John Candy is the kind of guy you want as your uncle, your travel buddy or your best friend. But does he work as a private investigator cracking a complicated kidnapping? "Who's Harry Crumb?" rolled the dice to find out.

Falling somewhere between "Fletch" and "Ace Ventura," this 1989 comedy was largely predictable, mostly uninteresting and painfully miscast, but it had its moments.

Absurd disguises, a loveable sidekick, non sequiturs and uncomfortable outfits kept things irreverent and memorable. And for an '80s movie, that's sometimes all you need.

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When people think DeNiro and Scorsese, it's generally mob hits or boxing rings. But 1983's "The King of Comedy" is an often-overlooked exploration of television fame that shows just how funny, dark and thought-provoking the actor-director pair can be in any genre.

Listener Charlie in L.A., who brought us "Boogie Nights," is back with another stellar commission that led to some interesting topics, including when it's OK to ask for an autograph, who the new acting royalty is in Hollywood, whether Sandra Bernhard helped or hurt the movie and when being agreeable becomes creepy.

If you've never thought much of Jerry Lewis, wondered where Todd Phillips got his inspiration for "Joker" or wanted to hear Gene gush over early '80s fashion, this is the episode for you.

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Once upon a time, there was a movie about an unlikeable fancy lad joining the unlikeable crew of a ship called The Filthy Whore after David Letterman tried to sell him a monkey, but at least it had Tim Burton as the director. Until it didn't.

This week, Shat The Movies brings you "Cabin Boy," the 1994 box-office bomb that nearly sank Chris Elliott's career and left the Shat Crew scratching their heads.

On one hand, this movie is terrifically quotable, wonderfully quirky and loaded with comedic talent. On the other hand, viewers might find themselves asking where the budget went, what year it's supposed to be set in and why a flying cupcake is spitting tobacco. 

Was "Cabin Boy" horribly marketed? Did the writers run out of material? What would happen if a Viking had sex with a shark? We dive into these questions and more in this week's episode.

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Shat The Movies was made for movies like "Hardbodies," a motion picture originally planned for the Playboy Channel but released in theaters because America needed boobs.

This 1985 skin flick has all the tropes you'd expect: women in bikinis, beach parties, waterbeds and cheesy lines. But "Hardbodies" surprised us with a few unexpected moments: a no-means-no stance on sexual harassment, a heartwarming makeover scene, an exploration of aging and a woman banged so hard she bursts through the roof of a limousine. 

In this episode, the Shat Crew explores the charm of bad writing, what qualifies as transactional sex and how marketing ruins everything. Gene marvels at the many kinds of breasts he didn't know existed, and Dick debates with Ash on whether America has gotten fatter or cinema has become more inclusive.

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"Let It Ride" is a 1989 comedy starring Richard Dreyfuss as Jay Trotter, a perpetually unlucky gambler who, after overhearing a tip about a longshot horse, decides to bet all his savings on it. As Jay's luck suddenly turns around, he finds himself on an exhilarating winning streak at the racetrack, encountering various eccentric characters along the way. Despite facing doubts and temptations, Jay chooses to let his winnings ride, leading to a thrilling climax where his faith in luck and optimism are put to the test. The film is a comedic and heartwarming exploration of gambling, optimism, and the thrill of taking risks.

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Discussing race in America is never easy, and it was even harder in 1989 when Spike Lee released "Do The Right Thing," a film filled with ambiguity, tension and Rosie Perez dancing.

This supersized episode, commissioned by listener Grant Leisure, compelled the Shat Crew to take a hard look at police brutality, gentrification, reverse racism and freedom of expression.

But, being Shat, your hosts also took the time to debate proper thermostat settings, what's wrong with Ash's computer and whether Gene Lyons is white.

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Before "Matilda the Musical," "Madeline" and "Coraline," there was Danny DeVito's 1996 adaptation of Roald Dahl's "Matilda," a film the entire Shat Crew enjoyed — for very different reasons.

Ash was the most familiar with "Matilda," having seen it in theaters. Gene had read other Dahl books and knew what to expect. Dick, once again, confused it with another movie.

And that devolved into the tangential conversations you'd expect from the Shat Crew: What constitutes child abuse? Did J. K. Rowling rip off Roald Dahl? Which kid in the movie is cutest? Was Bruce Bogtrotter a hero because was fat? Or was he a hero who happened to be fat?

Was Trunchbull "Eastern Bloc?" Was Matilda a bully? Did Miss Honey's secret really qualify as "dark?" It was all up to debate. As was the question of whether DeVito's choices worked.

One thing's for sure, his casting was spot-on, wrangling comedic talent like Paul Reubens, Jon Lovitz and Rhea Perlman to score this movie some serious Weird Points.

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We've all seen that scene from "Perfect" where John Travolta is humping his way through a Jamie Lee Curtis aerobics class, but there's another two hours to this 1985 box-office bomb. And we had to watch all of it.

Longtime Shat The Movies beer buddy Scott in Friendswood, Texas, was kind enough to commission a film about Gene Lyons' three favorite topics: journalism, fitness and Ralph Waldo Emerson. Not to be left out, Dick Ebert had lots to say about sex with elite athletes. And Ash got into a car accident.

What genre is "Perfect?" Do newsrooms run on self-loathing? How is 2024 gym etiquette different from 40 years earlier, and did we need so much footage of Jamie Lee Curtis driving? Find out for yourself in this week's episode of Shat The Movies.

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"The Legend of Billie Jean" had a little something for each Shat The Movies host. Gene got his Honda Elite scooter. Ash got her Christian Slater. And Big D got Helen Slater with no bra.

But that's not why listener BreAnn M. commissioned this 1985 coming-of-age film. For her, "The Legend of Billie Jean" was an inspiration, a gateway to feminism and a radical view of what kids could do.

In this episode, the Shat Crew debates whether all Gulf Coast states are the same, whether men are as bad as the movie makes them out to be and whether teens are a powerful force or apathetic losers.

Gene offers some tips on how to make a powerful video for the media. Ash rails against the "these darn kids" messaging of '80s films. And Big D describes what would really happen to Billie Jean and her gang in the real world. 

Other topics range from the accuracy of police snipers to the plausibility of life in Vermont. And, of course, everyone loves Pat Benatar. 

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When listener Rob F. commissioned "Gattaca" in honor of his father, we all remembered it as beautiful, futuristic and distinct. Oddly enough, we couldn't remember much else. 

We remembered Ethan Hawke but not his lengthy voiceovers. We remembered Jude Law but not the incinerator scene. We remembered Uma Thurman but not her character's heart condition. 

This 1997 sci-fi debut for director Andrew Niccol made some interesting choices, like casting loads of TV talent and pretending Jude Law and Ethan Hawke look anything alike. And it also had some swagger, like pinstripe spacesuits and film-noir vibes. 

The Shat Crew was left to debate: Is "Gattaca" a case of style over substance, or is it a visionary film that went underappreciated for years?

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Shat The Movies didn't invent sexual perversion, edgy attitudes and impeccable taste in music, we just perfected it. More than 25 years earlier, Christian Slater inspired teens to "talk hard" in the 1990 box office bomb "Pump Up The Volume."

Ash was delighted when listener Eric commissioned this coming-of-age movie to highlight his belief in the power of listening. Dick Ebert viewed it from a parent's perspective, and Gene was aghast at Happy Harry Hard-on's terrible microphone discipline. 

As the Shat Crew debate whether a teen can suffer in the affluent suburbs, they touch on the King of Teen Angst, rites of passage, how to unmask a pirate-radio host, microwave explosions and whether "Pump Up The Volume" is just "Footloose" minus the dancing.

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