Ep. 08-07: Colossus: The Forbin Project (1970)

COLOSSUS: THE FORBIN PROJECT (1970)—When the United States activates Colossus, a supercomputer designed to control the nation’s nuclear arsenal, it quickly establishes communication with its Soviet counterpart. As the machines take control, humanity faces an unprecedented threat of technological domination, forcing scientists and leaders into a tense struggle to regain power from the artificial intelligence they created.

Welcome to the chilling world of Colossus: The Forbin Project, a cerebral techno-thriller that explores the terrifying consequences of handing global security over to artificial intelligence. Join us as we examine the film’s prescient script, minimalist style, and the Cold War paranoia that pulses through its circuits. Listen, as Johnny Has the Keys witnesses the rise of machines, pondering just how far they’re willing to go in the name of peace.

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Ep. 08-06: Oculus (2013)

OCULUS (2013)—Two siblings confront their traumatic past when they attempt to destroy a sinister antique mirror responsible for supernatural horrors and family tragedy. As memories blur and reality distorts, they face the malevolent force that has haunted them since childhood, uncovering dark secrets that challenge their grip on sanity.

Let’s take a long, hard look into the haunted mirror of Oculus—a modern psychological horror tale that toys with perception, memory, and grief. Join us as we analyze director Mike Flanagan’s clever narrative structure, the strong performances, and the interplay between past and present. Listen as Johnny Has the Keys tries to determine what’s real, what’s imagined, and whether a cursed object can truly warp the mind—or simply reveal what’s already broken.

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Ep. 08-05: Star Trek: The Motion Picture (1979) & Star Trek: Nemesis (2002)

STAR TREK: THE MOTION PICTURE (1979)—When a mysterious and massive alien cloud destroys several Klingon ships and heads straight for Earth, Admiral James T. Kirk resumes command of the newly refitted USS Enterprise. Joined by his familiar crew and new science officer, Kirk must unravel the nature of the powerful entity known as V’Ger. What begins as a standard mission soon becomes a metaphysical journey about identity, evolution, and the search for meaning among the stars.

STAR TREK: NEMESIS (2002)—Captain Jean-Luc Picard and the crew of the Enterprise-E are dispatched to Romulus to meet with its new leader, a clone of Picard named Shinzon, who claims to want peace. But Shinzon’s true motives are far more sinister, involving a deadly weapon and a plan to destroy Earth. As Picard confronts a darker version of himself, the crew faces their most personal and devastating challenge yet—one that will demand sacrifice, courage, and resolve.

This week, we journey boldly into both the beginning and the near-end of two legendary Starfleet captains. Join us as we examine the contrasting visions of Star Trek: The Motion Picture and Star Trek: Nemesis—one cerebral and expansive, the other emotional and introspective. We’ll explore design aesthetics, shifting tones, and the evolution of Trek storytelling. Listen, as Johnny Has the Keys beams aboard two very different Enterprises and contemplates the meaning of legacy across the final frontier.

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Ep. 08-04: Diary of the Dead (2007)

DIARY OF THE DEAD (2007)—A group of college filmmakers documents its horror when the dead begin to rise during a no-budget shoot in the woods. With the world descending into chaos, they broadcast raw, first-person footage online, exposing the violent reality of the zombie outbreak. As they flee in an old RV, paranoia and media obsession threaten their survival as much as the undead. Diary of the Dead presents a found-footage approach to the apocalypse, combining elements of terror and satire.

We return to the mind of George A. Romero and his ever-evolving zombie mythos. Join us as we explore the strengths and stumbles of this found-footage experiment, including its commentary on media, minimalist effects, and a cast of fresh faces. Listen, as Johnny Has the Keys picks up a camera at the beginning of the apocalypse… recording not just the end of the world, but our reactions to it—frame by terrifying frame.

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