This week on the podcast, we’re getting heisty! That’s like feisty, but with heists - listen in, won’t you?

Back in the ‘90s there was this one guy, a stoic blob who had neither much in terms of discernible charm, nor was he ever willing to show off much of anything he picked up in all his years training under several alleged martial arts masters, but still gained worldwide fame in the world of kicking ass and taking names. Join us, as we take a look at the early works of Steven Seagal, and question his status as a citizen of Earth.

A creepy carnival clown Hunger Games lead by Malcolm McDowell dressed as Marie Antoinette via Rob Zombie? Sadly, 31 was just a bloody, boring mess.

"Girls With Guns" as a sub-genre was an absolute phenomenon in Hong Kong between the ‘80s and ‘90s where the climate for female empowerment in male-dominated exploitation cinema reigned supreme.

On the latest episode of Notes From The Back Row, we have four segments covering one Lucio Fulci fantasy classic, two giallo-inspired films for an inspired double-feature, three films from the career of Oliver Reed, and a segment called The Watchlist.

Freddy’s Dead is both a deviation from, and constrained by its formula. But I love it because it’s a fascinatingly desperate attempt to re-capture some of the magic that kickstarted Freddy Mania. Join us as we perform a compost-mortem on this universally reviled sequel in the Nightmare on Elm Street series.

People who dislike musicals like to make claims about how unrealistic they are while they stand in line for yet another superhero movie, but nobody who likes musicals is dying for realism. Read about Xanadu, Phantom of The Paradise and All That Jazz.

www.Back-Row.com has grown sentient, with four mouthes and eight ears, and transformed into: Notes From the Back Row! In this first episode, Carlo, Dan, Jenna and Veronica talk about all things Jeff Goldblum. They discuss both his movies, and their desire to shed their limbs and morph into him.

You may not have heard of him, but Michael Greer managed to make a modest but impressive dent in the oppressively straight world of cinema in the late '60s and early '70s. Greer went from comedy clubs to the silver screen without ever pretending he was anything other than what he was – unabashedly out of the closet.

Take a dip into the world of Australian cinema’s homoerotic undertones – from Mad Max to The Rover. A country so manly that in some ways it’s like masculinity folded in on itself and emerged as a new beast.

Myra Breckinridge is indeed a failure of an adaptation, yet I suspect the intensity of the vitriol towards this film is about something beyond just the admittedly poor direction; most likely it has more to do with the unconscious biases Vidal set out to skewer to begin with.

The charges against Martyrs range from misogyny, to torture porn, to support for getting what you want by any means necessary. It’s an unsettling and rightfully polarizing film, but I'd like to take a closer look at what exactly it is saying, and how many (if any) of these claims have validity.

That's right folks, pretty soon we'll be able to violently murder each other next to some sweet-ass concentric circles, just like our forefathers envisioned. You might scoff, but we've been dreaming of this future for a long time.

Staring into the realm of existential horror can actually be quite liberating, and there’s no surer cure for deep-rooted anxiety than fully embracing nihilism and toasting the end of the world. Join me as we take a closer look at First Reformed, Arlington Road and In The Intense Now / No Intenso Agora.

The Coca-Cola Kid was largely forgotten by time for a multitude of reasons. But it's Jenna’s suspicion that the movie got such a mixed reception due to the fact that, while we'll rarely admit it, subconsciously we all kinda love our advertising overlords.

We’re killing Capitalism before it kills us with a double feature of Thoroughbreds and Cheap Thrills, both of which skewer, roast, and serve up the worst parts of capitalism on a metal spike.

Based on a manga? Check. Strong, silent protagonist? Check. Prisons? Check. Rage against The Man? Check. Riki-Oh: The Story of Ricky and the Female Prisoner Scorpion movies complement each other perfectly as showcases of Japanese and Hong Kong cinema at the zenith of their age.

In this double feature we're focusing on A Hard Day's Night and The System / Girl-Getters. Two British movies that came out in the same year and surprisingly have more in common than you'd first think.

Girls: some are good, some are bad, and some are just trying to figure their own shit out. An exploration of Throughbreds, Ixcanul and A Fantastic Woman.

Take control and watch a double feature of The Killing of a Sacred Deer with A Serious Man. Sure to throw you into at least the most basic of existential turmoil, if not some sort of nervous breakdown.