Video Store Podcast

This week on the Video Store Podcast I am recommending four sequels that understood what they were doing. Not every follow up needs to top the original. Sometimes the smarter move is to change perspective, lean into experience, or admit that the audience already knows the rules. These films take different approaches, but all of them show intent rather than obligation.
Bride of Frankenstein (1935)
James Whale treats the sequel as a chance to reshape the story rather than extend it. The film is openly stylized, emotionally direct, and comfortable mixing humor with unease. Elsa Lanchester appearing as both Mary Shelley and the Bride signals how self aware the film is from the start. At just over an hour it wastes nothing, and every choice feels deliberate. Universal horror rarely let directors put this much personality on screen, which makes it stand out even now.
Psycho II (1983)
Instead of chasing shock, this film focuses on Norman Bates after years of confinement. Anthony Perkins plays him with restraint and patience, letting the tension come from uncertainty rather than spectacle. The movie also knows the audience brings baggage with them, and it uses that knowledge carefully. Released at a time when many horror sequels went broader, this one went inward.
The Color of Money (1986)
Paul Newman returns to Fast Eddie Felson as someone shaped by time and compromise. Martin Scorsese treats The Hustler as history, not a template to be copied. The film is about pride, mentorship, and what it means to keep competing when winning is no longer simple. Newman earned his Oscar here, and it feels tied to the character’s accumulated weight rather than a single performance beat.
Gremlins 2 The New Batch (1990)
Joe Dante uses the sequel to tear the whole idea apart. The film is packed with effects, jokes, and commentary, and it never pauses to justify itself. It openly mocks sequels, corporate culture, and even the audience’s expectations. The commitment is total, and that confidence is why it works.
These four films do not share a tone, a genre, or a strategy. What they share is clarity. Each one knows why it exists and what it wants to explore next. That is what makes them worth renting again, not as curiosities, but as examples of sequels that made real successful choices.
Thanks for reading Video Store Podcast! Subscribe for free to receive new posts and support my work.



This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

Welcome to the Video Store Podcast.
I’ve been watching a lot of football lately. College bowl games are on just about every night and the NFL playoffs are in full swing.
Really the only thing better than watching a football game is watching a movie about football and there are some great ones to watch.
This week on the Video Store Podcast, I’m spotlighting four movies about football.
These are football movies where the game matters but the real story happens off the field. It’s about making tough choices, challenging authority and forging character.
Necessary Roughness (1991)
Necessary Roughness is a comedy straight from the ‘90s, starring Scott Bakula, Hector Elizondo, Sinbad and Kathy Ireland.
The Texas State Armadillos have repeatedly violated NCAA rules and the entire football is banned from playing. New coach Ed “Straight Arrow” Gennero is tasked with fielding a new team with no scholarships and no support.
Gennero pieces together a misfit team with more heart than talent. Eventually they come together and take on the cross state rivals, Texas Colts.
We Are Marshall (2006)
What do you do when the unthinkable happens?
In 1970, a plane carry the Marshall University football team crashes killing all 37 players and coaches on board.
Stricken with grief the University decides to rebuild the team and hires coach Jack Lengyel for the impossible task.
Through grit, determination and sorrow the Marshall Thundering Herd football team takes the field to honor the lost players.
Johnny Be Good (1988)
Johnny Be Good is a late 80s coming-of-age comedy.
Johnny Walker is the most wanted high school quarterback in the country and college recruiters will do anything to land him.
The movie takes an satirical and exaggerated look at college recruiting practices of the 80s.
It’s a movie about integrity, self-respect and choosing your own path, no matter the cost.
All The Right Moves (1983)
Trapped in a dead-end, go-nowhere town Stefan Djordjevic’s only hope is a football scholarship to college but clashes with his controlling coach make that dream seem impossible.
Stefan watches as his friends go down the wrong path and their dreams fade away. His talent propels him but his ego keeps getting in the way.
Through humility and respect Stefan realizes he must make All the Right Moves to succeed.
Thanks for visiting the Video Store Podcast. I hope you enjoy the movies whether you’re watching them for the first time or rediscovering them all over again.

Thanks for reading Video Store Podcast! Subscribe for free to receive new posts and support my work.



This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

Welcome back to the Video Store! We’re kicking off the New Year with a look at some of the films that inspired the hit television series Stranger Things. Get your Eggos, Reese’s Pieces, and settle in for some classic films that helped to give Stranger Things its strange, yet familiar aesthetic and themes. For this episode, we’re only focusing on season one, so don’t worry if you’ve not gotten to watch the final season just yet! However, if you’ve not watched Stranger Things season one, be advised that there are spoilers ahead for that season!
E. T. the Extra-Terrestrial (1982)
One of the biggest films of the 1980s and an inspiration for Stranger Things is Steven Spielberg and Melissa Mathison’s iconic film, E. T. the Extra-Terrestrial. Capturing wonder, fear, and warmth so well, this is a film whose influence was felt well into the 90s. Stranger Things draws aesthetic inspiration from E. T. while also pulling from its fish-out-of-water story.
Scanners (1981)
David Cronenberg’s cult sci-fi horror film, Scanners, is another point of inspiration for The Duffer Brothers. This film about psychics, scientific intrigue, and political power serves as an inspirational palette of ideas for Stranger Things that the Duffers have inverted, mashed up, and made their own. This is a film that also has a great influence on the later seasons of Stranger Things, but we’ll cover those when we get there.
Halloween (1978)
This is the film that really caused the slasher genre to take off, but John Carpenter’s first massive success also gives Stranger Things a good bit of its aesthetics. From monster-in-shadow cinematography to several meta uses of John Carpenter’s work, Halloween has its fingerprints on Stranger Things.
A Nightmare on Elm Street (1984)
Perhaps the greatest influence on Stranger Things’ aesthetic and storytelling is Wes Craven’s A Nightmare on Elm Street. With two Nancys, two jocks with a baseball bat, and more things that won’t even show up until later seasons of the series, A Nightmare on Elm Street has invaded the minds of the Duffer Brothers.
Honorable Mentions
Stranger Things draws inspiration from so many films that we love here at the Video Store that we’ve already covered them on previous episodes! Check out my coverage of both versions of It in my Summer of Stephen King and Not Quite Retro episodes. Flack talked about John Carpenter’s The Thing in his Halloween Spirit episode. I discussed Stand By Me in my Film Friendships show, Alien in my Wonder Women episode, and Jaws in my Summer Spookies show.
Thanks for joining us here at the Video Store Podcast for these strange, but familiar films. We hope you enjoy our selections this week. Oh, and that flashing lightbulb? Must just be a short. We’ll change it out later.
Thanks for reading Video Store Podcast! This post is public so feel free to share it.



This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

Season’s Greetings and Happy Holidays! Maybe I’m old school, but I still make New Year’s resolutions every year and this year I decided to look back at some of my favorite creature features to find inspiration. Each of this week’s movies feature characters who overcome adversities, saving themselves and others in the process!
In Ants! (1977), construction foreman Mike carr (Robert Foxworth) teams up with Valerie (Lynda Day George) to save vacationers staying at the ritzy Lakewood Manor from a angry swarm of angry ants empowered by pesticide the resort has been pumping into the ground. Featuring Suzanne Somers, Bernie Casey, and millions of ants.
In Squirm (1976), and army features of carnivorous earthworms attack a Georgia town after being awakened by electricity. At first New York City visitor Mick is accused of pranking town locals, but when citizens become worm-food, the town must come together to take on these slimy screaming squirmers. Featuring amazing practical effects and worms that bite.
You may have seen rats in the subway before, but you’ve never seen any like the ones in 1982’s Deadly Eyes. After snacking on steroid-induced grain, the dog-sized rats in this film (portrayed by Dachshunds in rat costumes with the occasional puppet) waste little time in escaping the subway and taking down old people and Scatman Crothers (!). A college basketball coach must team up with a local health inspector to destroy the infestation before they ruin the town’s debut of a new subway line. Bad timing! Featuring tons of 80s teens and one unfortunately unwatched toddler. Directed by the same man who directed Enter the Dragon and Game of Death, Deadly Eyes offers rabid rodent action.
1981’s Roar was one of the most dangerous movies ever made. The film featuring an all-star cast including real-life husband and wife Noel Marshall and Tippi Hedren (The Birds), their three teenage children including Melanie Griffith, and 150 untrained large cats including lions, tigers, cheetahs, and panthers. The movie took five years to film and before it wrapped, every actor and more than a dozen crew members had received major injuries. The co-producer required 120 stitches to reattach his scalp, Tippi Hedren received 38 stiches after being bitten in the head (and later fractured her leg after being thrown from an elephant), and Melanie Griffith was bitten so badly she required facial reconstruction surgery. The film, which has been referred to as the most expensive home movie ever made, cost $17 million to make and earned less than $2 million in theaters. While all the actors survived the filming, not all of the animals did. One of the most bizarre, bonkers, and horrifying things ever captured on film.
I hope you do not have to face killer ants, carnivorous worms, or hungry lions in 2026, but in whatever you face I hope you can find the inner strength the protagonists in these films managed to muster!


This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

This week on The Video Store Podcast I am recommending four films that sit in an interesting stretch of Arnold Schwarzenegger’s career, when their action persona took a left turn into broad studio comedy. These are all wide release films that played constantly on cable and sat on the front wall of the video store for years. They did well in theaters, but they almost felt built to be rented, watched with other people in the room, and talked about afterward. None of them are obscure, but seeing them together makes the choices clearer and more deliberate.
Twins from 1988 was the real pivot point. Ivan Reitman directed, pairing Arnold Schwarzenegger with Danny DeVito, which on paper felt like a gag and ended up working better than expected. It was one of the first times Schwarzenegger played openly against his screen image instead of reinforcing it. The film was also a financial gamble that paid off. Rather than taking a traditional salary, the main players took a share of the profits, which turned into one of the most lucrative deals of the era. It also helped normalize the idea that Schwarzenegger could carry a comedy without winking at the audience the whole time.
Kindergarten Cop followed in 1990 and again teamed Schwarzenegger with Reitman. This one leans harder into contrast, placing a very rigid screen presence into a setting that refuses to bend to it. The child actors are doing a lot of the real work here, and the movie wisely lets them. It was shot largely in Oregon (Goonies country!), which gives it a look that stands apart from a lot of studio comedies of the period. Just his second comedy leading role and the formula is obvious, but it still had enough care put into it to feel earned rather than lazy.
Junior arrived in 1994 and is probably the strangest entry in this group. It brings back Reitman, DeVito, and adds Emma Thompson, who plays it straight in a way that grounds the movie more than it probably deserves. This was one of the last times Schwarzenegger leaned fully into this specific style of high concept studio comedy. The visual effects were handled with restraint, and the film relies more on performance than spectacle, which makes it feel smaller and more controlled than its premise suggests.
Jingle All the Way from 1996 closes things out and feels very much of its moment. Directed by Brian Levant, it leans into consumer anxiety, holiday chaos, and the late nineteen nineties obsession with must-have toys. Sinbad is a big part of why the movie works at all, pushing against Schwarzenegger in a way that keeps the energy up. It was not especially well reviewed at the time, but it has stuck around in a way many similar holiday comedies did not. It also marks the end of this particular run, before audience tastes and Schwarzenegger’s career both shifted again.
Taken together, these four movies show a very specific window when studios were comfortable reshaping a major star’s image and audiences went along with it. They were reliable rentals, easy recommendations, and the kind of movies that people discovered out of order on VHS or on cable.
Thanks for reading Video Store Podcast! Subscribe for free to receive new posts and support my work.



This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com