Paul Nicholas directed and wrote Chained Heat — and Julie Darling — so The Naked Cage feels like a ribfest play, going back to play the hits.

Michelle (Shari Shattuck, who shows up in some of the worst — and I mean best — movies of the 80s video horror era like Uninvited and Death Spa) has left the farm for the city to work at a bank just in time for her ex-husband Willy (John Terlesky, the second person to play Deathstalker) and his prison lady Rita (Christina Whitaker) to try to knock it over. They take Michelle hostage, Willy gets shot and somehow, the police take Rita’s word that our heroine was part of the robbery and that’s how we get to, well, The Naked Cage.

Of course, Rita ends up in the same jail, which is a hell hole were all the prisoners wear their own versions of the uniform which doesn’t make it a uniform when you think about it. Angel Tompkins (The Teacher) is the warden who, of course, is corrupt.

Luckily for Michelle, she’s in for bank robbery, which wins her some points with her fellow inmates instead of making her fresh meat. As for me, I’m happy that Lisa London — who was in Guns and Savage Beach — and Leslie Scarborough from Stewardess School are in this, because it reminds me that instead of using my mental acuity for doing something that means something for the world, I can instead instantly recall actresses from movies I saw on Cinemax thirty years ago.

Also: Carole Ita White, who played Trouble, is like a WIP lifer. Se was also Cheeks in The Concrete Jungle, Spider in Chained Heat, Ms. Jenkins in Savage Streets (not WIP but so close) and Nurse Turner in Hellhole.

One has to wonder how the Fabulous Thunderbirds felt about “Tough Enough” being in this movie. I’d like to think they loved WIP films. Right? That song was in every movie that was filmed in 1986, including Gung Ho, Wise Guys, The Money Pit, Hannah and Her Sisters, Ruthless Peopleand Tough Guys.

You can watch this on Tubi.

Also known as Behind Enemy Lines and Attack Force ‘Nam, David Carradine stars as Colonel James Cooper, which is the Chuck Norris role in this movie, as Cannon had gone all in on military movies.

Directed by Gideon Amir, who produced Cannon’s Boy Meets Girl, Missing In Action and American Ninja, this movie had three — yes, three — screenwriters: Malcolm Barbour (who would go on to create Cops for Fox), James Bruner (who had already written Missing In Action) and Avi Kleinberger (who wrote American Ninja and three of its four sequels).

During a mission at the end of the war, Cooper gets caught trying to liberate his fellow soldiers and ends up in a North Vietnamese POW camp himself. He’s due for a trial bu the North Vietnamese, but Vinh (Mako), the camp commander, offers him a deal: if he can get Cooper and the troops there to safety, they will help him get to America.

With music from other Cannon movies (The Delta Force, Revenge of the Ninja), you may write this off as just another Vietnam movie, but it literally wraps Carradine in the flag and also has not just Steve James, but Steve James singing “Proud Mary,” and I think it’s worth watching just for that one scene. And because this was made in the Philippines, it legally has to have James Gaines in it.

Also, drink every time Carradine says, “Everybody goes home,” and you’ll die.

You can get this from Ronin Flix.

Richard Franklin had optioned a short outline of this film, which he said was “a sort of Jaws with chimps.,” but it sat until writer Everett de Roche showed him a National Geographic article in which Jane Goodall discussed violence among chimpanzees, including “the cannibalizing of young chimpanzees by one particular mad female chimp. She observed actual inter-tribal warfare, not unlike the opening of 2001, between two groups of chimps. The whole ’60s idea of man being the only animal to make war against its own kind was suddenly thrown out the window. Since then, they’ve discovered that lions and other animals do it as well, but that, to me, was a really interesting idea for a good thriller.”

As Franklin tried to get financing, he ended up making Psycho II and Cloak and Dagger, which gave him the ability to get this movie made. He compared it to The Birds, but then realize that people may think that he was basically making another Hitchcock sequel.

While the movie was originally going to be released by Universal, Frankin said that the studio’s “…instinct will probably be to release it this summer, which I really hope they don’t do. It’s not a Spielberg movie. It’s quite different and, in a way, I wish Psycho II had been given the chance to make more money by playing fewer theatres for a longer period of time. Link is a very special thriller and should be treated accordingly.”

Then Cannon released it, chopping out eight minutes in the U.S. and five more in England, a process that Franklin said was When the film was horrifying with “each new one chipping a little more away until my wife was moved to liken the plight of my monkey movie to that of the horse in Black Beauty.”

Dr. Steven Phillip (Terence Stamp) is an anthropologist trying to learn more about just how smart chimpanzees are and the link between man and ape by bringing three of them — Link, Imp and Voodoo — to his isolated estate in the English countryside. Jane Chase (Elisabeth Shue) is his assistant and she’s instantly shocked by Link, a former circus chimpanzee who now serves as Phillip’s butler, dressed in a perfect uniform.

After the doctor disappears, Jane remains alone with the test subjects, who become more violent, take over the mansion and begin fighting over territory and Jane.

The Jerry Goldsmith and some of the comedic antics may seem sort of wacky, but it all works, because when things start going wrong, the juxtaposition is startling. I’m all for movies where apes rise up and give humans what they deserve, so I loved Link, even if Franklin’s true vision was cut down.

Chuck Norris wasn’t just a movie star by 1986. He wanted to shape foreign policy.

In an interview with the Sun Sentinel, he said, “What we’re facing here is the fact that our passive approach to terrorism is going to instigate much more terrorism throughout the world. I would have sent the Delta Force immediately.” He was responding to the hijacking of TWA Flight 847, which is directly referenced in this movie.

He was even more outspoken in an interview in the Toronto Star, stating: “I’ve been all over the world, and seeing the devastation that terrorism has done in Europe and the Middle East, I know eventually it’s going to come here. It’s just a matter of time. They’re doing all this devastation in Europe now, and the next stepping stone is America and Canada. Being a free country, with the freedom of movement that we have, it’s an open door policy for terrorism. It’s like Khadafy said a few weeks ago. “If Reagan doesn’t back off, I’m going to release my killer squads in America.” And there’s no doubt in my mind that he has them.”

Woah, Chuck.

This was an attempt to make Norris the next Clint Eastwood — according to Cannon’s Menahem Golan — and he was to be teamed with Cannon’s other top star, Charles Bronson. The budget ended up being too high and we got Lee Marvin*, which isn’t the worst substitution. I love that Cannon’s pitch for this told theater owners to “START TO BUILD BIGGER THEATERS!!”

Operation Eagle Claw — a real life Delta Force mission, as well as the one that ruined Snake Eyes’ face — is canceled after a fatal helicopter crash. As the Delta Force evacuates to their C-130 planes, Captain Scott McCoy (Norris) defies orders to rescue Peterson (William Wallace) from the wreckage of a burning copter. Safely on the transport out of Iran, McCoy speaks up, blaming politicians and the military top brass for forcing a mission that could never succeed onto his team and quits.

Five years later, Lebanese terrorists hijack American Travelways Airlines Flight 282, a flight filled with character actors like Bo Svenson, Shelley Winters, Joey Bishop, Martin Balsam, Lainie Kazan, George Kennedy and Kim Delaney. The scenes within the plane are harrowing as the terrorists — led by an Italian American Robert Forester as Abdul Rafai — split up the men from the women and children, as well as the Jewish people from other creeds. I kind of love that when thinking of this situation**, Lee Marvin’s mind went scatological when he spoke to the Philadelphia Inquirer: “… imagine what the bathrooms are like after three or four days.”

Of course, this time we get to win, as the Delta Force is made up of commander Colonel Nick Alexander (Marvin), Bobby (Steve James, moving up to the Cannon A squad!) and some of the finest fighting men that the U.S. government can plausibly deny.

Chuck would tell Newsday, “”I felt better after that film was made. I did, I swear to God. I think it’s a way for other people to release their tensions. I think it’s good therapy.”

Directed by Golan from a script that he co-wrote with James Bruner (Invasion U.S.A., P.O.W. the Escape), this film balances the jingoistic close where the passengers sing “God Bless America” while the Delta Force operatives solemnly mark the passing of several of their own. It’s amazing that a movie in which Chuck Norris launches a missile off of his Suzuki SP600 can have such a moment of quiet reflection.

*Chuck would tell Black Belt, “It was a privilege to work with Lee Marvin. He was an incredible guy, a real macho guy. He was known for criticizing everybody—all his co-stars—and he never said nice things. Then they interviewed him right after we did Delta Force and asked him about me. He said: “I liked him. He was a cool guy.” So I thought, “Thank goodness.””

**It was not a fun movie to make for these character actors. Temperatures went over a hundred degrees Fahrenheit in the plane and Shelly Winters told Golan “I can’t do this, I’ll die.” He replied, “Do it and then die.”

EDITOR’S NOTE: This is one of the Cannon films that I can’t track down. If you have it, let me know! Otherwise, here are some facts on this movie so that Cannon Month can keep on moving.

Known in Italy as Un complicato intrigo di donne, vicoli e delitti (A Complicated Intrigue of Women, Alleys and Crimes), this was directed by Lina Wertmüller, who made the original Swept Away.

A hostel owner named Annunziata (Ángela Molina) is attacked, but before the man can assault her, he’s killed by someone in the shadows who injects him in the, well, balls with a hyperdermic needle. This becomes the signature move of a serial killer who is taking out drug dealers all over the city and only Annunziata may be able to identify who it is, but at the same time, her son is entering the drug trade, which makes him a target of the killer.

Harvey Keitel is the other actor in this film who may be most recognizable to American audiences. I’m excited to actually find this one, as seeing Wertmüller’s take on the Italian crime film intrigues me.

It’s easy to forget that at one time, before the controversies of paternity and politics, Jon Voight was considered one of, if not the, greatest actors in the world. The same can be said for Eric Roberts in the era before he was in a movie every single week. Runaway Train is a reminder that just how powerful both men can be.

It’s also a remembrance that Cannon wasn’t just the studio of ninjas and Norris. The script came from director Djordje Milicevic, Paul Zindel and Edward Bunker and it was based on an original screenplay by Akira Kurosawa (who worked on it with Hideo Oguni and Ryūzō Kikushima). That’s a real pedigree for any movie, much less one that was produced by Golan and Globus.

Kurosawa had read an article in Life magazine about a runaway train and worked up his original script, which he intended to make in 1966 for Embassy Pictures in America, but the money kept falling through and he moved on to make Tora! Tora! Tora!

Fifteen years later, the Nippon Herald company owned that script and decided to get it made. They asked Francis Ford Coppola to recommend a director and he suggested Andrei Konchalovsky.

Konchalovsky had made Maria’s Lovers already for Cannon (he’d also make Duet for One and Shy People for Golan and Globus) and he was able to get the studio on board, as well as Voight, who had aided him in receiving his first U.S. work visa.

The result? A Cannon film nominated for three Oscars: Best Film Editing, Best Supporting Actor for Roberts and Best Actor for Voight.

Oscar “Manny” Manheim (Voight) is a hero to the men of Alaska’s Stonehaven Maximum Security Prison. He’s almost escaped numerous times and a three-year bid in solitary hasn’t dulled his edge or need to be free. After a court order gets him back in general population, he’s targeted by the warden (John P. Ryan, who is also in Cannon’s Avenging Force, Death Wish 4: The Crackdown and Delta Force 2: The Colombian Connection). There’s an incredible scene set during a boxing match — look for a young Danny Trejo* — when another prisoner tries to stab Manheim under orders. Even as he’s knifed and sliced through his hand, Manheim is a feral animal, walking through the gunfire of the guards and demanding that his would-be killer keep coming after him.

All of this means that his next escape plan needs to happen now. He works with Buck McGeehy (Roberts) to scale the wall, run through the snow, swim across a frozen river and take a train across the country to freedom. If only it were that simple.

What follows is a train — and Manny — out of control, roaring into the snow-strewn world with the cry of a feral beast, challenging man, nature, machine and fate as the convict would rather choose the victory of death than the defeat of being held within prison walls. I was struck by the final shot as he stands atop the ruined lead engine, arms outstretched and howling at destiny.

Rebecca De Mornay is also great in this as Sara, one of the few crew members on the train and an example of humanity in the midst of all this rage.

Runaway Train is probably the best film that ever came out of Cannon, if not the most successful at the box office. It never lets up and makes you believe and care about its leads unlike any movie I’ve seen in years. I can only imagine how excited Golan and Globus were to be, if only fleetingly, the producers of a movie that people took seriously.

*Trejo was the Narcotics Anonymous sponsor of one of the production assistants on this movie. He was visiting that person when he was offered a job as an extra. Edward Bunker, who wrote Straight Time and Animal Factory — as well as this film — had been in San Quentin with Trejo and got him hired as Roberts’ boxing coach. Konchalovskiy was so impressed with Trejo that he gave him his role. Trejo would later say that he was amazed to earn $320 a day, more than any crime had ever made him.

Fool for Love got its start as a play written by American Sam Shepard as part of his Family Trilogy, which is really five plays. The others are Curse of the Starving Class, Buried Child, True West and A Lie of the Mind. Originally, Kathy Bates and Ed Harris were the May and Eddie, who are played in this film by Shepherd and Kim Basinger.

This is yet another bid for artistic importance for Cannon, who not only got a screenplay and lead role out of Shepard, but Robert Altman as director.

Set in Shepard’s beloved American Southwest and expanding the play’s smaller cast and setting with more characters and an entire motel complex — the crew used the other rooms for production — we discover May, who is hiding out in said hotel when her old flame Eddie shows up. They’ve been through make-up and break-up more times than we can probably count and she refuses him at every turn, claiming to have moved on with Martin (Randy Quaid).

Meanwhile, the Old Man (Harry Dean Stanton) acts as the story’s Greek chorus, telling each of the main characters the information they desire. It turns out that he had two families in one town, which led to our leads being siblings without knowing it. After becoming lovers, Eddie’s mother shot herself. Eddie has started to become his father, sleeping around without considering the emotions that are destroyed in his wake, such as The Countess (Deborah McNaughton), a revolving carrying love who keeps coming back to enact her revenge.

Cannon somehow released this film the same year as Missing in Action 2: The Beginning, Rappin’ and American Ninja, which speaks to the sheer volume — and all over the place insanity — of what the studio released. Not many other studios released movies meant for Cannes as it also unleashed films born for the drive-in.

You can watch this on Tubi.

Sergio Corbucci may have made some of the most violent Westerns of all time, but his brother Bruno made comedies like the Nico Giraldi series with Tomas Milan — starting with The Cop in Blue Jeans — and Miami Supercops with Bud Spencer and Terence Hill.

This take on Aladdin stars Luca Venantini as Al Haddin and if that makes you laugh, well, this is for you. It kind of makes me wistful that Janet Ågren (Eaten Alive!, City of the Living Dead) plays his mother. That said, he lives in poverty with her and his grandfather before finding a lamp in the antique shop he works in. He rubs it, Bud Spencer appears as the genie and we have a movie.

The wishes that Al gets help him win over the love of his young life, Patricia O’Connor (Bud’s daughter Diamy) and help her cop father when the genie just busts into a building, shrugs off point blank bullets and brings in the mob guys that he’s been trying to arrest. Of course, Al’s mother works in a mob nightclub, so she gets kidnapped and her son has to save the day.

The end of this movie makes a sharp pivot, the kind that makes sense when you realize that it is both Italian and a Cannon movie. The genie is nearly dissected because people think he’s an alien and the police chief — of what I assume is Miami — demands that one of the wishes to be taking out all the military power of the world so his police force can rule the world. This sounds nightmarish and Al and the genie wisely jump on a magic carpet and go throw the lamp in the Bermuda Triangle. I have no idea where any of this came from.

Spencer did TV after this, not appearing in another movie until 1991’s Un piede in paradiso AKA Speak of the Devil. Directed by Enzo Barboni and written by Enzo and Bud’s sons Marco Barboni and Giuseppe Pedersoli, it was also shot in Miami and has Carol Alt in its cast.

Richard Chamberlain described this movie as “…very much a Raiders of the Lost Ark type of movie – very tongue-in-cheek and full of adventures and stunts. Bullets flying, lions eating people, witches up in the trees. All that stuff.”

Yes, pretty much, but nowhere near as fast, exciting or successful. But man, I find so much love in my heart for this movie and I figure it’s probably because it was on cable so much that I eventually liked it.

And well, it’s Cannon and has a major Cannon bit of ridiculouness behind it.

Kathleen Turner was reportedly offered $1.5 million to play Jesse Huston but turned it down as it was to similar to her part in Romancing the Stone. Cannon Group leader Menahem Golan demanded they get “that Stone woman”, meaning Turner, and that’s how Sharon Stone was cast, which if it were any other studio I’d think was an urban legend but given that it’s Cannon, I’m more inclined to blindly agree.

Also, as a lifelong marketing person, Cannon’s big media campaign on this film pushed it hard enough to make it a success, which was important, as the sequel Allan Quatermain and the Lost City of Gold was made directly afterward and was ready to come out just as quickly. Sadly, the third movie, Allan Quatermain and the Jewel of the East — which would have adapted She and Allan — was to be directed by Golan, but it never happened.

Jesse (Sharon) has hired Allan Quatermain (Chamberlain) and his companion Umbopo (Ken Gampu) to find her father, a man lost on the way to King Solomon’s Mines. This puts them at odds with Colonel Bockner (Herbert Lom) and a slave master named Dogati (John Rhys-Davies).

Yes, in true Cannon style, if you can get someone from the movie you’re making your own version of, get them. As Sallah, Rhys-Davies is a fondly remembered character in two Indiana Jones movies. Also, as Cannon will do, they made him the bad guy.

Evil priestesses, gigantic crocodiles, exploding vulcanos, enormous diamonds, romantic tension, quicksand, a monster known as the Mokele-mbembe — this one really has it all. Critics absolutely hated it, but you knew that, and audiences pretty much loved it and you knew that too.

Based on the H. Rider Hagard novel, the screenplay was by Gene Quintano, who would later direct National Lampoon’s Loaded Weapon 1, and James R. Silke, who dependably wrote Revenge of the Ninja, Ninja III: The Domination, American Ninja and The Barbarians for Cannon.

It was directed by J. Lee Thompson, whose 80s were filled with the kind of movies I rented all the time, such as Happy Birthday to Me, 10 to Midnight, The Evil That Men Do, Murphy’s Law, Death Wish 4: The Crackdown, Messenger of Death and Kinjite: Forbidden Subjects.

In the years afterward, Chamberlain has changed his point of view on the movie, saying that the $5 million dollar budget was more like $2.50 and that Cannon pitched the movie to him as a big budget rival to Indiana Jones with a great supporting cast and Thompson directing. The truth was that the sets and effects didn’t look like they were for a blockbuster, Sharon Stone was hard to work with (allegedly crew members would go into her trailer and urinate in her bathtub) and Thompson wasn’t that interested in the movie.

EDITOR’S NOTE: We originally watched this as part of a Death Wish week of movies on November 6, 2018. This might be my favorite Cannon movie. It may also be one of my favorite movies of all time, to be perfectly frank. 

To learn so much more about Death Wish and Charles Bronson, I recommend both books by Paul Talbot, Bronson’s Loose: The Making of the Death Wish Films and Bronson’s Loose Again: On the Set with Charles Bronson. 

Paul Kersey is back in New York City, despite being kicked out at the end of the first Death Wish. His Korean War buddy Charley has invited him to ask for help as his East New York apartment building has been under attack by a gang. Paul gets there just in time for his friend to die in his arms and the police arrest him for the murder. Inspector Richard Shriker recognizes him as the vigilante from back in the first movie, so he throws him into a holding cell with the leader of the gang, Manny Fraker (Gavan O’Herlihy, son of Halloween 3: Season of the Witch bad guy par excellence Dan O’Herlihy). After a fistfight ensues, the villain gets released before Paul. If you think that’s the end of all of this, you haven’t been reading our website this week.

Shriker offers our hero a deal: kill all the punks you want, but inform him of any activity so that he can get a big bust and make the news. With that, we’re off and to the races in what is not only the craziest of the Death Wish movies, but perhaps the most bonkers movie you’ll ever see.

Paul moves into his dead friend’s apartment and into a warzone. He makes friends with the other tenants, including World War II vet Bennett Cross (Martin Balsam from Psycho), a kindly old Jewish couple named Mr. and Mrs. Kaprov, a young Hispanic couple named Rodriguez and Maria (a pre-Star Trek: The Next Generation Marina Sirtis who in real life is a Greek girl born in London). There’s even a young kid who continually walks into the path of gunfire. Obviously, this is a neighborhood made for Paul Kersey. It is, as my wife pointed out, Sesame Street where people die horribly.

Paul uses a car as bait for the gang, killing two who break into it. And he saves Maria twice, but the third time, the gang takes her and she soon dies in the hospital, not knowing the most important rule of Death Wish: if you are a woman, stay away from Paul Kersey.

That’s when Paul orders a .475 caliber Wildey Magnum, a gun that has the same muzzle velocity as a .44 Magnum at 1000 yards. This big bore handgun, as Danny Vermin once said, “shoots through schools.” He traps The Giggler by putting his new camera where he knows the criminal can steal it, then he blows him into another dimension with his gigantic handcannon. “I can’t believe they got The Giggler, man,” laments the punk rock gang.

Why this gun?  Well, it was Bronson’s personal handgun in real life. According to the gun’s inventor and the film’s technical consultant, Wildey Moore, sales for the Wildey Magnum increase whenever this film airs on TV.

You know who else didn’t get that memo about dating Paul? Public defender Kathryn Davis (Deborah Raffin, The Sentinel), who dates our hero long enough for him to joke that he likes opera and for mohawked punk gang leader Manny to shove the car she is waiting for Paul in toward oncoming traffic, where it explodes in a giant fireball.

Shriker decides that enough is enough and he puts Paul into protective custody. But after the gang blows up Bennett’s taxi garage, the old man tries to use the ancient Browning .30 machine gun that Charley brought back from the war. Sadly, the ancient detective from Psycho is no Roadblock from G.I. Joe and he’s quickly beaten into near death by the gang. Paul is allowed to visit him at the hospital and quickly makes a break to defend his new friends once and for all.

There’s another big machine gun, so Paul and Rodriguez use it to kill every single gangbanger they can before they run out of ammo, just as their neighbors finally come to arms to help them. What follows is what can only be described as sheer orgasmic violence, as hundreds of stunts all happen at the same time. Grenades are thrown from motorcycles. Handgun blasts send people flying through glass windows. Fire is everywhere. And there’s Paul Kersey, walking cooly and doing what he does best: killing punk rock criminals of all colors, races and creeds, including a very young Alex Winter.

Finally, Manny almost kills Paul, but he’s saved by Shriker, who is wounded by the punker but succeeds in shooting him. Kersey calls for an ambulance just as Manny rises, showing his bulletproof vest. In a moment that will live in my mind forever, Paul shoots him dead in the chest with an M72 LAW rocket and sends him flying through the side of the building as his girlfriend (Barbie Wilde, the female Cenobite from Hellraiser) screams in pain, their psychic link obviously broken like Cyclops and Jean Grey on the dark side of the moon. The gang realizes they’re beaten as the cops show up in force, with Kersey simply walking away.

Death Wish 3 is many things, but none of them are subtle. It’s a sledgehammer blow to your sensibilities, a veritable tour of depravity and sadism. It’s also entertaining as hell. Bronson hated  Don Jakoby’s (Invaders from Mars, Lifeforce and a frequent collaborator of Dan O’Bannon, with whom he wrote an unproduced script called Pinocchio the Robot that would have featured Lee Marvin as Geppetto!) script and the fact that they turned Paul Kersey into Rambo, but he got $1.5 million for starring in this movie. Frequent rewrites led to Jakoby taking his name off the film and he’s listed as Michael Edmonds.

All told, 74 people die in Death Wish 3, as detailed in this completely amazing article. They are stabbed, shot, run over, set on fire and more. They fall from tall buildings. They are thrown from tall buildings. And there’s a gang that combines all races and creeds — except old people — including white supremacists, punk rockers and lovers of reggae. It is the rainbow coalition of death. There was also a video game that lives up to the violence on screen.

The film also includes a rape scene with the victim played by Sandy Grizzle, who was the girlfriend of director Michael Winner. After they broke up, she reported to London tabloids that this was part of him treating her as a sex slave. Winner sued the News of the World tabloid and won.

Before you scoff at this notion, keep in mind that Winner spent six days filming the rape scene in Death Wish 2, a movie that took from May to July of 1981 to shoot. Also, following the allegations made against Harvey Weinstein in 2017, Winner was accused by three women of demanding they expose their breasts to him. Seeing as how he’s not around to refute the charges, let’s just move on.

Beyond these rumors, Winner was the kind of special individual that almost died from eating dinner — twice. He got the bacterial infection vibrio vulnificus from eating an oyster in Barbados, nearly losing his leg and his life. Then, years later, he’d almost die from food poisoning after eating steak tartare four days in a row. He died in 2013 at the age of 77.

Let’s ignore the gossip on Michael Winner and concentrate on how awesome Death Wish 3 is. Because wow, they literally can’t, don’t — and some folks would say probably shouldn’t — make them like this anymore.

You can listen to The Cannon Canon episode about Death Wish 3 here.