This week on What We Saw On Stolen Cable, we’re hitting the road with Smokey and the Bandit, the 1977 car-chase comedy that turned a Trans Am, a truckload of Coors, and a whole lot of CB chatter into pop-culture history.

We look back at Burt Reynolds at the height of his cool, Sally Field proving she could hang with the boys, Jerry Reed behind the wheel and on the soundtrack, and some of the best stunt driving of the era.

But then there’s Jackie Gleeson.

What could have been a simple pursuing-sheriff role became Buford T. Justice — loud, furious, endlessly quotable, and somehow more determined with every piece that gets knocked off his patrol car.

So fire up the Trans Am, keep the hammer down, and whatever you do, don’t let Buford catch you.

Smokey and the Bandit — Or, Buford T. Out for Justice.

This week on What We Saw On Stolen Cable, we sink our teeth into the 1972 horror classic Blacula.

It’s a movie with a title that might make you expect pure exploitation, but Blacula delivers something much more interesting. William Marshall brings dignity, intelligence, tragedy, and genuine menace to Prince Mamuwalde—a character whose story feels surprisingly at home alongside the classic Dracula mythology.

We talk about what makes Blacula work, William Marshall’s commanding performance, the film’s place in the Blaxploitation era, and why more than 50 years later it deserves to be remembered as a perfect addition to Dracula film lore.

Join Uncle Patches and Sinister Cinema with special guest Brant Bumpers as we revisit Blacula—a movie that proved there was plenty of blood left in the vampire genre.

October Monster Mash continues as we head out under the full moon for two very different takes on the werewolf legend: The Wolf Man (1941) vs. Wolf (1994).

We look at how Lon Chaney Jr.’s tragic Larry Talbot helped define the movie werewolf for generations, then jump more than 50 years ahead to Jack Nicholson’s darker, more adult spin on the same curse. One is classic Universal horror filled with fog, forests, and superstition. The other brings the monster into the modern world of office politics, ambition, and midlife frustration.

Which film better captures the tragedy of becoming the monster—and just how much of Wolf can be traced back to what The Wolf Man established in 1941?

Join Uncle Patches and Sinister Cinema with Brant Bumpers as October Monster Mash puts The Wolf Man vs. Wolf.

October Monster Mash digs up two very different takes on one of Universal’s classic monsters. We’re putting The Mummy (1932) against The Mummy (1999)—Boris Karloff’s slow-burning tale of ancient obsession versus Brendan Fraser’s full-blown adventure of curses, gunfights, scarabs, and a whole lot of sand.

How did a quiet, eerie horror film from the 1930s become one of the most entertaining adventure movies of the ’90s? And despite being nearly 70 years apart, how much DNA do these two movies actually share?

Join Uncle Patches and Sinister Cinema as we unwrap both versions and decide what each one brought to the legacy of The Mummy.

What We Saw On Stolen Cable – October Monster Mash: The Mummy (1932) vs. The Mummy (1999)

It’s October Monster Mash on What We Saw On Stolen Cable, and this week we’re heading back to the laboratory.

We’re putting Boris Karloff’s Frankenstein (1931) up against Mel Brooks’ Young Frankenstein (1974)—two movies separated by more than 40 years, but connected by a genuine love for the classic Universal monster.

One helped define what Frankenstein would look and feel like for generations. The other took that legacy, recreated it with incredible attention to detail, and somehow turned it into one of the funniest movies ever made without disrespecting the original.

We talk Boris Karloff, Gene Wilder, Peter Boyle, Mel Brooks, the legendary laboratory equipment shared by both films, the performances and unforgettable scenes that made each movie a classic, and why Young Frankenstein may be one of the greatest examples of a parody made by people who truly loved the source material.

Join Uncle Patches and Sinister Cinema with Special Guest Brant Bumpers for another October Monster Mash as we ask: Can you really make fun of a classic without becoming a classic yourself?

October Monster Mash on What We Saw On Stolen Cable, and we’re going straight to the source—the Count himself.

This week we put two very different versions of Dracula head-to-head: Bela Lugosi’s legendary Dracula (1931) and Francis Ford Coppola’s lavish Bram Stoker’s Dracula (1992).

One gave us the image, voice, and mannerisms that defined Dracula for generations. The other took the same legend and turned it into a wild, romantic, visually stunning Gothic epic.

We talk Bela Lugosi, Gary Oldman, practical effects, incredible production design, questionable accents, and how two movies made more than 60 years apart can tell the same story in completely different ways.

Join Uncle Patches and Sinister Cinema as we kick off the October Monster Mash and ask the important question: Which Dracula truly has more bite?

Pulp Fiction – The Movie Your Cousin Snuck You Into

There were movies your parents took you to—and then there were movies somebody decided you were old enough to see without asking them.

Pulp Fiction was that movie.

This week on What We Saw On Stolen Cable, Uncle Patches and Sinister Cinema revisit Quentin Tarantino’s 1994 classic that changed what a generation thought movies could be.

We’re talking John Travolta’s comeback, Samuel L. Jackson’s unforgettable Jules Winnfield, Uma Thurman, Bruce Willis, an incredible soundtrack, nonlinear storytelling, endlessly quotable dialogue, and a mysterious briefcase we’re still talking about.

Before everyone copied it, parodied it, and analyzed it, Pulp Fiction was simply the movie somebody told you:

“You have GOT to see this.”

Maybe you rented the VHS, caught it on cable, or had an older cousin sneak you into the theater.

Either way, movies felt a little different afterward.

This is What We Saw On Stolen Cable.

Pulp Fiction – The Movie Your Cousin Snuck You Into.

The Goonies – And the Cyndi Lauper Music Videos

Everybody remembers The Goonies.

The pirate map. The Fratellis. Data’s inventions. Chunk and Sloth. The underground tunnels. One-Eyed Willy. And a group of kids who somehow convinced an entire generation that there might be a pirate ship hiding underneath their hometown.

But if you were watching MTV in 1985, The Goonies didn't end when you left the movie theater.

This week on What We Saw On Stolen Cable, Uncle Patches and Sinister Cinema head back to Astoria to revisit The Goonies—and the wonderfully bizarre Cyndi Lauper music videos that became part of the movie’s story.

“The Goonies ‘R’ Good Enough” wasn't just another song slapped onto a soundtrack. Cyndi Lauper turned it into a massive two-part adventure featuring members of the Goonies cast, Captain Lou Albano, “Rowdy” Roddy Piper, The Iron Sheik, Nikolai Volkoff, The Fabulous Moolah, Freddie Blassie, and even André the Giant.

It was The Goonies meets MTV meets professional wrestling, and somehow in 1985 that made perfect sense.

We’ll revisit the movie itself, the cast, Steven Spielberg’s involvement, Richard Donner behind the camera, the practical sets and effects, One-Eyed Willy’s incredible pirate ship, and why The Goonies became one of those movies that seemed to live permanently on VHS and cable television.

But we're also digging into that Cyndi Lauper connection and a pair of music videos that feel like their own strange little extension of the Goonies universe.

For those of us who grew up during that era, the movie and the music video can be difficult to separate.

You didn't just watch The Goonies.

You watched the movie.

You watched the video.

You waited for MTV to play it again.

And somewhere along the way, Cyndi Lauper, professional wrestlers, pirate treasure, and a bunch of kids from Astoria all became part of the same memory.

This is What We Saw On Stolen Cable.

The Goonies – And the Cyndi Lauper Music Videos.

Because sometimes...

Good enough really was good enough.