Bryan and Dave take a look at one of the deepest of cult movie deep cuts, The Beaver Trilogy by Trent Harris, a story about fame, guilt, and Olivia Newton John. It’s the story of a chance encounter with a strange young man one day in Beaver, Utah in 1979 that came to determine the entire trajectory of its director’s life. For reasons that we’ll dig into in the episode the movie is a document of the natural human inclination to seek fame, the natural human inclination to consider how our actions impact the lives of others, and maybe how we become our own worst enemies in the absence of answers. Harris, obsessed with the subject of his own work but unable to speak to him, works out his issues and tries to fill in the blanks as he remakes his own documentary twice with the help of Sean Penn and then again with Crispin Glover. It all culminates in a one-of-a-kind hybrid of documentary and scripted drama that you’re most likely going to become obsessed with.

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99 Cent Rental returns from its Halloween hiatus with a Van Damme good time as we drill down to the core of the spirit of this podcast with a look at a movie so patently ridiculous and offensive that we can't fully understand how it's simultaneously so entertaining and appealing.

Death Warrant represents some firsts and lasts. It's ostensibly the first movie to truly put Jean-Claude Van Damme over as a viable box office draw and positions him to be the prime action movie star of the 90's. It also represents the final death rattle of Cannon Films after a decade of bad business practice finally caught up with them.

Featuring a performance from Robert Guillaume that this movie clearly does not deserve, it's also full of side characters that are every bit as magnetic as JCVD.

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Bryan and Dave take a trip back to Japan for their Toho 3-in-a-ro-ho, looking at 1977's psychedelic haunted house freakout by Nobuhiko Obayashi, House (Hausu if you're nasty). You'll see a young woman be eaten by a piano, a grown man get turned into a pile of bananas, a flying severed head biting girls on the butt. This movie has everything! It's recognizably a horror movie by a director who stradfastly refused to let it be purely horrifying, instead putting the focus on high-flying visual style and storybook production values. You've never seen so many matte paintings. It's a real challenge to talk about a movie so rich in visual aesthetic but we're going to do our best to break it all down.