Have a Good Movie

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CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, trauma, mental illness, childhood trauma, parental murder, suppressed memories, abuse.

There’s been a wide variety of entries in the Freddy Knife Hands series, but finally, finally, we got the entry that makes zero sense and is a bonkers good time. No, this film is not good, and no, it does not appear to have actually employed a competent editor. Although that may be the fault of the studio more than anyone involved in the production. Nevertheless, THINGS HAPPEN in this movie, and it’s beyond weird and messy and hilarious and gory and sometimes, that’s all you really want from your "final” entry in a horror franchise. We discuss Freddy’s Dead: The Final Nightmare this week on Macintosh & Maud Haven’t Seen What?!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Why Was I Born? (Freddy’s Dead)” written by Iggy Pop and Whitey Kirst, and performed by Iggy Pop. Copyright 1991 Metal Blade Records Inc.; New Line Cinema Corporation.

Excerpt taken from “A New Nightmare Begins,” written and composed by J. Peter Robinson. Copyright 1994 New Line Productions; Milan Entertainment, Inc.

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CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, trauma, mental illness, pregnancy, teen pregnancy, body changes in pregnancy.

You don’t usually expect the worst film of a horror franchise to be followed with one of the most unique entries, but Freddy Knife Hands is a fickle series of movies. It’s a stretch to call this movie “good,” but it’s one of the most visually interesting and cohesive entries since the original 1984 film. Stephen Hopkins has truly interesting, fascinating ideas of body horror and trauma along with some of the biggest stakes we’ve seen so far for Freddy himself. Alas, someone forgot to tell the writers that’s what we were doing, because the dialogue and the story wholesale misses the part of the story that would really make this movie great, and instead we’re left to wonder what might have been. We discuss A Nightmare on Elm Street 4: The Dream Child this week on Macintosh & Maud Haven’t Seen What?!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Take Your Daughter to the Slaughter,” written and performed by Bruce Dickinson. Copyright 1989 Zomba Recording Corporation; New Line Cinema Corporation.

Excerpt taken from “I’m Awake Now” written and performed by Goo Goo Dolls. Copyright 1991 Metal Blade Records Inc.; Select Records; New Line Cinema Corporation.

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CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, trauma, child neglect.

You never expect 80’s horror movies to be quality cinema. But you do expect there to be some wild, ridiculous stuff that also has enough of an edge to be scary and terrifying. With the 4th installment of Freddy Knife Hands, the writers decided that none of this was necessary. No, instead we kill off the remaining Dream Warriors and tag along with a new heroine who literally does nothing. And we mean that literally - nothing happens in this movie until about the last 10 minutes, except for some intensely goofy Freddy murders and some terrible 80s acting. No, this one is truly dire, and the only hope is they can make it weird again before the end of this series. We discuss A Nightmare on Elm Street 4: The Dream Master this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at [email protected], or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Anything, Anything (I’ll Give You),” written by John Easdale and performed by Dramarama. Copyright 1985, 1990 Chameleon Records.

Excerpt taken from “Take Your Daughter to the Slaughter,” written and performed by Bruce Dickinson. Copyright 1989 Zomba Recording Corporation; New Line Cinema Corporation.

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CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, trauma, misdiagnosis, medical malpractice, mental health stigma, suicide, mental illness.

Wes Craven didn’t think Freddy Krueger could be a legitimate franchise character. And then the sequel basically printed money, and Wes thought it might be a good idea to jump back in the fray. This time, though, he and his co-writers returned back to the dream world, and Freddy comes for Nancy and a crew of new kids who discover, maybe, the path to destroy Freddy once and for all. No, the acting hasn’t gotten any better, and no, the dialogue is still way too on the nose. But this is a real promising return to form for the franchise, and introduces a ton of new ideas for a great horror villain. We discuss A Nightmare on Elm Street 3: Dream Warriors this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at [email protected], or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Dream Warriors,” written by George Lynch and Jeff Pilson and performed by Dokken. Copyright 1987 Elektra/Asylum Records.

Excerpt taken from “Anything, Anything (I’ll Give You),” written by John Easdale and performed by Dramarama. Copyright 1985, 1990 Chameleon Records.

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CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, homophobia, trauma..

When we watched the original Nightmare on Elm Street for the show, we were only in our 2nd season and were still relative horror newbies. But it’s finally time to explore the entire Fred Krueger canon, and this week we start with a film that has no right to be as interesting and good as it is. The acting still isn’t great, the dialogue is atrocious, and the producer made the entire process a nightmare for everyone involved. But the intentional undercurrents of homoeroticism coupled with a totally different take on Freddy’s abilities makes this a fun but flawed entry in the canon. We’re talking about Freddy Knife Hands in A Nightmare on Elm Street 2: Freddy’s Revenge this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at [email protected], or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Time Has Come Today” written by Joseph Chambers and Willie Chambers, and performed by The Chambers Brothers. Copyright 1966, 1967 Sony Music Entertainment, Inc.

Excerpt taken from “Main Title” to the movie A Nightmare on Elm Street 2:Freddy's Revenge, composed by Christopher Young. Copyright 1986 New Line Cinema Corporation

Excerpt taken from the film A Nightmare on Elm Street 2: Freddy’s Revenge. Copyright 1985 New Line Productions, Inc.

Excerpt taken from “Dream Warriors,” written by George Lynch and Jeff Pilson and performed by Dokken. Copyright 1987 Elektra/Asylum Records.

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CONTENT WARNING: Horror, gore, child murderers, child molesters, serial killers, knives.

Back in our second season in 2018 (?!??!?!) we talked about A Nightmare on Elm Street. We probably feel differently about it now. Check out our long ago review as we gear up for our new October series reviewing Freddy Knife Hands on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at [email protected], or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

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CONTENT WARNING: Discussion of war, racism, grief, trauma, PTSD, explosions, abuse, trauma.

We’re wrapping up our series with Spike’s most recent joint, traveling to Vietnam for a cross between Apocalypse Now and The Treasure of the Sierra Madre. It’s another bold swing in the new era of Spike, but yet again, the balance is all off. When this movie is working, it’s a masterpiece, but there’s so much of it that feels like a slog. And it’s not because of anything fundamentally wrong with the story, just that there’s far too much of it, and far too much pontificating on the story itself. For the cast alone, though, it’s a shame this got buried in the COVID shutdown, because they deserve heaps of recognition. We conclude our director’s series with 2020’s Da 5 Bloods this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at [email protected], or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Time Has Come Today” written by Joseph Chambers and Willie Chambers, and performed by The Chambers Brothers. Copyright 1966, 1967 Sony Music Entertainment, Inc.

Excerpt taken from “Main Title” to the movie A Nightmare on Elm Street, composed by Charles Bernstein. Copyright 1984 New Line Cinema Corp.

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CONTENT WARNING: Discussion of homicide, gun violence, racism, gang wars, gangs, drug use, sex, misogyny, death of a child, grief.

We’ve jumped ahead to Spike’s new era of films for a movie we absolutely should have seen so much earlier. Why? Because it’s a Spike Lee Joint adapted from one of the most important Greek comedies ever written, and it happens to be pretty hilarious at how good a job it does. The problem is when Spike and new collaborator Kevin Willmott stray from the source and take themselves a little too seriously with an incredibly silly premise. Especially for Greek drama and comedy, allowing the structure to play out without interruption is the only way to go. We discuss 2015’s Chi-Raq this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at [email protected], or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Chi-Raq” written by Rico Cox, Robert Amparan, Leroy Griffin, Jr. and Nick Cannon, and performed by Nick Cannon. Copyright 2015 Da Chi Picture Company, LLC. All Rights Reserved.

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CONTENT WARNING: Discussion of Nazi collaboration, antisemitism, robbery, racism, violence, murder, drug dealing, assault, gun violence, threats of violence, homicide, police.

This week we’ve got a special double feature, with a Spike movie we loved without knowing it was a Spike Lee joint, and one from the past that took a different look at the world of crime. In 2006, Spike dropped his most commercially successful film to date that just so happened to be a heist classic. But in 1995, he’d already explored the drug trade taking over lots of the projects. While both movies are different, they’re a look at the different ways Spike approaches crime, police work, detectives, and his beloved New York. We discuss 2006’s Inside Man and 1995’s Clockers this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at [email protected], or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Ten Thirty” from the score to the movie Inside Man, composed by Terence Blanchard. Copyright 2006 Universal Studios.

Excerpt taken from “Crazy (Acoustic)” written and performed by Seal. Copyright 1991, 2004 Warner Bros. Records Inc., WEA International Inc.

Excerpt taken from “Chi-Raq” written by Rico Cox, Robert Amparan, Leroy Griffin, Jr. and Nick Cannon, and performed by Nick Cannon. Copyright 2015 Da Chi Picture Company, LLC. All Rights Reserved.

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CONTENT WARNING: Discussion of underage attraction, racism, sexism, murder, drug use, prison, assault, violence.

It’s been so long since we had a proper movie fight on this show, and this week’s movie finally fit the bill. David thinks this is actually a poignant allegory for the tragic events of 9/11 and trying to reckon with those emotions. Diana thinks it’s a pointless movie that deserves to be thrown in the garbage. We both agree, though, that the script could have made some choices to help with the awkwardness of it all. Get ready for an all-out patented Movie Fight(TM) as we discuss 2022’s 25th Hour this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at [email protected], or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Open Title” from the score to the movie 25th Hour, composed by Terence Blanchard. Copyright 2002 Hollywood Records, Inc. and Touchstone Pictures.

Excerpt taken from “Crazy (Acoustic)” written and performed by Seal. Copyright 1991, 2004 Warner Bros. Records Inc., WEA International Inc.