Video Store Podcast

Welcome back to the Video Store Podcast. It is a complete coincidence that today, on 4/20, I am taking a look at some of the best “stoner comedies” of all time. While I personally “just say no,” I like celebrating 4/20 my own way — by revisiting films that are “high”ly recommended.
In Up in Smoke (1978), Cheech and Chong’s first film, Pedro (Cheech Marin) picks up a hitchhiking “Man” (Tommy Chong) and the two of them spend the next 90 minutes criss-crossing both southern California and Mexico searching for increasingly strong strains of dope. Pulling material from their multiple gold and platinum comedy albums, Up in Smoke is considered to be the godfather of all stoner comedies.
Half Baked (1998), co-written by and starring Dave Chappelle, is considered to be the hand-off between two generations of stoners. In the film, lifelong stoners and best friends Thurgood Jenkins (Chappelle), Scarface, and Brian devise a plan to bail their bestie Kenny out of jail after he is arrested for accidentally murdering a police officer’s horse. Despite being considered a classic of the genre, Chappelle promptly and publicly disowned the film after its release due to changes Universal forcded him to make to the script. Featuring over a dozen comedians and musicians from Steven Wright and Jim Breuer to Snoop Dogg and Willie Nelson, Half Baked remains a full classic.
Dazed and Confused (1993) takes place in 1976 on the last day of school in a small Texas town. This Richard Linkletter film follows dozens of students as they prepare to escape the confines of high school and enter adulthood, whether they have a plan in place or not. Similar to movies like American Graffiti and The Breakfast Club, Dazed and Confused is a coming of age story that reminds us regardless of a story’s setting, some high school experiences remain timeless. Dazed and Confused is better than okay; it’s “All right, all right, all right.”
In The Big Lebowski (1998) we learn what happens when thugs break into a man’s apartment, dunk his head into the toilet, demand money for unknown reasons, and relieve themselves on his rug — not just any run, but one that “really tied the room together, man.” The recipient of this injustice is “The Dude,” a laid-bac stoner who, with help from his bowling partners and friends Walter and Donny, discover the he — Jeffrey “The Dude” Lebowski — share a name with another, much richer business man. Convinced the “Big” Lebowski was the intended target of this break-in, the Dude is coaxed into confronting the Big Lebowski and demanding compensation for his damaged rug. Written and directed by the Coen Brothers (Raising Arizona, Fargo), before long The Dude (Jeff Bridges), Walter (John Goodman) and Donny (Steve Buscemi) have stumbled into a kidnapping for ransom plot that will leave one person missing a toe, one person dead, and a lot of people confused. A cult-classic where every scene is memorable and every line is quotable. Best watched with a White Russian in hand.
The Video Store would like to apologize for the snack bar being completely depleted this week. Someone must have had the munchies. If you’re like me and don’t, uh, “partake,” feel free to celebrate 4/20 with me by revisiting some of the best stoner movies of all time.
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This week on The Video Store Podcast, I am recommending four movies built around one of the simplest and most reliable science fiction ideas there is, shrinking people down. It is a strong trope because every one of these films understands that once a character gets small, nothing has to be exotic to feel dangerous. A bloodstream can look like deep space. A shopping cart can feel absurd and threatening at the same time. A backyard can turn into a full scale survival story. The fun of these movies is not just the effect itself, it is the way each one finds its own tone inside the same basic setup.
Fantastic Voyage starts this set in an old-style studio style. Richard Fleischer directed it, Raquel Welch was still early in her career, and the movie ended up winning Academy Awards for art direction and special effects. Isaac Asimov wrote the novelization, which helped give the film an added layer of science fiction prestige even though the movie was not adapted from one of his earlier books. It is still one of those sixties films where the production design does a lot of the selling. You are watching people turn the inside of a human body into a full cinematic world, and they do it with real confidence.
The Incredible Shrinking Woman takes the same basic concept and pushes it toward satire. Lily Tomlin is the main reason to see it, and she is surrounded by exactly the kind of bright, slightly unreal suburban world that makes the jokes work. Jane Wagner wrote it, Joel Schumacher directed it, and the movie has a cast that includes Charles Grodin and Ned Beatty. There is also a nice eighties detail in the score, since Suzanne Ciani handled the music, which gives the film one more thing separating it from the older version of this idea. It is not the most famous title in this group, but it feels very specific to its moment, especially in the way it folds consumer culture and household products into the premise.
Innerspace may be the easiest recommendation here because it is so good at being funny, fast, and a little chaotic without losing track of the effects work. Joe Dante directed it, Dennis Quaid and Martin Short make a very good mismatch at the center, and the movie won the Academy Award for visual effects. This is one of those late eighties studio movies where the effects are both impressive and funny. It also has that Dante who has a habit of making a mainstream movie feel just a little off center. You can sense the touch of Industrial Light and Magic in the technical side, but it never turns into a dry demonstration reel.
Honey, I Shrunk the Kids is a joy to watch. Joe Johnston made his live action directing debut with it, Rick Moranis is exactly right for the inventor at the center, and Disney turned a backyard into a full adventure landscape. It was a major hit, and for a while it stood as Disney’s highest grossing live action film. Part of what makes it hold up is that so much of it was built around practical effects, oversized sets, models, puppetry, and carefully staged perspective tricks. It also had Tummy Trouble attached in theaters, so for a lot of people there was a Roger Rabbit bonus built into the experience. That is a pretty good rental memory to have.
What I like about putting these four recommendations is that they show how flexible a shrinking movie can be. One plays it as a polished sixties science fiction trip. One turns it into satire. One uses it for special effects comedy with a little manic energy. One makes it into a family adventure that a lot of people probably first met on cable or VHS. Same basic hook, very different results. That is usually a good sign you have a real movie trope and not just a gimmick.
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Welcome to the Video Store Podcast.
The 1990s were a golden age for legal dramas and comedies.
we’re stepping into the courtroom with four unforgettable films that deliver everything from shocking twists to laugh-out-loud moments.
Whether you’re here for high-stakes drama or sharp-witted comedy, consider this your jury duty… and trust me, you won’t want to skip out on this one.
Primal Fear (1996)
Primal Fear is the kind of legal thriller that pulls you in immediately and refuses to let go. Richard Gere stars as Martin Vail, a slick Chicago defense attorney who thrives on high‑profile cases and the media attention. When an altar boy is accused of murdering a beloved archbishop, Vail jumps in only to find himself tangled in a case far more complex than he ever expected.
The real revelation is Edward Norton in his breakout role as Aaron, the timid young defendant at the center of the storm. Norton brings a layered, unsettling vulnerability to the character. Gere, leans into the arrogance and charm that make Vail both magnetic and infuriating.
Primal Fear endure is one of the decade’s most satisfying legal thrillers, and a reminder of how thrilling a courtroom can be when the truth is anything but clear.
A Time to Kill (1996)
John Grisham adaptations were everywhere in the 90s, but A Time to Kill stands out as it questions justice, morality, and race in the South. Set in Mississippi, the story follows small‑town lawyer Jake Brigance as he defends Carl Lee Hailey, a man whose actions, while undeniably violent, raise difficult questions about justice and retribution. The case ignites racial tensions, draws the attention of the Ku Klux Klan, and pushes Jake into a fight that threatens his career, his safety, and his family.
The cast is stacked: Matthew McConaughey in his first major leading role, Samuel L. Jackson delivering one of his best performances, and supporting roles from Sandra Bullock, Donald and Kiefer Sutherland, Kevin Spacey, and more.
A Time to Kill doesn’t shy away from uncomfortable truths, instead forcing both the characters and the audience to wrestle with them. The courtroom scenes are gripping, culminating in one of the most memorable closing arguments of the decade.
My Cousin Vinny (1992)
When two New York college students are mistakenly arrested for murder in rural Alabama, they call in the only lawyer they know: Vinny Gambini, a loud‑mouthed, inexperienced personal‑injury attorney from Brooklyn.
Joe Pesci is perfect as Vinny, blending New York swagger, frustration, and surprising competence as he fumbles his way through Southern etiquette and courtroom procedure. But it’s Marisa Tomei who steals the show as Vinny’s Fiancée Mona Lisa.
My Cousin Vinny is a perfect blend of comedy and courtroom drama. Behind the laughs is a a smart, well‑constructed legal story. It’s a comedy that still holds up today because the writing is strong, the characters are unforgettable, and the laughs come naturally. It’s a true 90s classic.
A Few Good Men (1992)
“You can’t handle the truth!”
A Few Good Men is a military courtroom drama focusing on the trial of two Marines accused in a death that may be tied to orders from higher up the chain of command.
What starts as a seemingly straightforward defense case evolves into a gripping examination of authority, duty, and moral responsibility.
The cast is packed with top Hollywood stars: Tom Cruise, Demi Moore, Kevin Bacon, Kiefer Sutherland, Kevin Pollak, and of course Jack Nicholson as the formidable Colonel Jessup.
It’s a masterclass in building tension, culminating in some of the most iconic courtroom moments ever put on screen.
Decades later, it remains one of the genre’s defining films, and a must‑watch for anyone who loves a good legal showdown.
Closing Arguments
From twist‑filled thrillers to laugh‑out‑loud courtroom chaos, these four films show just how powerful courtroom movies can be. The 90s didn’t just deliver great legal dramas, they gave us some of the most rewatchable, quote-worthy, and thought-provoking films of the era.
The jury may still be out on which one is the best, but all four are absolutely guilty of being endlessly rewatchable.
Until next time — be kind, rewind.

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

There are many reasons to watch movies. We watch them to learn, to laugh, to cheer, jeer, and fear. One of the most wonderful things about film is that they allow us to escape reality, if only for a couple of hours. Like many of you I have a long list of “feel good” films I put on when times are bleak and I want to escape. On this episode I am recommending four “feel good” movies maybe you haven’t seen in a while or at all.
First up is 1980’s The Private Eyes starring Don Knotts and Tim Conway as investigators from Scotland Yard sent to investigate the murders of Lord and Lady Morley after being contacted by… Lord Morley? It’s a race against time as the mansion’s staff, all of whom are suspects, are being killed faster than they can be interviewed. The Private Eyes was part of the resurgence of “darl house” movies we saw in the 1970s and 1980s that included Murder by Death, Clue, and Haunted Honeymoon.
Next is 1981’s Under the Rainbow, a film that did terribly at the box office but found a second life on cable television. When a German spy (who happens to be a little person) and a Japanese spy (disguised as a tourist) make plans to exchange secrets at a hotel, they never could have predicted that the location would be overrun by all the Munchkins from The Wizard of Oz along with an entire busload of Japanese tourists! Chevy Chase once called this film “the worst film ever made” while Carrie Fisher simply said it was “the worst film I ever made.” They can say what they want; this slapstick comedy always puts a smile on my face.
In 1989’s Loveryboy, Randy picks up a job delivering pizza while serving extra anchovies and a slice of love to a growing list of female customers. As someone who delivered pizzas in college I can tell you all of us dreamed that someday we wold get a delivery for “extra anchovies.” Loverboy was one of four films Patrick Dempsey starred in during the 1980s and 1990s before going on to become “McDreamy” later on Gray’s Anatomy. Featuring Carrie Fisher, Kirstie Alley, and lots and lots of anchovies.
Our final film this week is 1986’s Back to School. When millionaure Thornton Melon (Rodney Dangerfield) discovers his son Jason has lost interest in college, he agrees to enroll himself so that the two of them can become freshmen together. Thornton gets accepted into college after making a large donation, sends his personal secretary to classes for him to take notes, has a staff of employees doing his homework and spends most of his nights partying. Both father and son eventually learn that money can’t buy everything — not pride, respect, or love.
What are your favorite “feel good” movies? Let me know in the comments!
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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