears as Amande, who helps shape Nikita into someone who can move through polite society while carrying a completely different life underneath. Anne Parillaud won the César Award for Best Actress for the role, and you can see why. She has to play the violence, the fear, and the strange sadness of someone being rebuilt for other people’s purposes.

The last movie is Pulp Fiction (1994), where Harvey Keitel’s Winston Wolf may be the cleanest example of this week’s theme. He arrives, assesses the problem, gives instructions, and leaves before the movie can turn him into something bigger. That is part of why the character works so well. He does not need a long backstory. He is there because somebody called the right number. The movie is full of people talking themselves into and out of danger, but Mr. Wolf is different. He does not talk around the problem. He handles it.

So this week, the shelf has a bitter New York classic, an oddball mob comedy, a French thriller, and one of the defining crime films of the 1990s. Four very different rentals, all built around people who know what to do when the situation has gone bad.

Welcome to the Video Store Podcast.

As the 1960s rolled into the 1970s, something changed in Hollywood. Movies got bigger. Louder. More chaotic. And sometimes… they were a total disaster, in the best way possible.

These were practical, physical, dangerous productions, massive sets, real stunts, and ensemble casts packed with stars who weren’t guaranteed to make it to the end.

The disaster movie wasn’t born in the ’70s but it peaked there. Airplanes in crisis, cities collapsing, ships overturning, skyscrapers burning.

This week, my picks come from the golden age of disaster movies as we look at four of my favorite disaster movies that still hold up, and that showcase exactly why the 1970s did the disaster movies better than anyone else ever has.

Airport (1970)

Set over one snowbound night at a busy Chicago airport, Airport weaves together multiple storylines, an overworked airport manager, a conflicted pilot, strained relationships, and a desperate man with a dangerous plan. The tension builds gradually, before the larger stakes take hold.

What makes Airport work so well is it’s scale. Burt Lancaster, Dean Martin, George Kennedy, Jean Seberg, Helen Hayes, the cast is stacked with faces you may not know by name, but absolutely recognize. The movie treats its ensemble seriously, letting each storyline unfold without feeling forced.

It was a massive hit, one of the earliest true “blockbusters,” and set the template the entire decade would follow: big casts, grounded storytelling, and high-stakes tension.

Earthquake (1974)

Earthquake promised exactly what it delivered: the complete destruction of Los Angeles.

Centered in Los Angeles, the film introduces a wide range of characters, before unleashing a catastrophic quake that tears the city apart. Once it hits, the movie becomes pure spectacle: collapsing buildings, massive destruction, and survival stories unfolding in real time.

At the center is Charlton Heston, bringing his signature intensity to a man caught between personal turmoil and unfolding disaster. Around him is a deep ensemble cast, including familiar faces like George Kennedy, Lorne Green and Ava Gardner.

Earthquake was create as an event, not just it a movie, it was a physical experience. The filmmakers pioneered the shaker mount camera system to simulate realistic movement, and introduced Sensurround, blasting sub-audible bass through giant speakers so powerful they made seats (and sometimes ceiling tiles) vibrate.

The stunt work is amazing: real falls, real debris, real crashes.

In the midst of all the destruction, the personal stories carry real weight, making the survival (or loss) of characters more emotional than expected. It’s pure disaster chaos.

The Poseidon Adventure (1972)

Set aboard a luxury ocean liner on New Year’s Eve, the movie quickly turns into a survival story when a rogue wave capsizes the ship. The survivors must navigate an upside-down world, climbing their way through the wreckage in hopes of escape.

Led by Gene Hackman as a determined and unconventional preacher, the movie leans heavily into character dynamics. Hackman, Ernest Borgnine, Shelley Winters, Jack Albertson, it’s another stacked cast, but no one is safe simply because they’re famous.

Relationships evolve, tensions flare, and every character has a purpose. The writing gives each person a distinct arc, making the journey feel and survival feel important. Add in a powerful score by John Williams, and you get one of the best disaster movies ever made.

The Towering Inferno (1974)

Set in the world’s tallest skyscraper during its grand opening, The Towering Inferno follows what happens when overlooked safety shortcuts turn into a full-scale catastrophe.

The film is powered by two Hollywood titans: Steve McQueen and Paul Newman. Their dynamicm, one a no-nonsense fire chief, the other the building’s architect, gives the film a strong emotional core amid the chaos.

The practical effects and stunt work are relentless: real fire, real smoke, real danger. You can feel the heat.

It’s also one of the best examples of the genre’s ensemble storytelling—multiple perspectives, intersecting arcs, and constant tension. And once again, John Williams’ score gives you a movie that is epic and intense.

These movies hold up today because of the disaster but also the story telling.

They take their time. They let you meet the characters, understand their relationships, and invest in their outcomes. So when disaster strikes, it actually matters. And there’s no guarantee of survival, not even for the biggest stars.

Long before the term “blockbuster” became standard (thanks to Jaws), these films were already defining what that meant.

No matter which of these you choose, you’re guaranteed a movie night that’s anything but a disaster.

Until next time — be kind, rewind.

We’re having fun with more strange and familiar things this week on the Video Store Podcast, looking at four films that the Duffer Brothers took inspiration from for the second season of Stranger Things. If you missed the first installment of this series, go check out the first part, “Things to Watch After Stranger Things I.”

Ghostbusters (1984)

We’re keeping it light and breezy to start this week’s show with Ghostbusters (1984). It’s a silly comedy with a healthy dose of spooky fun. Yes, our leading young guys are dressed as Ghostbusters, have their own proton packs, PKE Meters, and ghost traps to bust all the ghosts in the neighborhood. But what makes this an inspiration for Stranger Things season 2 is the haunted feeling our cast has during this season. And of course, Dustin catches a baby demogorgon with his ghost trap. What’s not to like about that?

Aliens (1986)

Next is the sequel to 1979’s Alien, Aliens, directed by James Cameron. This sci-fi action horror flick gives Stranger Things season 2 inspiration for its newest form of demogorgon, the demodog, as well as flamethrowers aplenty. Eleven is a mini-Sigourney Weaver in aesthetics and tenacity. And can we really trust Doc Owens if he is played by Paul Reiser, aka Burke from Aliens? Guess you’ll just have to watch Aliens and find out.

Terminator 2: Judgment Day (1991)

Terminator 2: Judgment Day is the second example of a sequel that sticks the landing in today’s show, and truly, that’s why Stranger Things season 2 nods to it. As James Cameron sought to honor the original source material and give it a twist with Aliens, he does the same with Terminator 2: Judgment Day. The film turns expectations upside down, and that’s exactly what Stranger Things season 2 does! And for that reason, it’s worth watching the film to see what jumped to Stranger Things. You’ll be back for more!

The Exorcist (1973)

The final film I’ve got for you today is often called “The Scariest Movie of All Time,” 1973’s The Exorcist. And with good reason! This film’s final act inspires the Stranger Things season 2 finale’s final act as well. There are also certain parallels that can be drawn between Father Karras’ journey and Hopper’s journey to be a father. This is a really scary film, and it’s not for everyone, but it is a film that’s worth watching at least once.

Honorable Mentions

Go back and listen to Flack talk about Gremlins in his “I’m Dreaming of a Bloody Christmas” episode. I discussed Stand By Me in my “Film Friendships” show, which was visually referenced in the first two seasons of Stranger Things (and it won’t be the last time either). Flack talks on the Ozploitation genre in his “Ozploitation Cinema” episode, of which Mad Max is the most famous, which is where Max gets her gamer tag in the Dig Dug game. Finally, I would be beyond remiss if I failed to include the most obvious reference---Eleven, dressed as a ghost, begging to go out for Halloween, just like E. T. did in E. T. the Extra-Terrestrial, which I covered in my first installment of this series. There are loads more I could mention, but I’ll spare you that today. Come talk to me after hours if you want the full thesis dissertation.

Thanks again for joining us today on the Video Store Podcast. I must say, it’s pretty…b!t₵h1n’ of you to do so!

Welcome back to the Video Store Podcast. It is a complete coincidence that today, on 4/20, I am taking a look at some of the best “stoner comedies” of all time. While I personally “just say no,” I like celebrating 4/20 my own way — by revisiting films that are “high”ly recommended.

In Up in Smoke (1978), Cheech and Chong’s first film, Pedro (Cheech Marin) picks up a hitchhiking “Man” (Tommy Chong) and the two of them spend the next 90 minutes criss-crossing both southern California and Mexico searching for increasingly strong strains of dope. Pulling material from their multiple gold and platinum comedy albums, Up in Smoke is considered to be the godfather of all stoner comedies.

Half Baked (1998), co-written by and starring Dave Chappelle, is considered to be the hand-off between two generations of stoners. In the film, lifelong stoners and best friends Thurgood Jenkins (Chappelle), Scarface, and Brian devise a plan to bail their bestie Kenny out of jail after he is arrested for accidentally murdering a police officer’s horse. Despite being considered a classic of the genre, Chappelle promptly and publicly disowned the film after its release due to changes Universal forcded him to make to the script. Featuring over a dozen comedians and musicians from Steven Wright and Jim Breuer to Snoop Dogg and Willie Nelson, Half Baked remains a full classic.

Dazed and Confused (1993) takes place in 1976 on the last day of school in a small Texas town. This Richard Linkletter film follows dozens of students as they prepare to escape the confines of high school and enter adulthood, whether they have a plan in place or not. Similar to movies like American Graffiti and The Breakfast Club, Dazed and Confused is a coming of age story that reminds us regardless of a story’s setting, some high school experiences remain timeless. Dazed and Confused is better than okay; it’s “All right, all right, all right.”

In The Big Lebowski (1998) we learn what happens when thugs break into a man’s apartment, dunk his head into the toilet, demand money for unknown reasons, and relieve themselves on his rug — not just any run, but one that “really tied the room together, man.” The recipient of this injustice is “The Dude,” a laid-bac stoner who, with help from his bowling partners and friends Walter and Donny, discover the he — Jeffrey “The Dude” Lebowski — share a name with another, much richer business man. Convinced the “Big” Lebowski was the intended target of this break-in, the Dude is coaxed into confronting the Big Lebowski and demanding compensation for his damaged rug. Written and directed by the Coen Brothers (Raising Arizona, Fargo), before long The Dude (Jeff Bridges), Walter (John Goodman) and Donny (Steve Buscemi) have stumbled into a kidnapping for ransom plot that will leave one person missing a toe, one person dead, and a lot of people confused. A cult-classic where every scene is memorable and every line is quotable. Best watched with a White Russian in hand.

The Video Store would like to apologize for the snack bar being completely depleted this week. Someone must have had the munchies. If you’re like me and don’t, uh, “partake,” feel free to celebrate 4/20 with me by revisiting some of the best stoner movies of all time.

This week on The Video Store Podcast, I am recommending four movies built around one of the simplest and most reliable science fiction ideas there is, shrinking people down. It is a strong trope because every one of these films understands that once a character gets small, nothing has to be exotic to feel dangerous. A bloodstream can look like deep space. A shopping cart can feel absurd and threatening at the same time. A backyard can turn into a full scale survival story. The fun of these movies is not just the effect itself, it is the way each one finds its own tone inside the same basic setup.

Fantastic Voyage starts this set in an old-style studio style. Richard Fleischer directed it, Raquel Welch was still early in her career, and the movie ended up winning Academy Awards for art direction and special effects. Isaac Asimov wrote the novelization, which helped give the film an added layer of science fiction prestige even though the movie was not adapted from one of his earlier books. It is still one of those sixties films where the production design does a lot of the selling. You are watching people turn the inside of a human body into a full cinematic world, and they do it with real confidence.

The Incredible Shrinking Woman takes the same basic concept and pushes it toward satire. Lily Tomlin is the main reason to see it, and she is surrounded by exactly the kind of bright, slightly unreal suburban world that makes the jokes work. Jane Wagner wrote it, Joel Schumacher directed it, and the movie has a cast that includes Charles Grodin and Ned Beatty. There is also a nice eighties detail in the score, since Suzanne Ciani handled the music, which gives the film one more thing separating it from the older version of this idea. It is not the most famous title in this group, but it feels very specific to its moment, especially in the way it folds consumer culture and household products into the premise.

Innerspace may be the easiest recommendation here because it is so good at being funny, fast, and a little chaotic without losing track of the effects work. Joe Dante directed it, Dennis Quaid and Martin Short make a very good mismatch at the center, and the movie won the Academy Award for visual effects. This is one of those late eighties studio movies where the effects are both impressive and funny. It also has that Dante who has a habit of making a mainstream movie feel just a little off center. You can sense the touch of Industrial Light and Magic in the technical side, but it never turns into a dry demonstration reel.

Honey, I Shrunk the Kids is a joy to watch. Joe Johnston made his live action directing debut with it, Rick Moranis is exactly right for the inventor at the center, and Disney turned a backyard into a full adventure landscape. It was a major hit, and for a while it stood as Disney’s highest grossing live action film. Part of what makes it hold up is that so much of it was built around practical effects, oversized sets, models, puppetry, and carefully staged perspective tricks. It also had Tummy Trouble attached in theaters, so for a lot of people there was a Roger Rabbit bonus built into the experience. That is a pretty good rental memory to have.

What I like about putting these four recommendations is that they show how flexible a shrinking movie can be. One plays it as a polished sixties science fiction trip. One turns it into satire. One uses it for special effects comedy with a little manic energy. One makes it into a family adventure that a lot of people probably first met on cable or VHS. Same basic hook, very different results. That is usually a good sign you have a real movie trope and not just a gimmick.

Welcome to the Video Store Podcast.

The 1990s were a golden age for legal dramas and comedies.

we’re stepping into the courtroom with four unforgettable films that deliver everything from shocking twists to laugh-out-loud moments.

Whether you’re here for high-stakes drama or sharp-witted comedy, consider this your jury duty… and trust me, you won’t want to skip out on this one.

Primal Fear (1996)

Primal Fear is the kind of legal thriller that pulls you in immediately and refuses to let go. Richard Gere stars as Martin Vail, a slick Chicago defense attorney who thrives on high‑profile cases and the media attention. When an altar boy is accused of murdering a beloved archbishop, Vail jumps in only to find himself tangled in a case far more complex than he ever expected.

The real revelation is Edward Norton in his breakout role as Aaron, the timid young defendant at the center of the storm. Norton brings a layered, unsettling vulnerability to the character. Gere, leans into the arrogance and charm that make Vail both magnetic and infuriating.

Primal Fear endure is one of the decade’s most satisfying legal thrillers, and a reminder of how thrilling a courtroom can be when the truth is anything but clear.

A Time to Kill (1996)

John Grisham adaptations were everywhere in the 90s, but A Time to Kill stands out as it questions justice, morality, and race in the South. Set in Mississippi, the story follows small‑town lawyer Jake Brigance as he defends Carl Lee Hailey, a man whose actions, while undeniably violent, raise difficult questions about justice and retribution. The case ignites racial tensions, draws the attention of the Ku Klux Klan, and pushes Jake into a fight that threatens his career, his safety, and his family.

The cast is stacked: Matthew McConaughey in his first major leading role, Samuel L. Jackson delivering one of his best performances, and supporting roles from Sandra Bullock, Donald and Kiefer Sutherland, Kevin Spacey, and more.

A Time to Kill doesn’t shy away from uncomfortable truths, instead forcing both the characters and the audience to wrestle with them. The courtroom scenes are gripping, culminating in one of the most memorable closing arguments of the decade.

My Cousin Vinny (1992)

When two New York college students are mistakenly arrested for murder in rural Alabama, they call in the only lawyer they know: Vinny Gambini, a loud‑mouthed, inexperienced personal‑injury attorney from Brooklyn.

Joe Pesci is perfect as Vinny, blending New York swagger, frustration, and surprising competence as he fumbles his way through Southern etiquette and courtroom procedure. But it’s Marisa Tomei who steals the show as Vinny’s Fiancée Mona Lisa.

My Cousin Vinny is a perfect blend of comedy and courtroom drama. Behind the laughs is a a smart, well‑constructed legal story. It’s a comedy that still holds up today because the writing is strong, the characters are unforgettable, and the laughs come naturally. It’s a true 90s classic.

A Few Good Men (1992)

“You can’t handle the truth!”

A Few Good Men is a military courtroom drama focusing on the trial of two Marines accused in a death that may be tied to orders from higher up the chain of command.

What starts as a seemingly straightforward defense case evolves into a gripping examination of authority, duty, and moral responsibility.

The cast is packed with top Hollywood stars: Tom Cruise, Demi Moore, Kevin Bacon, Kiefer Sutherland, Kevin Pollak, and of course Jack Nicholson as the formidable Colonel Jessup.

It’s a masterclass in building tension, culminating in some of the most iconic courtroom moments ever put on screen.

Decades later, it remains one of the genre’s defining films, and a must‑watch for anyone who loves a good legal showdown.

Closing Arguments

From twist‑filled thrillers to laugh‑out‑loud courtroom chaos, these four films show just how powerful courtroom movies can be. The 90s didn’t just deliver great legal dramas, they gave us some of the most rewatchable, quote-worthy, and thought-provoking films of the era.

The jury may still be out on which one is the best, but all four are absolutely guilty of being endlessly rewatchable.

Until next time — be kind, rewind.

As we wrap up Women’s History Month for the year, I want to take a beat to take a look at another woman whose work behind the camera has inspired me, and many other women too—director, writer, and producer, Rachel Talalay.

Rachel has been working in film and television since the 80s and is still going strong today. She’s a trailblazer who is not afraid to make waves, which makes me admire her and her work. Thusly, I’ve got four films to recommend from her resume this week.

Freddy’s Dead: The Final Nightmare (1991)

The sixth installment of A Nightmare on Elm Street is a controversial one among fans of the franchise, but in my opinion, it’s my favorite, besides the original. With some wild visual effects, a story about overcoming your trauma, and cameos by Alice Cooper and the Nintendo Power Glove, Freddy’s Dead: The Final Nightmare is a wonderful and underrated entry in the Nightmare franchise. It’s also Rachel Talalay’s first time in the director’s chair.

Ghost in the Machine (1993)

This is Rachel Talalay’s second time in the director’s chair. This is a cyberpunk horror thriller with a splash of dark comedy about a serial killer who murders people by the book, the address book, that is. Starring Karen Allen, Chris Mulkey, Wil Horneff, Ted Marcoux, and Jessica Walter, this film has hallmarks that will make their way into Talalay’s later work. If you’re into retro-futuristic elements, a bit of dark comedy, cyberpunk horror, or a film that’s just very early 90s, then Ghost in the Machine is the right kind of awesomely bad for you.

The Wind in the Willows (2006)

Adapting Kenneth Grahame’s novel of the same name, this BBC TV film features an incredible cast of (mostly) British actors, including Matt Lucas as Toad, Mark Gatiss as Rat, the late, great Bob Hoskins as Toad, Lee Ingleby as Mole, and Imelda Staunton as the Barge Lady. Utilizing creative costuming and fun, whimsical aesthetics, this is a great family film adaptation of a great book.

Tank Girl (1995)

The last film on my list today is 1995’s Tank Girl, a punk dystopian futuristic film, based on the British comic of the same name by Jamie Hewlett and Alan Martin. While I recommended this film two years ago in my episode on Lori Petty, it’s incredibly difficult to do an episode about Rachel Talalay without mentioning her defining work. Largely unappreciated in its time, if it were released today, no one would bat an eye. Tank Girl is edgy, fun, off-the-wall, irreverent, and a weird and wonderful ride from start to finish. Imagine if 2020’s Birds of Prey and Mad Max: Fury Road had a baby, and that baby dressed like Harley Quinn and drove a tank. That’s Tank Girl. Lauded now for its feminist themes and Lori Petty’s take-no-prisoners performance, this is the film that made Rachel’s career. It is my favorite of her works, and a film that I watch and rewatch multiple times a year.

Thank you, Rachel, for standing your ground and persisting when others would have stopped. For these reasons, I think you should check out these films and Rachel Talalay’s TV work here at the Video Store.

There are many reasons to watch movies. We watch them to learn, to laugh, to cheer, jeer, and fear. One of the most wonderful things about film is that they allow us to escape reality, if only for a couple of hours. Like many of you I have a long list of “feel good” films I put on when times are bleak and I want to escape. On this episode I am recommending four “feel good” movies maybe you haven’t seen in a while or at all.

First up is 1980’s The Private Eyes starring Don Knotts and Tim Conway as investigators from Scotland Yard sent to investigate the murders of Lord and Lady Morley after being contacted by… Lord Morley? It’s a race against time as the mansion’s staff, all of whom are suspects, are being killed faster than they can be interviewed. The Private Eyes was part of the resurgence of “darl house” movies we saw in the 1970s and 1980s that included Murder by Death, Clue, and Haunted Honeymoon.

Next is 1981’s Under the Rainbow, a film that did terribly at the box office but found a second life on cable television. When a German spy (who happens to be a little person) and a Japanese spy (disguised as a tourist) make plans to exchange secrets at a hotel, they never could have predicted that the location would be overrun by all the Munchkins from The Wizard of Oz along with an entire busload of Japanese tourists! Chevy Chase once called this film “the worst film ever made” while Carrie Fisher simply said it was “the worst film I ever made.” They can say what they want; this slapstick comedy always puts a smile on my face.

In 1989’s Loveryboy, Randy picks up a job delivering pizza while serving extra anchovies and a slice of love to a growing list of female customers. As someone who delivered pizzas in college I can tell you all of us dreamed that someday we wold get a delivery for “extra anchovies.” Loverboy was one of four films Patrick Dempsey starred in during the 1980s and 1990s before going on to become “McDreamy” later on Gray’s Anatomy. Featuring Carrie Fisher, Kirstie Alley, and lots and lots of anchovies.

Our final film this week is 1986’s Back to School. When millionaure Thornton Melon (Rodney Dangerfield) discovers his son Jason has lost interest in college, he agrees to enroll himself so that the two of them can become freshmen together. Thornton gets accepted into college after making a large donation, sends his personal secretary to classes for him to take notes, has a staff of employees doing his homework and spends most of his nights partying. Both father and son eventually learn that money can’t buy everything — not pride, respect, or love.

What are your favorite “feel good” movies? Let me know in the comments!

This week I wanted to stick with movies that came out with soundtracks that felt current when the films were released. Not older songs brought in to set a mood, and not a random collection pulled together afterward, but albums that felt tied to the moment the studio was trying to sell.

Fast Times at Ridgemont High, from 1982, is a good example. The soundtrack album came out that July, and Jackson Browne’s “Somebody’s Baby” reached number 7 on the Billboard Hot 100, so the movie clearly had a connection to what people were hearing at the time. There was also some push and pull behind the scenes. Amy Heckerling later said some of the music choices reflected producer pressure as much as her own sense of the characters, which only makes the film feel more like a real snapshot of the early 1980s.

Purple Rain, from 1984, is an even stronger case, because the movie and soundtrack are almost impossible to separate. The album came out on June 25, 1984. “When Doves Cry” was released in May, and “Let’s Go Crazy” followed in July, so the film reached theaters with Prince already dominating the culture around it. I also like that “When Doves Cry” came out of a specific request from director Albert Magnoli. It was not just a Prince song sitting around waiting to be used. It was part of the movie as it was taking shape.

Less Than Zero, works a little differently. People do not usually talk about its soundtrack with the same reverence, but it was still very plugged into late 1987. The Bangles recorded “Hazy Shade of Winter” for the film, and it went to number 2 on the Billboard Hot 100, which gave the soundtrack real chart power. The rest of the album also feels very rooted in its time, with Rick Rubin producing and artists like LL Cool J and Public Enemy sharing space with a sharper, louder Simon and Garfunkel cover. It really feels like a late 1987 attempt to pull different parts of current music into one package.

Then there is Singles, from 1992, which may be the best example here of a soundtrack capturing a scene while it was still happening. The album came out on June 30, 1992, a few months before the movie opened, and it included Pearl Jam, Soundgarden, and Alice in Chains, along with Paul Westerberg, who also worked on the score. Cameron Crowe later called it more of an anti soundtrack, basically a souvenir of that scene instead of a tidy album built to sum up the movie. That feels right to me. It was not trying to seem current. It actually was current. Even the gap between the album release and the film helped give it that feeling.

So that is the set this week. Four movies, four different kinds of soundtrack success, and four reminders that music can tie a film to its moment just as much as clothes, locations, or dialogue can. One caught the early 1980s world of radio and mall record stores. One became a hit album right alongside the movie. One used a major single to help define its identity. One caught a local scene before it had even settled into history. Those are the kinds of rentals I always like talking about, movies that bring back not just the film, but the moment when it first showed up.

Welcome to the Video Store Podcast.

It’s March, the snow is slowly melting, and the world is turning green. Everywhere you look, stores are pushing the same movies about leprechauns and four-leaf clovers.

I’m here to give you a break from the lucky charms and offer up four different movies for the green spring season.

Soylent Green (1973)

Set in a crowded, overheated dystopian future, Soylent Green follows New York City detective Robert Thorn as he investigates the murder of a wealthy businessman. By 2022, the world has been pushed to the edge by overpopulation, pollution, and food shortages. Most people survive on processed food rations distributed by the powerful Soylent Corporation: Soylent Yellow, Soylent Red, and their new product, Soylent Green.

As the investigation unfolds, Thorn uncovers a conspiracy that reveals the shocking truth behind Soylent Green and reaches the highest levels of the Soylent Corporation.

If you like classic 1970s science fiction with a darker edge and big ideas about the future, this one is for you.

The Emerald Forest (1985)

The Emerald Forest tells the story of a young boy, Tommy, who disappears while his father is working on a massive dam project in the Amazon rainforest. Bill Markham spends the next decade searching for his son, traveling deeper into the jungle and encountering the indigenous tribes who call the forest home.

It’s a story of love, loss, and hope set against the lush green backdrop of the Amazon rainforest.

If you’re in the mood for an adventure that feels different from the usual Hollywood formula, this one is worth pulling off the shelf.

Romancing the Stone (1984)

Romancing the Stone is often labeled an “Indiana Jones clone,” even though the script was written two years before Raiders of the Lost Ark.

Romance novelist Joan Wilder is suddenly pulled into a real adventure when her sister is kidnapped in Colombia. To save her, Joan must deliver a mysterious treasure map deep into the jungle. What follows is a fast-moving adventure filled with treasure hunters, narrow escapes, and an unlikely partnership with a rugged fortune hunter.

Much of the film takes place in the thick green jungles of South America, where the landscape becomes just as important as the story. The lush setting adds a sense of danger and excitement as the characters try to stay one step ahead of the people chasing the same treasure, a priceless emerald

Romancing the Stone is pure 80s adventure fun. If you like action, humor, and a little romance, this is an easy choice for movie night.

The Green Mile (1999)

The Green Mile takes place inside a prison during the Great Depression and follows a group of guards who oversee death row. The story centers on John Coffey, a kind, imposing inmate who arrives with a mysterious presence and an unexpected gentleness.

The “green mile” is the nickname given to the stretch of green linoleum floor that prisoners walk on their way to the execution chamber. Over time, the guards realize the man walking the Green Mile possesses something extraordinary, turning a routine prison job into a powerful story about compassion, redemption, and humanity.

Settle in for this epic. It’s a powerful, character-driven story that blends drama, mystery, and a touch of the supernatural.

Welcome back to the Video Store Podcast. It’s Women’s History Month, so today, we’re honoring the life of Jane Baer, a trailblazer for women in animation. We lost Jane on February 16, 2026, and though you may not have known her name, you have seen her work. Her work has been so influential that we’ve already talked about a few of her films here on the Video Store Podcast. We’ve selected 4 films for the staff picks wall this week, highlighting her work.

The Rescuers (1977)

First up is the underrated Disney classic, The Rescuers from 1977. Bianca and Bernard are sent from the Rescue Aid Society to save Penny, an orphan girl held captive by the evil Madam Medusa, who is hunting for the Devil’s Eye, an enormous diamond in a small cave that’s only big enough for a small girl to get into. Can they save her? You’ll have to watch The Rescuers to find out.

Pete’s Dragon (1977)

Combining live-action with animated sequences, Pete’s Dragon from 1977 made 5-year-old me believe that I could become friends with my favorite cartoon characters. Jane’s work on this film carries over to another film that her own animation company helped produce in 1988, Who Framed Roger Rabbit.

The Great Mouse Detective (1986)

A vastly underrated and unsung Disney classic from 1986, The Great Mouse Detective is an adaptation of the book series of the same name. Basil of Baker Street must stop the nefarious Professor Rattigan from taking out the Queen and becoming the royal consort of all mousedom. This film is notable for its gorgeous styling and performance from Vincent Price as Professor Rattigan.

The Prince and the Pauper (1990)

Finally, we look at a lesser-known Disney short, The Prince and the Pauper, based on the Mark Twain story of the same name. This short features Mickey as both the titular Prince and Pauper, and was produced with the aid of Jane’s production company, Baer Animation.

For these films, as well as many more, we lift our glasses and bowls of popcorn in honor of Jane Baer’s life and work.

Happy Women’s History Month, and thanks for joining us here at the Video Store Podcast.

Greek mythology has a way of cycling back. Every generation seems to take a turn with these stories, reshaping them to fit the tools and tastes of the moment. With a new version of The Odyssey directed by Christopher Nolan on the horizon, it feels like a good time to revisit a few earlier attempts. Not the definitive versions. Just four films that each capture a different moment in how the myths were staged.

Jason and the Argonauts (1963)

Directed by Don Chaffey and brought to life by the stop motion work of Ray Harryhausen, this remains the standard for mythological adventure on film.

The skeleton fight is still the showcase. Harryhausen animated seven sword fighting skeletons by hand, frame by frame, matching choreography that had already been filmed with live actors. It took months to complete just a few minutes of screen time. The patience shows. The movement has weight and timing that still feels precise.

There is also Talos, the bronze giant, who creaks to life in a way that feels mechanical and ancient at the same time. No digital polish. Just careful craft. The film was not a major hit in 1963, but it built its reputation through television airings and revival screenings. Filmmakers like Steven Spielberg and Peter Jackson have pointed to it as an influence.

Clash of the Titans (1981)

Nearly twenty years later, Harryhausen returned for what would be his final feature. Released in 1981, the same summer as Raiders of the Lost Ark, it feels like a bridge between eras.

Medusa is the standout. Instead of legs she has a serpentine body, and the sequence plays almost like a horror film, full of shadow and flickering light. Harryhausen again handled the creature effects himself, at a time when optical and early digital techniques were starting to change the industry.

The cast gives the film a formal tone. Laurence Olivier plays Zeus and Maggie Smith appears as Thetis. There is also Bubo, the small mechanical owl added after the success of Star Wars. Even at the time some viewers were unsure about that addition. It says a lot about where fantasy films were headed in the early 1980s.

Hercules (1983)

Directed by Luigi Cozzi and starring Lou Ferrigno, this version of Hercules leans into spectacle in a way that is sometimes baffling and sometimes charming.

Ferrigno had already been known for playing the Hulk on television, so casting him as Hercules made sense on a physical level. The film itself mixes Greek myth with science fiction imagery, including cosmic visuals and creatures that feel closer to Italian fantasy cinema than to Homer.

It was part of a cycle of sword and sandal films in the early 1980s, many of them international co productions designed for global markets. The effects are uneven, but there is sincerity here. It commits to its vision without irony.

The Odyssey (1997)

Directed by Andrei Konchalovsky and starring Armand Assante, this two part television adaptation aired in 1997 as an event production.

The format allows it to cover more of the journey than most feature films attempt. The Cyclops sequence and the Sirens episode stand out, helped by visual effects that were ambitious for network television at the time. The production won an Emmy for visual effects and reflects a brief period when large scale myth adaptations were being mounted for prime time audiences.

Watching it now, you can see both its limits and its effort. It wants to treat the source material seriously, without reducing it to spectacle alone.

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Taken together, these films show how the same source material can shift with the era. Stop motion craft in the 1960s. Transitional fantasy in the early 1980s. International genre filmmaking. Large scale television in the 1990s.

When Nolan releases his Odyssey, it will enter a long line of attempts to translate these myths into something contemporary. Revisiting these earlier versions is a way to see how each generation solved the same problem with different tools.

They are worth tracking down. Not because they are perfect, but because each one reflects a moment when someone decided these ancient stories were still worth staging carefully.

The XXV Winter Olympic Games are underway in Milan, Italy and I couldn’t be happier. I love the Olympics. I’ll admit, the Summer Games are my favorite, but growing up in the frozen tundra of the Midwest gave me a soft spot for nearly every Winter event.

So, while Team USA fights for gold, I figured: what better way to get into the Olympic spirit than by watching some great movies inspired by the Winter Games? Each of these films highlights the grind to reach the Olympics and the agony and ecstasy of chasing greatness.

Downhill Racer (1969)

We begin on the slopes with Downhill Racer, a character‑driven drama following American skier David Chappellet, a talented athlete desperate to earn his spot on the U.S. Olympic Ski Team. As he competes across Europe, David’s single‑minded obsession puts him at odds with teammates and coaches, but no one can deny his raw ability.

What makes Downhill Racer special is the realism and the psychology of ambition. The ski sequences are exhilarating, especially the first‑person shots barreling down European slopes. Those sequences alone are worth watching.

It’s a portrait of the cost of obsession and how the Olympic dream can consume a person.

The Cutting Edge (1992)

The Cutting Edge gives us a nice blend of rom‑com energy and Olympic ambition.

The movie opens at the 1988 Winter Olympics, where both main characters suffer devastating losses. Hockey star Doug Dorsey takes a blow to the head that ends his career. Figure skater Kate Moseley is dropped by her skating partner, ending her gold‑medal hopes.

Two years later, training for the 1992 Games, Kate and Doug team up out of necessity and desperation.

Doug’s rough‑around‑the‑edges hockey mentality smashes directly into Kate’s icy perfectionism. But as they train through long hours and grueling routines, their hostility slowly melts into respect, then friendship, then something more.

Cool Runnings (1993)

Cool Runnings tells the incredible true(ish) story of the first Jamaican bobsled team, a group of sprinters from a tropical island who dared to chase a Winter Olympics dream.

When sprinter Derice Bannock fails to qualify for the 1988 Summer Olympics, he discovers that legendary and disgraced bobsledder Irving Blitzer once tried to form a Jamaican sled team. Determined to get to the Olympics any way he can, Derice recruits Blitzer to train a team for the 1988 Winter Olympics in Calgary.

Cool Runnings is a pure feel‑good movie, an underdog tale that radiates joy.It’s impossible to watch this movie without smiling. It’s comedy, heart, and Olympic determination all rolled into one.

Miracle (2004)

Miracle retells the iconic story of the 1980 U.S. Olympic hockey team, one of the greatest underdog victories in sports history. At the center is legendary coach Herb Brooks

Brooks assembles a roster of young college players, not the most talented individuals, but the ones who will form the best team. He trains them relentlessly, reshapes their mindset and prepares them specifically to confront the Soviet Union, the unstoppable powerhouse of global hockey.

The final act recreates the legendary “Miracle on Ice” that stunned the world. Even if you know the outcome, the film delivers tension and suspense.

Miracle is more than a sports movie. It’s about grit, unity, sacrifice and the belief that a group of ordinary people can achieve something extraordinary.

Those are my picks for the Winter Olympic movie marathon, four films that capture the heart, struggle and triumph of the Games. They showcase the sacrifices athletes make, the hours of training, the impossible odds, and the pure joy of victory. They also deliver everything you want in a movie night: drama, laughs, and underdogs worth cheering for.

Enjoy the Games and enjoy the movies.

Valentine’s Day is a holiday, so of course, I’m talking Valentine’s Day specials on this week’s Video Store Podcast. I’ve picked four specials for the staff picks wall this week that I think everyone should watch this time of year. These specials either make me laugh, have a different flavor than you might expect for a Valentine’s Day special, and one that actually changed popular culture. Grab that heart-shaped box of candy and let’s settle in for these specials.

Be My Valentine, Charlie Brown (1975)

First up is Be My Valentine, Charlie Brown. This is an underrated classic in the Peanuts special canon. The Peanuts gang is getting ready to celebrate the holiday that feels to me, just like elementary school. There’s a Valentine’s Day party, unrequited love, making homemade Valentine’s cards, and more. Plus, you’ve got a wonderful score from Vince Guaraldi, and with the main theme being the “Heartburn Waltz,” what’s not to like? Look for it in the Peanuts section.

A Charlie Brown Valentine (2002)

This is one of the “new” Peanuts specials that I think is worth your time. A Charlie Brown Valentine focuses on Charlie Brown trying to muster the courage to talk to the Little Red-Haired Girl and tell her how he feels. But simultaneously, both Marcie and Peppermint Patty are interested in Charlie Brown and would like him to be their Valentine! Miscommunication, obliviousness, and Charlie Brown’s classic wishy-washy attitude make this a fun special. There are segments that make me laugh out loud every time I watch, so I think you’ll have a good time with this one. Look for it in the Peanuts section.

The Berenstain Bears’ Comic Valentine (1982)

For a deep cut Valentine’s Day special, I’ve selected The Berenstain Bears’ Comic Valentine, which aired on February 13, 1982, on NBC. This is the fourth of five Berenstain Bears specials produced for NBC from 1979 - 1983. In this special, Brother Bear has a championship hockey game coming up. He’s focused on getting ready for the game, but Valentine’s Day is coming up, too. He starts received Valentine’s from his Secret Admirer, Honey Bear. Brother doesn’t know a Honey Bear, so all he can do is speculate. Meanwhile, Papa Bear is looking for a way to show Mama Bear just how much he cares, and Sister gets into the Valentine’s Day spirit, looking to send Valentines to everyone, including the giant, Big Paw up on the Mountain. Will Brother figure out who his secret admirer is in time for Valentine’s Day? Grab this one from the animation section to find out.

Parks and Recreation season 2 episode 16 “Galentine’s Day”

Ovaries before brovaries, uteruses before duderuses, it all starts here with “Galentine’s Day” from Parks and Recreation season 2. This episode, which aired on February 11, 2010, added a new pop culture holiday and gave the Valentine’s Day season a little more fun. Gather your best gals and join me on the couch for this all-time great from one of the greatest comedies on television, you brilliant, powerful musk ox.

From all of us here at the Video Store Podcast, we hope you have a safe and happy Valentine’s Day.

If you’ve been snowed in thanks to last week’s winter storm, you’re not alone. The entire parking lot of our Video Store is covered with three feet of snow. I’ve been stuck here for three days, living off of popcorn, Hot Tamales candy, and Red Bull. You and I are not the only ones completely snowed in — so were the characters in these films. I say “were” because not everyone makes it to the end of their respective films. In fact, almost no one does. Warm up the cocoa, turn on the fireplace, and enjoy these four films in which people got snowed in.

Snowbeast (1977)

The Colorado ski resort in this film has everything guests could ever want, and one thing they don’t want: a murderous Yeti. With a plot that closely mirrors Jaws, guests and locals do their best to warn others of the two-legged beast while the owners of the resort do their best to downplay the danger. Once the bodies start piling up there’s nothing left to do but to track down the Snowbeast… before it tracks them down! Sure, this is basically Jaws with a killer Yeti instead of a killer shark, which is exactly why I love it.

Screams of a Winter Night (1979)

If you’re a sucker for horror anthology films, this one’s a slow 70s burn with more atmosphere than blood. When a group of young adults become snowed in while staying in a winter cabin, they exchange stories — three, to be exact — in an attempt to entertain (and more importantly, scare) their friends. It’s all fun and games until the Native American spirit known as Shataba arrives at the cabin. This deep cut is worth a watch for fans of anthology films and brooding 70s horror.

Terror Train (1980)

It’s New Year’s Eve and a group of college graduates are throwing a costume party on a train. Everyone’s there — the graduates, David Copperfield (no, really), and Kenny, a former classmate whom the group pranked years ago, leaving him in an apparently bad state of mind. Fresh out of Halloween, it’s up to Jamie Lee Curtis, her friends, the train’s conductor and yes, David Copperfield, to put an end to Kenny’s rage-filled rampage. But which costume is Kenny wearing? Only his victims know for sure. Come for the magic show, stay to see the audience disappear one by one.

Iced (1989)

If we’ve learned anything from 1980s slasher films it’s to politely decline anonymous invitations to stay at a cabin or resort for free. The characters of Iced learn that lesson the hard way. Four years after the group’s friend Jeff skied over the side of a cliff after being humiliated by his friends, the group find receive anonymous invitations to stay at the Snow Peak ski resort. Once they arrive it seems Jeff may be there too, based on the number of bodies that begin piling up. Featuring all the classic misdirection and creative deaths we came to expect from an 80s slasher film.

The snow is starting to melt in the parking lot. Soon, all this white stuff will be a memory but these films will stick with you for years to come. You may actually need therapy to forget them.