10. Blue Jasmine:
Depending on how folks feel about creepy, neurotic perverts as directors, there’s a good chance that many people avoided Woody Allen’s latest effort on virtue of Allen himself. I get that. The moment I heard that there was possibly some creep working the line at the Oreo factory, I immediately threw away all 15 bags of Oreos I had stored and then I dusted my hands of the once excellent sandwich cookie. Seeing as I don’t particularly care about Allen’s messed up private life, I was able to enjoy Blue Jasmine and all the performances of the actors therein, even Andrew Dice Clay.

8. Pain & Gain:
Typically, I don’t go for Michael Bay films, and not because I have any personal grudge against the guy. Sure, I could reject his films because he’s a misogynist creep who likely has done way worse stuff than Woody Allen, as far as directors’ personal lives go, but I instead judge the quality of his other films, like Transformers and Transformer Deuce. Michael Bay does not usually make good films, nor can many of his compiled images pass for any loose definition of a movie. But here we are, talking about his film Pain & Gain. It’s based on a true story about a kidnapping gone wrong in Miami, and Bay, or whoever was really in charge of everything, did a great job of showing the struggle for money to buy into the American Dream, and shows just how drab that materialism reveals itself to be. It’s expressive, engaging, and cohesive, which I would expect from people like the Coen Bros., but is easily comes off as impressive from Bay’s usual garbage.

7. Spring Breakers:
Something again about being in Florida and doing dirty shit to buy into the American Dream, but this time with jaded college girls and James Franco as a rap artist. It’s a bit too heavy with symbolism in parts, but a must-see for anyone who want to hear Franco creepily whisper “Spring breaaaaak” at eight different points over two hours.

6. The Place Beyond the Pines:
Ryan Gosling is a shifty carney that still comes off as attractive while pulling off a string of bank heists. Bradley Cooper is the unsexy cop who crosses his path. They both have kids who grow up to be miserable, totally unlikeable teenagers. This movie provides enough focus on each of the four characters to get its point across. Also, I kept misremembering the film title as “A Place Beyond the Valley of the Pines.”

5. This is the End:
It’s another Evan Goldberg & Seth Rogen film, and like their earlier film, Superbad, they take to Judd Apatow’s technique of not editing for time, but unlike Apatow’s films, This is the End remains funny when I think about it. There’s a weird dedication to the Rapture that at times feels a bit too serious, but often gets diffused by one of many, many, MANY dick jokes. Goldberg & Rogen obviously love dick jokes.

3. The World’s End:
The last of Edgar Wright’s Cornetto Trilogy, The World’s End capitalizes on best friends against seemingly endless hoards, just like in Sean of the Dead and Hot Fuzz. There’s a severe difference in the best friends’ relationship during this film and especially at the end from the previous two films. While the film doesn’t parody or pay homage to a particular film genre as obviously as the other aforementioned films do to zombie-horror and cop-action films respectively, the film doesn’t need those aspects to remain enjoyable.

2. 12 Years a Slave:
This film is a total bummer and all the white people, even Benedict Cumberbatch, in it turn out to be a total asshole (except for Brad Pitt, who was also and Executive Producer on the film), but holy Hell, is this film ever well done. Steve McQueen somehow discovered excellent visual language and pacing while also blending subtle sound work. I haven’t seen something so complete and take successful chances in any other film from the past few years. And even though it is so soul crushing, McQueen manages an uplifting ending. How is there an uplifting ending on a film based upon a book of horrific autobiographical events, also titled 12 Years a Slave? Again, McQueen is incredibly capable.

In the next week, JFD's Kevin, Sean and Parker (and maybe more Friends of JFD) will be posting their Top 10 Movies of 2013. Check 'em out!

And hey! Buying a Junk Food Dinner T-Shirt is a great birthday present to us (and you!) It's win-win. We also accept presents in the form of iTunes ratings and reviews and Facebook "likes". If you have a second, please leave us a nice iTunes review or rating, as it helps other people stumble upon our show and it gives us a glimmer of self esteem.

Anyway, here's the March schedule!

JFD150: The Historic 150th Episode!

• The Devil in Miss Jones 3: A New Beginning (1986)
• Surf Nazis Must Die (1987)
• Ghost Dad (1990)

• Operation Pink Squad 2 (1987)
• A Million in the Morning (2010)
• Video Diary of a Lost Girl (2012)

• Teen Wolf (1985)
• Monster High (1989)
• Night of the Dribbler (1990)

• Slumber Party Massacre 3 (1990)
• Child's Play 3 (1991)
• Toad Warrior (Frogtown 3) (1996)

9. The WNUF Halloween Special
Speaking of being infected with a happy disease! This is the VHS recording of an infamous 1987 event where a local tv news reporter went to a haunted house for a Halloween special and the ghosts turned out to be as real as a CM Punk promo. Or so the story goes. This brought me back to the days of recording cool tv shows on VHS, dressing up in a plastic smock with a Frankenstein on it for Halloween and being so afraid of creppy spoopy old houses. This is a must-watch for anyone who digs nostalgia, Halloween or really fun found footage movies.

8. Frances Ha
A few years ago, Noah Baumbach won me over by making "Greenberg," the kind of movie I like the most: a story about a mostly unlikable guy doing almost nothing. And here, he does a very similar thing, except the titular character, Frances (played by the wonderful Greta Gerwig), is much more likable, even though she's probably more of a loser (or at least less sure of who she is than Greenberg was.) We follow Frances as she moves from couch to couch in New York while dealing with her friends growing up, while she just stays the same. There's not much of a plot, but the honesty and realism (and Greta Gerwig) carry everything with an almost Linklater-esque flawlesslness. This movie would be much closer to my number one if not for the fact that it has a weird and abrupt happy ending. Imagine if Rocky had just lost his edge, got beaten to a pulp by Clubber Lang, lost his title and then the film smash cut to Rocky getting his belt back and living happily ever after. It's weird.

7. +1
We just talked about this on JFD194, so I won't say much. But this takes all of Frances Ha's themes about being young and watching your friends start to move forward into the future while you just stay where you are. Except in +1, it's a literal thing that happens because of a freak space storm.

After sort of kind of liking "Rubber" and "Wrong," Mr. Oizo cracked me in the fucking face with this movie. I haven't laughed so hard at a movie in a long time. It's surreality at its best. This has been (unfairly) I think, compared to stuff like "Tim and Eric," but I think the difference is that Tim and Eric makes no sense on any level, but the characters and situations in "Wrong Cops" make perfect sense within the reality of the movie. And that's what makes it funny to me. A cop sells dead rats full of drugs to kids. And the cop thinks that's perfectly reasonable. And that's funny.

5. Behind the Candelabra
You ever want to see two men act like there's no fucking tomorrow? Well, Michael Douglas and Matt Damon do just that. And they tell the story of Liberace, who was once the most paid entertainer in the world, yet had to live his life pretending to be engaged to various ice skaters to hide the fact that he was gay. It's a hell of an important story, especially when you fast forward to today when director Steven Soderbergh couldn't get this film financed to be released theatrically because studios didn't think anyone would want to see a movie about gay dudes. The great performances and Soderbergh's always sharp direction make this a pretty essential viewing experience.

4. The Battery
"World War Z" spent 400 million dollars to be a movie where most people saw it and shrugged with indifference. But with a budget of $6,000, "The Battery" managed to become a benchmark in zombie cinema. This is easily the best zombie film since "Shaun of the Dead," "Dawn of the Dead" and "28 Days Later" revived the genre in the early 2000s.

The story is one of basic survival between two acquaintances stuck together, despite the fact that they have wildly different views on their post-apocalyptic situation. Gorehounds might be disappointed, but the characters feel very real and the creeping, inescapable dread of the situation really permeates and makes for a unique entry in a tired genre.

3. Her
A guy falls in love with his phone. The description says "Science fiction," but it's basically the realest concept for a movie in the year 2013. The film also has some of the realest performances of the year, despite the fact that one of them is acting against a disembodied voice and the other is playing a telephone.

2. Before Midnight
I guess my year-end list is basically movies where people just talk to each other and nothing much happens. And the Godfather of the movies where people just talk and nothing much happens is Richard Linklater, so it's a no-brainer that his newest flick is so high on my list. The "Before" trilogy is my "Star Wars." I love these characters and I love their lives and I can watch these movies endlessly and never get bored and I'd always catch something new. I have a few little gripes with this movie, like the references to current day politics that date this otherwise very timeless-feeling series or the fact that Celine feels more like Julie Delpy's character in her "2 Days" movies than the Celine from the "Before" movies. But my biggest complaint is also this film's biggest strength: I am not happy while watching it. For most of the first half, I'm frustrated and can't wait for Jesse and Celine to get away from their stupid friends and dumb kids and spend some time alone together, like I'm used to seeing (in the previous two films). And once they finally do, it isn't the romance I was hoping to see. These people fight and fight and don't seem to want to be together as much as I want them to be together. I just want things to be the way they used to be. And it saddens and upsets me. And I guess that's also how these characters feel. And that's the point.

I wasn't aware of this low-budget, small-scale black comedy from first-time director Todd Berger until an "underseen movies of 2013" list on The Dissolve clued me into it. I'm glad it did, as the comedic premise (a couples' brunch in a quiet Los Angeles neighborhood devolves into a series of arguments, dissolving friendships and relationships in amusingly petty ways, while a significant disaster carries on outside the confines of their quaint house) is played with just the right balance of realism and the script finds unexpected ways to raise the stakes at the right times. David Cross in particular nails his character, and the movie often relies on him as the straight-man foil to more absurd characters. If Berger can continue to deliver inventive comedies like this, I'll be watching them.

It's not the theories presented in this movie that are of any interest to me. I've been a huge fan of Stanley Kubrick's 1980 masterpiece since I first saw it at a very young age, and my interest in the movie has never really wavered. I've seen it perhaps more than any other movie, and have always preferred it over King's original source novel. But I don't need some jackass telling me that a painting of a buffalo in the corner of one frame in one scene for one minute is proof that The Shining was entirely a commentary on the slaughter of the Native Americans, or that Danny's wearing of an Apollo-themed sweater is Kubrick's sly admission of guilt in faking the moon landings. I don't need some creepy sounding old armchair film professor / stoner telling me that in one angle, a book on a desk looks like it takes the form of an erection on a man standing near the desk. These aren't the reasons The Shining is an interesting movie to me. But what interests me about this documentary is just that the movie itself could have inspired so many people to dig so deeply into it, on these bizarre Quixotic quests to derive some kind of meaning where there isn't any. It's kind of fascinating and at times even impressive the kind of logical leaps are made in this film by the various presenters of their theories. On top of that, the music is pretty cool, and the editing is impressive; the entirety of the movie is recycled footage from The Shining, and it's synchronized with the music and narration in interesting and thoughtful ways.

I'd be lying if I didn't say that a large part of my enjoyment of this film is the story behind its creation. If instead this was filmed on a backlot somewhere with a completely convincing replica of Disneyland, or with CGI-trickery, or blue-screenery or whatever - I'm fairly certain this would not be on my list. But so what? The fact that it was made in such an audaciously guerrilla style is a part of reality, and has a real bearing of the enjoyment of the movie while you are watching it. Because it was filmed mostly on-location actually in the Disneyland and Disneyworld parks with no authorization, every scene is filled with an extra intensity and level of surrealism that would have been unattainable through any other means. You could call that a cheap gimmick, I suppose, but it's something wildly inventive that hadn't ever been attempted before, and the end result is actually far more cohesive and effective than I would have thought possible through these kind of filming tactics. It's not a movie that everyone will enjoy, but for its sheer uniqueness alone it should be seen by all.

I hated this movie for the first half of watching it. Contrary to Primer, which I really enjoyed, I felt like the film was needlessly cruel, deliberately obtuse, and at times pointlessly artsy. At a certain point, things suddenly came into focus for me, like the big reveal of a magician's final act, and the movie started to click with me. By the end, I was already waiting for a chance to relive this frustrating but ultimately rewarding experience.

Michael Cera's one of those guys who definitely got typecast very early in his career, to the point of turning off some of the public. This might be why he's been branching out lately into some pretty unusual underground fare - sometime between launching his own YouTube comedy channel (JASH, with Sarah Silverman, Reggie Watts, and Tim & Eric) and starring as a wheelchair-bound mentally handicapped man stuck in the Salton Sea in the black comedy short Gregory Go Boom, Cera found time to move to Chile for about six months with director Sebastián Silva to learn Spanish and eventually film Magic Magic, a thriller directed by Silva and starring Juno Temple. In the process of rehearsing for Magic Magic, Silva filmed on the side with Cera, his friend Gaby Hoffman, and three of Silva's brothers, to create Crystal Fairy, a largely improvised, Linklater-esque tale of a young and arrogant American's quest to obtain a psychoactive cactus and go on a drug-fueled bender. It's funny, weird, and sad in all the right ways, and really makes me want to check out what other movies are coming out of Chile these days.

Maybe it's just an artifact of mass nostalgia, but "Rediscovery Stories" seem to be big these days. Whether it's Best Worst Movie, or Searching For Sugarman, the Goblin reunion tour, or Massacre Video's discovery of Chester Turner, it seems as of late I've spent a lot of time enjoying stories of forgotten or neglected artists being appreciated in a new light years after the fact. In a way, even the whole VHS resurgence of 2013 was kind of a similar story. Of all these stories, though - the story of A BAND CALLED DEATH really is one of the more fascinating stories of rediscovery. If you enjoy punk rock music or even just rock music in general, there's a high probability you will really love the music of DEATH, despite the fact you probably hadn't heard of them (until recently). The fact that these recordings sat mostly unheard for decades is another reminder of the excitement we all have when we dig through the record bins or the videostore shelves.

I think the phrase I've heard from a few sources now is "tackles excess with excess", and that's a pretty good summation of what Scorsese's up to here. Great performances litter the movie, with Jonah Hill's an easy favorite, and the scale of the film is nearly operatic. Many memorable scenes are to be found across the 3-hour, 17-year span of the film, but perhaps the standout is the scene where DiCaprio and Jonah Hill mistakenly consume too many vintage Quaaludes before discovering the difficulties of walking. The movie's much funnier than I expected, but bitterly so, and a lot of the humor can turn really black if you consider the gravity of the actual situation, which I think Scorsese does pay appropriate respect to.

A weirdly hypnotic fever dream of a movie, like the most beautiful poem written in a language you've never heard of, Only God Forgives is bound to be one of the most divisive movies of the year. Extremely pedestrian symbolism collide with wonderfully expressionistic photography and gorgeous neon lighting, a really cool low-key score, and very surprising gore into something fairly Lynchian but also completely unique to Refn's sensibilities. If you're attached to literalism, forget this movie. But if you can tolerate a high level of surrealism and want to see Thai drug-lord bloodbaths, this is probably your jam.

This film became somewhat notorious this year for the lengthy, explicitly photographed sex scenes featuring the two lead actresses. But the sensationalist nature of those scenes, while admirably daring and superbly shot, are almost a detractor to this film as they seem to have diverted some of the critical attention away from the core strength of this film, which is its fantastic capturing of the minute details of the ebbs and flows of a young romantic relationship. There's also some frank depiction of the kind of violent homophobia some youths still experience in southern France today. One of a few great films (along with Her and Spring Breakers) this year that really seem to directly reflect something about the human experience of living in 2013.

This one really took me by surprise. What starts as a light-hearted look at a wacky subcultural footnote quickly turns into an expose of women being exploited and abused and then turns into a surprisingly emotional story of regret and heart-warming reunion. As someone who didn't really grow up watching GLOW at all, I never expected to become so engrossed in not only the hilariously campy pro-wrestling show and the sensation around it, but also the stories of these women who were drawn into such a weird underground arena.

One of the most youth-centric movies of 2013, Spring Breakers also ends up being one of the smartest. Similar to Blue In The Warmest Color in that the overt sexualization in the material has lead some to mischaracterize the filmmaker's intensions, and subsequently the quality of the film. It should be clear to any observer of Harmony Korine that Spring Breakers is clearly more an indictment of youth culture and general American sentiments of entitlement than a celebration of it. Spring Breakers is kind of like a bizarre funhouse mirror that Korine holds up to American culture, warping the edges of the picture but maintaining a core truth about the vapid self-centeredness of the post-Internet generation. James Franco is almost unrecognizable here as he continues his career path of alternating between the very best things and the very worst things, exhibiting complete commitment to a really odd character in one of the year's most surprising and entertaining transformations. Vanessa Hudgens, Selena Gomez, Ashley Benson and Rachel Korine for their part all exhibit a similar fearlessness in their roles, which are all both more physically and emotionally demanding than you might expect given the premise. Benoît Debie provides the psychedlic dreamlike cinematography, much as he did for Gaspar Noe's Enter the Void and Irreversible, and the look of the film could not have been more perfectly realized. Perfectly fluid and surreal, an entire essay could be written on the visual style of the movie alone. Time will reveal this film to be a forgotten gem, even if audiences currently aren't ready to appreciate it.

No surprises here, as Spike Jonze has yet to disappoint me, and Phoenix has really been on a tear lately. This was far and away my most anticipated movie of 2013, and the fact that it delivered for me so strongly renewed my interest in theatrical movie-going, which to be honest had been waning significantly this year, as I found more to watch via VOD/Streaming/cave-life. There are so many things to love about this movie, but one of the highlights is the way it builds very clearly and linearly off concerns I think we all have today about the ideas of information overload, gadget obsession, the loss of human connections in a social-networking obsessed culture, etc. It's also remarkable the way Spike is able to keep the focus of the movie so small and personal (echoed in the mostly-closeups cinematography) against a story that ultimately has some very large societal and cultural implications. As the focus is so small, Joaquin Phoenix's performance is critical to the film, as is Scarlett Johannson's - the fact that they are both so great in this didn't fully surprise me, but the fact that they recorded their dialogue months apart (Phoenix actually filmed the scenes with Samantha Morton on set, who was later replaced in the editing room) is really shocking given the apparent chemistry the characters have. The world-building here is so logically strong that we only need to see little hints of what is happening around Phoenix and his OS to get a pretty complete picture, and all of the design elements we do see like the computers, clothing, and urban planning feel completely natural and like elements of a fully realized universe. There are so many big themes tackled within the runtime of the picture, and for the most part they are addressed at such a pace that you don't get to fully resolve them in real-time - it leaves you with a lot to think about in the parking lot. Of all the movies I saw this year, Her felt most connected to humanity, and despite not being an alarmist anti-technology sci-fi movie, it is probably ultimately a call for humans to connect on a more personal level without the aid of technology. The fact that it's also so remarkably well executed in terms of performances, visual design, and storytelling made it an easy choice for my favorite of 2013.

• Leviathan
• Blackfish
• Magic Magic
• Gravity
• WNUF Halloween Special

First up, Edward Furlong is a troubled teen obsessed with grunge and horror movies, who tries out the newest in virtual terror, only to discover the game is real in 1994's "Brainscan." The flick mixes '90s techno-nostalgia, Primus and Oscar-nominated talent (seriously).

Next, Rachel Talalay (Freddy's Dead, Tank Girl) directs another tale stolen straight out of Wes Craven's notebooks. A serial killer is killed during an electrical storm and, needless to say, his soul gets stuck in the internet in 1993's "Ghost in the Machine."

Finally, Sandra Bullock plays an introverted computer whiz who gets caught up in an internet conspiracy involving politics, AIDS and Dennis Miller in 1995's "The Net."

All this plus witty banter between friends, Kyle from Kentucky, "Bill From Iowa," Cyber-bullying, Parker's (still) got a cold, talky magical dickheads, VHS dreams and so much more!

Direct Donloyd Here

Got a movie suggestion for the show, want to give your opinion on a movie we talked about or just want to tell us we suck? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865).

Also, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. It's a small world after all with your love and support.

It should be noted that this month will feature our 200th episode. Thanks for supporting us (and liking us on facebook and leaving us iTunes rating/reviews and sending us emails and voicemails*) for these past 200 shows. You dudes are the spring in our step!

JFD198: Robots theme

• Futureworld (1976)
• R.O.T.O.R. (1988)
• Metropolis (2001)

• Species (1995)
• Species II (1998)
• Species III (2004)

• Robocop 2 (1990)
• Robocop 3 (1993)
• Robocop (2014)

• The Invisible Dead (aka Dr. Orloff's Invisible Monster) (1970)
• Invisible: The Chronicles of Benjamin Knight (1993)
• The League of Extraordinary Gentlemen (2003)

*Hint, hint.

JFD159: Cannon Films Theme Show

• Breakin' (1984)
• America 3000 (1986)
• 52 Pick Up (1986)

• ???
• ???
• ???

• Midnight Madness (1980)
• Star Hunter (1996)
• Doomsday (2008)

• Vanishing Point (1971)
• Picasso Trigger (1988)
• The Host (2006)

Strap it on. Doan and Sawyer from Kissing Contest join us to talk about three flicks that could only be enjoyed by sweet boys, pleasant fellows or hard ass men.

First, a California slacker played by Dean Cameron ("Rockula," "Summer School") finds a sexy genie, played by Ami Dolenz ("Ticks," "Demolition University") and uses his wishes to party and seduce modestly successful actresses of debatable attractiveness in 1992's "Miracle Beach."

Next,a different nerd finds a different sexy genie and uses his wishes to find true love in 1990's "Wildest Dreams." Directed by soft core sleaze-miester Chuck Vincent and starring X-rated ladies Veronica Hart and Tracey Adams.

Finally, a group of sexy teens take over their sick uncles' gas station in 1979's "Gas Pump Girls." Somehow, they manage to turn the place around, despite spending all their time dancing, singing and making sexual double entendres.

All this plus witty banter between friends, Nerd News, this week's DVD and blu-ray releases, speculation on who might be secret cops, complete confidentiality, The SweetMan, Mike Dikk ghoul secrets, The Memphis Maniac, Sean's grim adventures and so much more!

Direct Donloyd

Got a movie suggestion for the show, want to give your opinion on a movie we talked about or just want to tell us we suck? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865).

JFD202

• Night of the Bloody Apes (1969)
• Road Games (1981)
• The Class of Nuke 'em High (1986)

• Six Pack Annie (1975)
• Blue Sunshine (1978)
• Avenging Angel (1985)

• Turkey Shoot (aka Escape 2000) (1982)
• Punk Vacation (1990)
• Detention (2011)

• 2001: A Space Odyssey (1968)
• Enter the Dragon (1973)
• Eraserhead (1977)

First, Robocop returns to fight greedy businessmen and drug gangs full of kids in 1990's "Robocop 2." The original writers and director have left the series, but director Irvin Kershner ("The Empire Strikes Back") and writer Frank Miller ("Sin City," "The Dark Knight Returns") pick up the slack.

Next, in "Robocop 3," Murphy protects a group of squatters in a decidedly more "family-friendly" film, featuring robot ninjas, splatter punks and baby hackers. Frank Miller returns as the writer and Fred Dekker ("The Monster Squad," "Night of the Creeps") is now directing.

Finally, we get into this year's "Robocop" remake starring Michael Keaton, Gary Oldman and Joel Kinnamen. Does the remake stack up to the original? ... or the sequels?

All this plus witty banter between friends, Frogtown Chat, Nerd News, this week's DVD and blu-ray releases, new ways to rate movies, Matthew Sweetman, possible upcoming contests and so much more!

Direct Donloyd here.

Got a movie suggestion for the show, want to give your opinion on a movie we talked about or just want to tell us we suck? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865).

Also, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. We're able to populate the species with your love and support.  
 

*After we whittle down the options to six choices.

In the past, you guys picked Howard the Duck(JFD35), C.H.U.D. (JFD69), The Warriors (JFD103), Transformers: The Movie (JFD137) and Escape From New York (JFD172).

For movie 600, here are your sexy, scary and wacky choices. Vote by using the little votey widget in the top left corner.

First, Jason's back and only horror fanatic Corey Feldman can stop him in 1984's Friday the 13th: The Final Chapter. The fourth film in the series promised to be the last, directed by Joseph Zito and co-starring Crispin Glover.

Next, Arnold Schwarzenegger is forced to fight for his life on a deadly game show in 1987's The Running Man, based on a book by Stephen King and co-starring Jesse Ventura, Yaphet Kotto and Richard Dawson.

Finally, summer campers get stuck in a cave after a big fart, so they pass the time talking about their first sexual encounters in Troma's The First Turn on! from 1983, directed by Lloyd Kaufman and Michael Herz.

All this plus witty banter between friends, Nerd News, this week's DVD & blu-ray releases, Face to Face Chat, complete confidentiality, no police involvement, Poseurs, Donald Lloyd of the Junk Food Dinner Warehouse, Junk (voice)Mails, and so much more!

Direct Donloyd Here.

Got a movie suggestion for the show, want to give your opinion on a movie we talked about or just want to tell us we suck? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865).

JFD163: Movies Not Released on DVD Theme Show
w/ guest Dan Kinem, director of "Adjust Your Tracking"

• Homebodies (1974)
• The Wild Life (1984)
• Darkest Soul (1994)

• Birdemic: Shock and Terror (2010)
• Southern Comfort (1981)
• Manborg (2011)

• GORP (1981)
• Sleepaway Camp 2: Unhappy Campers (1988)
• Nudist Colony of the Dead (1991)

• ???
• ???
• ???