Actress Lisa Wilcox joins the podcast to celebrate the unjustly overlooked horror sequel “A Nightmare on Elm Street 5: The Dream Child”.

What Charlie Chaplin did to Adolf Hitler in “The Great Dictator” Woody Allen does to himself in “Deconstructing Harry”.

Following up on last week's celebration of the 2000 film "Up Against Amanda" we are joined by the film's writer, director and editor Michael Rissi and its star Justine Priestley to discuss their film and their careers in cinema.

Guest co-host Justin Freet joins the podcast to celebrate this low budget shot-on-video erotic thriller he discovered on Tubi which, despite its meager elements, contains more craft and invention than most big budget movies of its era.

This tense and provocative crime thriller could justly be labeled a “native noir”. Lyle Mitchell Corbine Jr’s feature film debut focuses on two men from the rez who, following a deadly crime in their childhood, take distinctly divergent paths into adulthood. When the one who stayed behind, suffering tremendous guilt, begins divulging their crime. the other, who left the reservation for a life in the corporate white world, has to embody the film’s title in ways that leave the viewer with more...

In a follow up to the Noscar Awards Bryan Connolly shares his love for this punk rock love story from 2021.

The NOSCAR AWARDS celebrate the best films and film artists that are NOT nominated for Academy Awards. If a film is nominated in any category, it is ineligible in all NOSCAR categories. TV shows are eligible for Noscar Awards. This year’s NONminators are: Andras Jones, Bryan Connolly, AJ Gonzalez of The Directors Wall podcast, and Jen Brown of Genre Graveyard on Roku TV. We don’t proclaim winners. We do share our list of NONminees so that you may decide for yourself which, if any, you think...

Jazmyne Moreno of The Austin Film Society joins the podcast to celebrate “Foxfire” from 1996. Based upon a Joyce Carole Oates novel, this riot grrl era drama introduced the world to the overwhelming charisma of Angelina Jolie.

“In The Cut” is the most maligned film from this year’s Oscar darling Campion. A dreamy paranoid feminist subversion of the erotic crime thriller full of edgy unique performances from all its stars.

“Good Luck, Miss Wyckoff” is one of only two films produced from Polly Platt screenplays. The other was “Pretty Baby”. These films give a hint of a cinematic voice drawn to the dangerous and misunderstood aspects of womens’ sexuality. I don’t think even people who know Polly Platt talk enough about this double feature.

The first feature from Wendell B. Harris Jr. (Chameleon Street) won the grand jury prize at Sundance in 1990. He has yet to be given the opportunity to make a follow-up. In this epic interview Harris shares the lessons gleaned from a life inside and outside of Hollywood, from his meetings with legends like Orson Welles and Chester Himes, to the project he has been working on since “Chameleon Street”, a documentary called “Yeshua vs. Frankenstein In 3D/G-Speak”.

“Cosmic Slop” from 1994 is a short-lived and difficult to find Twilight Zone style anthology series from HBO and the Hudlin brothers.

“Residue” from writer/director is a film about a man who returns to his DC neighborhood in search of his childhood friends. What he finds are memories of a place that has been gentrified beyond recognition.

Professor Skinner Myers (the director of “The Sleeping Negro”) returns to The World Is Wrong podcast to take us to school on the topic of Black Cinema and draws a stark series of distinctions between Black Cinema and Black Hollywood.

Gus Van Sant’s adaptation of Tom Robbins’ “Even Cowgirls Get The Blues” is generally regarded as a failure, an opinion Andras (who has read most of Robbin’s books) shares. Bryan (who has not read the book) loves this film, which leads to a conversation about the responsibility (or lack thereof) directors have to their source material.

“The Hot Spot” is Dennis Hopper’s interpretation of a 1962 noir written for Robert Mitchum by Charles Wilson based upon his novel “Hell Hath No Fury” and, amazingly, this 1990 version starring Don Johnson and Virginia Madsen is probably better than the original could ever have been.

Andras & Bryan attempt to unravel the symptoms of wrongness (double standards, with us or against us proclamations, denial of facts and context & fear) particularly when artists become the targets of campaigns that mask deeper and more complicated agendas.

The world isn't wrong about Jon Ronson but we've done two episodes about films he wrote ("Frank" from 2014 with Peter Straughan and "Okja" from 2017 with Bong Joon Ho). In this episode Ronson talks about these films, and about "Pride" from 2014 which Jon recommends we all give our attention to.

The world was never more wrong about this show than when it came out and still, far too few people, even those who are steeped in the comedy of the 90’s, remain unaware of it or its influence. In this epic end of year episode Bryan and I attempt to correct this oversight.

How do you make a movie steeped in 80’s nostalgia without having it be a major Spielberg-fest? You get Spielberg to direct it!

In 2004 Spielberg and Hanks teamed up for “The Terminal” a film that lives up to its name if not its reputation. AJ Gonzalez of The Director’s Wall joins the podcast to discuss.

Jurassic Park 3 is perhaps the least loved of the series. Bethany Watson of The Acquired Taste podcast joins us to make the case for this Joe Johnston, Alexander Payne dino-comedy.

Johnny Depp and Marlon Brando explore the nature of sanity and reality in this mature and endearing mid-90’s sex comedy, and we explore the film with director Paul Williams.

William Richert’s adaptation of Richard Condon’s assassination novel is the star-studded pinnacle of 1970’s paranoid cinema crossed with a very dark and dry comedy.

Disowned by a director who didn’t get final cut. Hated by fans who thought it strayed to far from the book. Brushed off as a faiulre and a mess by those who haven’t even seen it. I love this movie and Lynch fans should embrace it as opposed to dismissing it. The Lynchian stamp is all over this film from the design, the themes and the actors. Grab a cup of spice and let’s go the weirding way.