A Terminator (Arnold Schwarzenegger) travels from 2029 to 1984 to kill Sarah Connor (Linda Hamilton). Kyle Reese (Michael Biehn), is sent to protect Sarah because he knows that her unborn son will lead the fight against the robot-apocalypse in the future. In the sequel, young John Connor (Edward Furlong), the key to civilization’s victory over the future robot uprising, is the target of a new Terminator–shape-shifting T-1000 (Robert Patrick)–sent from the future. The revamped T-800 (Schwarzenegger), has been sent back to protect the boy. As John and Sarah (Hamilton) go on the run with the T-800, the boy forms an unexpected bond with the robot.
In 1984, a young James Cameron, student of the infamous cheap and prolific Roger Corman, brought us The Terminator, a little movie that could if ever there was one. Revisit this classic with us as we discuss how Cameron, on an extremely small budget produced this wow-worthy film and enormous franchise. The sequel has even more spectacular effects, as it was a showcase of CGI following Cameron’s early test-run in The Abyss (1989). Join us for our Season 2 finale DOUBLE-FEATURE, as we discuss why both of these films are landmarks in sci-fi cinema history, despite their controversial director’s antics. Listen, as Johnny Has the Keys travels to the past of a robot-apocalypse and ponders how conventions and tropes from the horror genre generated an unstoppable killer for science fiction fans all their own.
Camp Crystal Lake’s history of murder doesn’t deter counselors from reopening summer camps there. Even though superstitious locals warn against it, young people show up and pay little heed. One by one, they find themselves stalked by a brutal killer. Whether hacked, slashed, shot or stabbed, the counselors struggle to stay alive against a merciless opponent.
In 1979, Sean Cunningham set out to capitalize on the success of Halloween (1978). He had no idea that the modestly budgeted slasher film he set out to direct would turn into one of the largest franchises in movie history. Join us as we discuss the two films beginning the series… the nostalgia, familiar faces, sex, tropes, gore–and Jason, the icon that sprouted from the film and grew to legendary status. Listen, as Johnny Has the Keys welcomes you to summer camp, where you’re young and pretty, the sun is always shining, the water crisp, refreshing, and your whole life is ahead of you… too bad you’re gonna die.
After Max (Mel Gibson) avenges the death of his wife and young son at the hands of the vicious gang leader, Toecutter (Hugh Keays-Byrne), he drives the post-apocalyptic highways of the Australian outback, fending off attacks from nomadic tribes in order to survive. Discovering an encampment led by the relatively peaceful Pappagallo (Mike Preston), Max becomes the group’s reluctant defender against the hulking Humungus (Kjell Nilsson) and his ruthless marauders, in exchange for gas and the promise of a potential paradise.
Welcome to the near future, where survival is slim and gas is gold. In the late seventies, George Miller introduced us to this iconic character and put Australia on the map as a contender in the cinematic world. Join us as we discuss the first 2 installments in this franchise, Mad Max (1979), the insanely cheap but glorious indie, and its follow-up, Mad Max 2: The Road Warrior (1981), a sequel that not only managed to pack seats but exceeded and enhanced the vision of its predecessor. Listen, as Johnny Has the Keys takes you to the dangerous desert roads of the apocalypse, where humanity has been abandoned, chaos rules, and your only hope may be that of a lone stranger in black.
American diplomat Robert Thorn (Gregory Peck) adopts Damien (Harvey Stephens) unbeknownst to his wife, Katherine (Lee Remick), who delivers a stillborn child. After Damien’s first nanny hangs herself, Father Brennan (Patrick Troughton) warns Robert, now ambassador to Great Britain, that Damien will kill Katherine’s unborn child. Katherine miscarries when Damien (on a tricycle) knocks her off a balcony. As more people around Damien die, Robert, with the help of photographer, Keith Jennings (David Warner), investigates and discovers that the adopted child may in fact be the Antichrist.
Acclaimed director, Richard Donner, owes his career to this gem of a film that helped him break from the confines of television to the big screen. Join us as we discuss the incredible ensemble of cast and crew members that help elevate this prophetic biblical drama to the heights of iconic horror films, spawning a neverending brood of satanic offspring to this very day. Listen, as Johnny Has the Keys deciphers the ancient tomes and opens the door for a newborn child with a very special birthmark to cross into the realm of man.