Skip to main content

The Joston Theney interview, Axeman Redux, and Mortal Kombat

Waaaayyyyy the heck back in 2014, long before From The Basement took to the mighty Radio NL 610 AM Kamloops airwaves, Jason and Shawn reviewed a little slasher movie called Axeman, AKA Axeman at Cutter's Creek, and interviewed its writer, director and star, Joston Theney.

Surprise, Axeman has become a cult classic, and spawned a sequel. However, Joston was never happy with the final cut of his film. Now it's 2021, and he's recut Axeman to the vision he always had in mind. Call it The Theney Cut, as The Dynamic Due put Axeman Redux on the chopping block for this week's podcast... From The Basement!

The Basement Boys also interview Joston about the how and why of his new edit, and discuss the fact he's been able to retain ownership of his films, a rarity in Hollywood. How was he able to do that? What are his plans for the Axeman franchise? Stick with us!

And stick around for Mortal Kombat! Or, more accurately, Jason and Shawn's review of the new video-game adaptation. Is it greater than, or less than, the 1995 version? You'll have to push play on the player below, and find out!


Popular posts from this blog

Review: Force of Nature

Disappointing is the word that pops to mind when I reflect back on the new Mel Gibson movie Force of Nature. Then again, I didn't really expect much going in. Gibson has long been removed from the Hollywood A-list, a shame given how good an actor he is. And he is good in this movie, which is essentially Die Hard in An Apartment During a Hurricane. In Puerto Rico, I might add. Thing is, Gibson probably shot his scenes in a couple of days, and he's basically hit the Cranky Old Man part of his career, which is a shame. But he appears to have fun in the flick, which pits art thieves against Emile Hirsch and Stephanie Cayo's cops. Gibson is a former cop and Kate Bosworth his daughter, a nurse who happens to be on site when the hurricane hits and the art thieves show up. The problem is 95 percent of the movie is totally forgettable. We've seen this before, done better, in many different movies. One-location action movies are fine, but director Michael Polish doesn'

Review: Rogue (2020)

The thought of Megan Fox playing a battle-hardened mercenary is a funny one. Add in the fact she's a battle-hardened mercenary squaring off against a man-eating lion and the concept sounds downright laughable. But -- and this is a heavy but -- if you actually bother to take the time to watch Rogue, you might find yourself having a good time despite yourself. Or not. But I did, and I don't really give a rats ass what you think anyway. Hit me up at if this offends you, snowflake. Fox (who still looks amazing, by the way. Yup. I'm a filthy conservative. Feel free to complain at the above email) heads a mercenary band hired to rescue a governor's daughter from human traffickers. Things go wrong during the escape, and the team is forced to hunker down at an abandoned lion farm, where big cats are raised to be hunted on game reserves. Naturally, the farm wasn't so much abandoned as one of the cats got out and ate everyone. And now it w

Review: Parallax

About 15 minutes into the new sci-fi/thriller Parallax I asked myself "what the eff am I watching?" The problem is, I was asking myself the same question as the end credits started to roll. I have no problem with a movie requiring me to think. But I take issue with one that doesn't give me any payoff. And Parallax is certainly an epic failure on that level. The movie is about a young artist who wakes up one day to a life she doesn't recognize, spending her time asleep, haunted by nightmares of drowning in a black void. As she begins to figure out what is going on, her sanity is threatened. That's the best way I can describe the plot, although I had to do some research to figure it out. Writer/director Michael Bachochin has definitely crafted a thinking person's film but, unlike last week's review Volition, this one isn't all that entertaining. It's a slow mystery that takes too long to get where it's going, and then doesn't delive