Buckle up! The Soho Cinema Club crew—Miles Flanagan, Sean Sardi and Jared Carlson—are risking their sanity to sit through GYMKATA, a strong contender for the most disastrously awful movie in human history. Can the explosive force of karate actually combine with gymnastics to create the ultimate martial art? Our brave, film-junkie heroes are about to find out, judging this glorious cinematic train-wreck so you don't have to!

Join Miles Flanagan, Jared Carlson and Sean Sardi as they explore the creative explosion that is the transgressive classic FUNERAL PARADE OF ROSES (1969). Learn how this one film essentially changed the face of Japanese cinema in the late 1960s. See how it became one of the most inspirational films of the decade (and beyond). And discover how star PETER (Shinnosuke Ikehata) channeled their unorthodox upbringing into this startling cinema debut. Loosely based on the classical Greek play “Oedipus Rex” the film still outshines pretty much every film released since. It's a beacon to cinematic originality - so much so that much of its visual flair was liberally ‘borrowed’ by Stanley Kubrick for his 1972 production of “A Clockwork Orange.” You want to find out more? Then listen now...

Join Miles Flanagan, Jared Carlson and Sean Sardi as they delve into the battle of the broads - Baby Jane vs Straight Jacket. Learn about these two 'hagsploitation' classics. How "What Ever Happened to Baby Jane," starring Hollywood icons Bette Davis and Joan Crawford, spawned its own genre and how Rock Hudson helped a Hollywood icon get their first starring role in "Straight Jacket." The team also take a look at the ground-breaking early Western "The Great Train Robbery" and how it later inspired a famous scene in Martin Scorsese's "Goodfellas." Plus much, much more.

Join Miles Flanagan, Jared Carlson and Sean Sardi as they ask the simple question... “Is this the sleaziest double bill ever?" These potentially classic 1972 movies - DEATH LINE and NIGHT HAIR CHILD - are both about families, but one’s concerned with under-age incest and the other cannibalism. Released in U.K cinemas together in 72, they must have had many rushing for the exits. Definitely two crazy exploitation films that could never be made today. So are these the sleaziest films ever? Listen to find out.

Join Miles Flanagan, Jared Carlson and Sean Sardi as they ask the simple question... "Was THE BEST OF BENNY HILL simply too smutty for TV?" This classic 1974 compilation movie has influenced countless comedians and comedy films in the decades since, but does it still hold up (ooh Vicar!) and will it ever bounce back (ooh Matron!) in fashion? Sit back and enjoy a ribald and entertaining discussion on all things BENNY HILL and US/British humor/humour.

Is this truly France's epic horror failure? A film supposedly designed to compete with the likes of HALLOWEEN and FRIDAY 13th, yet so bizarre and inept that that idea beggars belief! Let's see what the SOHO team think and if they feel it deserves the title 'one of the worst movies ever made.'

Taking their cue from actual 1970s cinema double-bills, the SOHO team look at two of the U.K's TIGON tales of terror, 1971's BLOOD ON SATAN'S CLAW (a.k.a SATAN'S SKIN) and BEAST IN THE CELLAR (a.k.a. THE CELLAR). Yes, this was a real double bill, and we have the Quad poster in our cinema to prove it. Listen now and find out what gets Jared so excited about SATAN'S SKIN, what Sean found so creepy, why Miles insists on referencing Jerry Lewis and Peter Sellers and if you truly believe two old spinsters should get away with murder! More fun cinematic chit-chat from the three musketeers of celluloid criticism.

Join Soho Cinema Club hosts Miles Flanagan and Jared Carlson as they break down the 1977 monster movie Mighty Peking Man. Built on a six million dollar budget to cash in on the King Kong craze, this wild Shaw Brothers film stars a glamorous jungle girl in a famously skimpy outfit alongside giant monster mayhem and notoriously messy special effects. The team explores the bizarre history behind its creation and debates whether it stands as the ultimate piece of cinematic garbage.