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Full Moon Video and Good Bad Flicks – Radiodrome


I was recently on a few episodes of Radiodrome. The first one we talk about the wonderful production house Full Moon Video and in the second we discuss the concept behind a good bad flick. What makes a movie so bad it’s good and if making intentionally bad movies is bad for the industry. (I say its not)

Full Moon

Good Bad Flicks


9 Responses to “Full Moon Video and Good Bad Flicks – Radiodrome”

  • mogens:


  • demonknight:

    The Full Moon one is the better of the two. The second one is also good, but does not have as much replay value. Trust me, I’ve listened to both episodes twice. I’d have listened even if Cecil wasn’t in them. I was listening in the Jerrid days.

    • Cecil:

      Well truth be told. we were prepared for the Full Moon one. The one about “good bad” movies was a last minute decision because we needed a topic. (I believe the reason was one of the original folks couldn’t make it so the topic was switched) Still, it was fun to just sort of BS without any agenda.

      Wow, back in ye olden Radiodrome times. That will make Josh happy.

      • demonknight:

        Yerp. Radiodrome let me to What the Fuck?!?, which led me to Lost in the Static, which led me to Live Nude Geeks, which led me to Geek Juice Radio. How’s that for you?

        I was introduced to Good Bad Flicks when I was looking for reviews of Return of the Living Dead III on Blip. Sadly, that episode is still being worked on (IT’S A BIGGIE!!!, YOU TOLD ME SO), but I got enthralled by reviews of Critters, My Boyfriend’s Back, Dollman, and Chopping Mall. Also… Dr. Giggles.

  • i really dig talking flicks with cecil…and even i admit that though i’m ON the show i still go back to it to hear the other’s thoughts-it’s like having a GREAT bar convo with like-minded folks

    • Cecil:

      Good times man. Always enjoyable to chat with you guys. Very laid back and nice to have a conversation that doesn’t feel like pulling teeth.

  • JoshG:

    Actually, Al Adamson was inserting newly shot scenes with John Carradine into Filipino imports in the early seventies.

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