Cult Film


Last week, my partner hosted a screening of Miami Connection, Drafthouse Films’ release of the heretofore largely unseen low-budget Tae Kwon Do musical from 1987, for a small group of friends. Ever the meticulous party-planner, she made the viewing interactive by constructing, amongst a litany of other viewing activities, a series of Bingo cards that our friends could play while watching the film. At first, I was a bit worried that this might make the viewing of a ridiculous ‘80s cult film all too predetermined, forcing our friends to anticipate amazing lines like “I thought we are all orphans” or the transcendent pro-friendship tunes of Dragon Sound ahead of time rather than experiencing these moments organically, as she and I did the first time we saw Miami Connection. Thankfully, I was proven wrong. The interactive viewing was a great success for our dear Miami Connection virgins, and everyone went home whistling “Against the Ninja” whether they wanted to or not. But I’m not interested in talking about a party that went well (okay, maybe a little bit). I’m interested in what something like Miami Connection Bingo cards represent for people seeing the film for the first time: the simultaneous, seemingly paradoxical engagement with cult film initiation and cult film participation.



This week, on a very special episode of Reject Radio, author Stephen Rebello joins us to share the insight of “Alfred Hitchcock and the Making of Psycho,” and Gallery 1988 co-founder Jensen Karp gets crazy for cult and explains what Edward Scissorhands is doing in a painting with Jack Skellington. Plus, our very own Fatguy Kevin Carr joins me to play Good News/Bad News and tries to envision a spy thriller directed by Edgar Wright. Listen Here: Download This Episode

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published: 01.27.2015
published: 01.27.2015
published: 01.27.2015
published: 01.27.2015

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