Also surprised that the titular psycho is played by Craig Pearce, who made a splash that same year as co-writer of STRICTLY BALLROOM (and most of Luhrmann’s subsequent films). #Filmsky

I’ve been curious to see proudly no budget, shot on video oddity MAD BOMBER IN LOVE (1992) ever since The Movie Show covered it upon its original - theatrical! - release. Pleasantly surprised at how genuinely good - even witty - it actually is. #Filmsky

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Margaret McHugh’s poignant short doco THE DROVER’S BOY (2015) explores one of the many shameful impacts of colonialism through Ted Egan’s title ballad. #Filmsky

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Another is the gripping, unjustly forgotten Kennedy Miller telepic THE CLEAN MACHINE (1988). Proto-UNDERBELLY Sydney crime drama, with more than a whiff of only-the-names-have-been-changed to it. #Filmsky

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One from the list I particularly recommend is Gillian Armstrong’s haunting AFTRS short ONE HUNDRED A DAY, currently available on ABC iView. #Filmsky

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So yeah, life massively got in the way of this project. Instead, I’ve turned this into a ranked list of every Corman production/directing credit I’ve watched to date. #Filmsky

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It’s watchable enough, but hobbled by woefully cheap-looking props and a distractingly obvious wig on lead David Birney. Alexis Kanner’s feverish performance makes the whole thing worthwhile. #Filmsky

NIGHTFALL (1988) is an odd clash of sensibilities. Paul Mayersberg - writer of THE MAN WHO FELL TO EARTH and CROUPIER - tackles Isaac Asimov’s short story with tangible ambition, but it runs smack into the standard Concorde budget and runtime constraints. #Filmsky

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Life really got in the way the past couple of weeks (hello Covid!), so this won’t be a film-a-day thing. I’ll still post about each Corman joint I watch this month. #Filmsky

I’m also on the hunt for WELCOME TO OBLIVION (1990), the original cut of what became the notorious frankenfilm ULTRA WARRIOR. I know Concorde released screeners of that cut to the media, so if anyone can point me in the direction of that version, I’ll be your pal for life. #Filmsky

Despite the ick factor of the family dynamics, the end product is perfectly watchable. Hackman is at his most charismatic, and it’s amusing to see Kevin Dobson of Knots Landing being a coarse lout as Barb’s husband. #Filmsky

Streisand’s $4mil fee, Eichorn’s $250k payout and a commensurate fee hike for Hackman caused the budget to balloon to nearly five times its original price tag. The added star power of Streisand did not pay off at the box office. #Filmsky

This started as a modest production with Lisa Eichhorn in the female lead, only for Streisand’s manager Sue Mengers (wife of this film’s director, Jean Claude Tramont) to successfully push for her client to replace Eichhorn well into the shoot. #Filmsky

Oh and her character is the married f-buddy - and erm, fourth cousin - of Hackman’s 18 year old son (a young Dennis Quaid). Did I mention uncomfortable elements? #Filmsky

It’s nice to see Hackman doing a romcom, albeit one with a lot more conflict and uncomfortable elements than one might expect from the genre. Barbra Streisand is often described as miscast as his object of desire, but I think she’s a-ok. #Filmsky

ALL NIGHT LONG (1981) was already on my watchlist for Flopuary. Yesterday’s sad news about Gene Hackman gave me extra impetus to finally pop on my bargain bin DVD copy. #Filmsky

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I have a lot of issues with Warner’s previous, and especially current management.