The 80s Movie Podcast – Details, episodes & analysis

In this episode of The 80s Movie Podcast, host Edward Havens continues his series on the films of Susan Seidelman with a deep dive into Desperately Seeking Susan (1985). The film became Seidelman's biggest commercial success and helped capture the energy of mid-1980s New York City. At the same time, it transformed Madonna from a music sensation into a movie star and introduced audiences to one of the decade's most distinctive comedies.

Along the way, we explore Seidelman's direction, the performances of Rosanna Arquette and Madonna, and the film's unique blend of romance, comedy, mystery, and mistaken identity. In addition, we examine how the story uses New York City's downtown culture, fashion, and music scene to create a vivid portrait of the era. The result remains one of the most recognizable and influential films of the decade.

At the same time, we discuss why Desperately Seeking Susan continues to resonate with audiences nearly forty years later. Furthermore, we look at its cultural legacy, its impact on independent filmmaking, and its place within Susan Seidelman's body of work. Whether you're a longtime fan or discovering it for the first time, this episode revisits a defining film of 1980s cinema and one of the most important movies of Seidelman's career.

In this episode of The 80s Movie Podcast, host Edward Havens examines Brats (2024), Andrew McCarthy's deeply personal documentary about the lasting impact of the "Brat Pack" label. Nearly forty years after a single magazine article transformed a group of young actors into a cultural phenomenon, McCarthy revisits the people, films, and relationships that defined an era of 1980s cinema. However, the documentary asks a larger question: was the label a career-making opportunity or a burden that never disappeared?

Along the way, we explore the origins of the Brat Pack and the media frenzy that surrounded stars such as Emilio Estevez, Rob Lowe, Demi Moore, Ally Sheedy, Judd Nelson, Anthony Michael Hall, and Molly Ringwald. In addition, we discuss McCarthy's conversations with many of his former contemporaries as he investigates how the label shaped their careers, public identities, and personal lives. The documentary offers a candid look at fame, friendship, and the unintended consequences of Hollywood branding.

At the same time, we examine why the Brat Pack continues to fascinate audiences decades later. Furthermore, we consider how films such as The Breakfast Club, St. Elmo's Fire, Pretty in Pink, and Sixteen Candles helped define a generation of moviegoers. Whether you grew up with these films or discovered them later, this episode revisits the legacy of a cultural phenomenon that still shapes conversations about 1980s movies and the stars who came to represent them.

In this episode of The 80s Movie Podcast, host Edward Havens returns to the ongoing Orphans series. This time, he examines three films released by distributors that never handled another theatrical release. The spotlight falls on Heartbreaker (1983), Hells Angels Forever (1983), and Mother Lode (1982). Together, they reveal a forgotten corner of 1980s movie history.

Along the way, we explore how these companies entered the film business and quickly disappeared. In addition, we look at the unique challenges each film faced in reaching audiences. From street-level romance to documentary filmmaking and adventure storytelling, these releases showcase the variety found among overlooked 1980s productions. Each film tells its own story, while also highlighting the risks of independent distribution.

At the same time, we consider why these forgotten distributors still matter today. Furthermore, we examine how their brief existence reflects the opportunities and pitfalls of the decade's changing film marketplace. Whether you enjoy cult discoveries, industry history, or obscure cinema, this episode uncovers three fascinating examples of movies that survived long after the companies behind them vanished.

In this episode of The 80s Movie Podcast, host Edward Havens begins a new miniseries on David Puttnam’s tenure at Columbia Pictures by introducing the man and the mission behind his arrival in Hollywood. Before the internal conflicts and corporate backlash took hold, Puttnam entered the studio system with a clear vision for reshaping how a major studio could operate in the mid-1980s.

Along the way, we trace his journey from respected independent producer to Columbia Pictures chairman. In addition, we explore the philosophy he brought with him, which prioritized filmmaker-driven projects over high-volume studio output. This approach quickly set him apart from the prevailing Hollywood model, which favored franchises, predictable returns, and broad commercial strategy.

At the same time, we establish the foundation for the broader series that follows. Furthermore, we set up the growing tension between creative ambition and corporate expectation that would soon define his time at Columbia. This episode opens the door to one of the most closely watched studio experiments of the 1980s, with Part 2 of David Puttnam at Columbia Pictures moving deeper into the mounting pressure and shifting studio slate.

Continue the series in Part 2: David Puttnam at Columbia Pictures, Part 2: The Films Taking Shape Inside a Changing Studio

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David Puttnam receives the Academy Award for Best Picture for producing Chariots of Fire from Hollywood legend Loretta Young, March 29, 1982

Producer David Puttnam with film cans listing some of the titles he produced during his career.

In 1981, KISS made a decision few fans saw coming. Instead of returning to the straightforward hard rock that made them famous, the band released Music From “The Elder”, an ambitious fantasy concept album filled with orchestration, mythology, and a story designed to accompany a film that never materialized. In this episode of The 80s Movie Podcast, we unpack one of the most unusual creative pivots in rock history and examine why The Elder remains one of the most debated releases in the KISS catalog.

We explore the album’s troubled creation, including producer Bob Ezrin’s influence after his work on Destroyer and Pink Floyd's The Wall, the growing tensions inside the band, and the creative divide that pushed KISS into unfamiliar territory. Along the way, we revisit standout tracks like “The Oath,” “A World Without Heroes,” “Under the Rose,” and “Dark Light,” while looking at how the album’s original story and track sequencing became part of its complicated legacy.

Time has changed how listeners view The Elder. Dismissed by much of the KISS fanbase upon release, the album has gradually developed a loyal following among fans who see it as an underrated experiment rather than a failure. Join us as we revisit the risks, ambition, and strange history of the KISS album that refused to play by anyone’s expectations.

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The Cover of "Music from 'The Elder'"

Who is that unmasked man?

This was supposed to help listeners understand this nonsense better? 

Today's episode talks about the Management Company Entertainment Group, or MCEG, who would only release four films over the course of nineteen months, while also producing one of the biggest hits of 1989.

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The movies discussed during this episode: Boris and Natasha (1992, Charles Martin Smith) Breaking the Rules (1992, Neal Israel) Catch Me If You Can (1989, Stephen Sommers) Chains of Gold (1991, Rob Holcolm) The Chocolate War (1988, Keith Gordon) C.H.U.D. 2: Bud the Chud (1990, John Irving) Cold Heaven (1992, Nicolas Roeg) Convicts (1990, Peter Masterson) Fatal Charm (1992, Fritz Kiersch [as Alan Smithee]) The Fourth War (1990, John Frankenheimer) Getting It Right (1989, Randal Kleiser) Home Movies (1980, Brian De Palma) Limit Up (1990, Richard Martini) Look Who's Talking (1989, Amy Heckerling) Look Who's Talking Too (1990, Amy Heckerling) Slipping Into Darkness (1988, Eleanor Gaver) Without You, I'm Nothing (1990, John Boskovich)

On this third and final part of a three part series, host Edward Havens continues to discuss favorite 80s movies, the state of streaming services today, religion, books, movie theatres, wrestling and so much more with his brother-in-law, Ph. D. student Michael Hourigan.

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Man Facing Southeast (FilmDallas, 1988)

Amongst the movies discussed during this episode:

Birdy (1984, Alan Parker) The Breakfast Club (1985, John Hughes) The Chocolate War (1988, Keith Gordon) Ferris Bueller's Day Off (1986, John Hughes) Home Alone (1990, Chris Columbus) Man Facing Southeast (1986, Eliseo Subiela) Out of Bounds (1986, Richard Tuggle) The Princess Bride (1987, Rob Reiner) Popeye (1980, Robert Altman) Saved! (2004, Brian Dannelly) Sixteen Candles (1984, John Hughes) Starman (1984, John Carpenter) Uncle Buck (1989, John Hughes) Used Cars (1980, Robert Zemeckis)

On this second part of a three part series, host Edward Havens continues to discuss favorite 80s movies, the state of streaming services today, religion, books, movie theatres, wrestling and so much more with his brother-in-law, Ph. D. student Michael Hourigan.

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Amongst the movies discussed during this episode:

Blade Runner (1982, Ridley Scott) Blade Runner 2049 (2017, Denis Villeneuve) The Breakfast Club (1985, John Hughes) Bull Durham (1988, Ron Shelton) The Color of Money (1986, Martin Scorsese) Diner (1982, Barry Levinson) The Empire Strikes Back (1980, Irvin Kershner) Ferris Bueller's Day Off (1986, John Hughes) Garden State (2004, Zack Braff) Indiana Jones and the Kingdom of the Crystal Skull (2008, Steven Spielberg) Indiana Jones and the Temple of Doom (1984, Steven Spielberg) Mad Max: Fury Road (2015, George Miller) Mission: Impossible 2 (2000, John Woo) Pineapple Express (2008, David Gordon Green) Raiders of the Lost Ark (1981, Steven Spielberg) St. Elmo's Fire (1985, Joel Schumacher) Star Wars (1977, George Lucas) Untitled Furiosa Prequel (2023, George Miller) Used Cars (1980, Robert Zemeckis)

On this first part of a three part series, host Edward Havens discusses favorite 80s movies, the state of streaming services today, religion, books, movie theatres and so much more with his brother-in-law, Ph. D. student Michael Hourigan.

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Amongst the movies discussed during this episodes are:

Aloha (2016, Cameron Crowe) Back to the Future (1985, Robert Zemeckis) Back to the Future 2 (1989, Robert Zemeckis) Back to the Future 3 (1990, Robert Zemeckis) The Blues Brothers (1980, John Landis) Brazil (1985, Terry Gilliam) Death Becomes Her (1992, Robert Zemeckis) Dune (1984, David Lynch) Field of Dreams (1989, Phil Alden Robinson) Forrest Gump (1994, Robert Zemeckis) Fury Road (2015, George Miller) The Imaginarium of Doctor Parnassus (2009, Terry Gilliam) The Irishman (2019, Martin Scorsese) The Last Temptation of Christ (1988, Martin Scorsese) Local Hero (1983, Bill Forsyth) The Natural (1984, Barry Levinson) My Neighbor Totoro (1988, Hayao Miyazaki) Raider of the Lost Ark (1981, Steven Spielberg) Raging Bull (1980, Martin Scorsese) Romancing the Stone (1984, Robert Zemeckis) The Road Warrior (1982, George Miller) The Right Stuff (1983, Philip Kaufman) Say Anything... (1989, Cameron Crowe) Silence (2016, Martin Scorsese) TRON (1982, Steven Lisberger) The Untouchables (1987, Brian De Palma) Wings of Desire (1988, Wim Wenders)

Most 1980s teen movies focused on romance, parties, and rebellion. Three O’Clock High took a very different approach. In this episode of The 80s Movie Podcast, we revisit the 1987 cult favorite directed by Phil Joanou, a tense, darkly funny high school comedy built around one simple premise: survive the school day. After an awkward encounter with the terrifying new transfer student Buddy Revell, mild-mannered Jerry Mitchell spends an increasingly chaotic day trying to avoid a fight scheduled for exactly three o’clock.

We explore what makes Three O’Clock High feel so distinct from other teen films of the era, from its relentless ticking-clock structure and exaggerated sense of anxiety to Barry Sonnenfeld’s inventive cinematography and Tangerine Dream’s propulsive electronic score. We also discuss why the film struggled at the box office despite offering something far stranger and more visually inventive than many of its better-known contemporaries and why Steven Spielberg produced the film and took his name off it just before its theatrical release. Over time, audiences have increasingly embraced it as an overlooked gem of 1980s cinema.

For many fans, Three O’Clock High feels like the high school nightmare version of High Noon, filtered through late-1980s suburban panic and dark comedy. Join us as we revisit a movie that somehow slipped through the cracks during its original release yet continues to earn admiration from viewers who consider it one of the sharpest, funniest, and most original teen films of the decade.

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Original 1987 Theatrical One-Sheet for Three O'Clock High