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Episode 172: Evan, Rémy & Marcus unravel Brian De Palma’s SISTERS (1972), a blood-soaked Hitchcockian psycho-sexual nightmare of conjoined twins, fractured identities, and a murder witnessed through the wrong window. SET A REMINDER – October 21st at 8PM, the YOU CAN SEE EVERYTHING live call-in show: https://www.youtube.com/watch?v=VmMitewxl_0 If you are able to support Tom Fitzgerald, please sign up for the OFH Patreon: http://patreon.com/onefuckinghour

Episode 171: One F'n Tober is upon us! Evan, Rémy and Marcus dive into Ken Russell’s The Devils (1971), a feverish collision of religious hysteria, sexual obsession, and political power starring Oliver Reed and Vanessa Redgrave. After decades of censorship and controversy, the film arrives in U.S. theaters uncut and restored in 4K for the first time on October 16th. Get tickets here: ⁠https://www.thedevils.movie⁠ If you are able to support Tom Fitzgerald, please sign up for the OFH Patreon: ⁠http://patreon.com/onefuckinghour⁠

Episode 1970: Evan, Rémy & Marcus go one f'n hour on Barbara Loden’s WANDA (1970), a raw, radical masterwork about alienation, failure, and a woman adrift on the margins of American society – and truly one of the best movies of the decade! Episode edited by Ian McDonald: ⁠https://www.instagram.com/ianscottmcd/⁠ If you are able to support Tom Fitzgerald, please sign up for the OFH Patreon: ⁠http://patreon.com/onefuckinghour

Episode 169: Evan, Rémy and Marcus revisit Last Summer (1969), a sun-soaked coming-of-age tale that slowly descends into something far darker and more disturbing. We unpack the film’s provocative performances, shifting morality and brutal final act that feels like a precursor to The Last House on the Left. If you are able to support Tom Fitzgerald, please sign up for the OFH Patreon: http://patreon.com/onefuckinghour

Episode 168: Evan, Rémy and Marcus go One F'n Hour on PRETTY POISON (1968) Noel Black's razor-sharp cult classic that disguises itself as a quirky romance before revealing one of the darkest and most subversive American films of its era. From Anthony Perkins' unforgettable performance to Tuesday Weld's chilling turn and the film's biting commentary on fantasy, manipulation, and suburban America, we unpack how this overlooked gem became one of the greatest cult movies of the 1960s. If you are able to support Tom Fitzgerald, please sign up for the OFH Patreon: ⁠http://patreon.com/onefuckinghour⁠

Episode 167: Evan, Rémy and Marcus go one f’n hour on THE TRIP (1967), where Roger Corman, Jack Nicholson, Peter Fonda, Dennis Hopper, the LSD movement, and the birth of New Hollywood all collide in one of the wildest behind-the-scenes stories of the 1960s. Prepare yourself for another "Baby Got Back Story" episode as we dive into the making of the film and the fascinating intersection of iconic figures and cultural forces that helped define the late '60s and '70s. If you are able to support Tom Fitzgerald, please sign up for the OFH Patreon: https://www.patreon.com/onefuckinghour

Episode 166: Evan, Rémy & Marcus dive into Michelangelo Antonioni's Blow-Up (1966), following a London fashion photographer who believes he may have accidentally photographed a murder. They unpack the film's iconic imagery, swinging London backdrop, elusive ending, and why Blow-Up remains one of the defining films of the 1960s. After the hour, stay tuned for our ROB ZOMBIE CHALLENGE where we judge the best Rob Zombie "Yeah!" and selection the $100 winner! If you are able to support Tom Fitzgerald, please sign up for the OFH Patreon: ⁠https://www.patreon.com/onefuckinghour⁠

Episode 165: Evan, Rémy & Marcus go one f'n hour on Sergei Parajanov's Shadows of Forgotten Ancestors (1965), the groundbreaking Ukrainian masterpiece that transformed a tragic love story into a hallucinatory fever dream of folklore, ritual, memory, and myth. We explore the film's astonishing visual style, its defiance of Soviet Socialist Realism, and why it remains one of the most singular achievements in world cinema. If you are able to support Tom Fitzgerald, please sign up for the OFH Patreon: ⁠http://patreon.com/onefuckinghour⁠

Evan, Rémy and Marcus go one f'n hour on Stanley Kubrick’s DR. STRANGELOVE, the unsettling Cold War masterpiece that confronts the specter of nuclear annihilation through absurdist satire and institutional madness. Along the way, they explore the culture of atomic anxiety that shaped the film, its disturbing parallels to our modern world, and the thematic connections it shares with Sidney Lumet’s FAIL-SAFE and Michelangelo Antonioni’s RED DESERT, two other 1964 classics grappling with humanity’s fragile relationship to technology, power, and catastrophe. Sign-up for the OFH Patreon to get access to our bonus episodes and to support Tom Fitzgerald: ⁠http://patreon.com/onefuckinghour

Episode 163: Evan, Rémy & Marcus descend into The Haunting — the psychologically devastating haunted house film that transformed supernatural horror into a waking nervous breakdown. We explore how director Robert Wise weaponized sound, architecture, shadow, and emotional repression to create one of the most influential and deeply unsettling horror films ever made. VOTE HERE – WHAT MOVIE FROM 1964 SHOULD WE COVER FOR NEXT EPISODE?: https://www.youtube.com/post/UgkxKjRYdCf7-Gk5gknTK-pLoQmczMIj-nbT If you are able to support Tom Fitzgerald, please sign up for the OFH Patreon: https://www.patreon.com/onefuckinghour

Episode 162: We dive into the ghostly CARNIVAL OF SOULS (1962), a cult classic that fused low-budget horror with the existential art-house sensibilities of Ingmar Bergman and Jean Cocteau. Beneath its eerie imagery and abandoned carnival landscapes lies a deeply personal meditation on death, alienation, and the terrifying feeling of no longer belonging to the world around you. If you are able to support Tom Fitzgerald, please sign up for the OFH Patreon: http://patreon.com/onefuckinghour VOTE HERE – WHAT MOVIE FROM 1963 SHOULD WE COVER FOR NEXT EPISODE?: https://www.youtube.com/post/UgkxB-hww_Q3zL8NF-6WarM61OoclcX2hYO-

Episode 161: Evan, Rémy & Marcus go one f*****g hour on THE MISFITS, John Huston's haunting, sun-bleached final chapter of old Hollywood and the death of the American West – exploring its troubled production, iconic performances, and why it still hits like an emotional gut punch decades later. VOTE IN THE 1962 POLL HERE: https://www.youtube.com/post/UgkxC5Ap7fYVnr_ZTY75vucP3YFEDhygspH_ FOR FURTHER READING: ⁠https://classic.esquire.com/article/share/3088641c-8c7f-42dd-aeda-4ad2564a3cc2?source=nl&utm_source=nl_esq&utm_medium=email&date=092922&utm_campaign=nlm29212891&utm_term=ESQ_Esquire_Membership_CLASSIC_PAID⁠⁠https://www.magnumphotos.com/arts-culture/cinema/misfits-story-shoot-inge-morath-arthur-miller/⁠⁠https://www.magnumphotos.com/arts-culture/cinema/magnum-on-set-the-misfits-eve-arnold-marylin-monroe-clark-gable/⁠⁠https://www.solldn.com/journal/elliott-erwitt-behind-the-scenes-of-the-misfits/

Episode 1960: Evan, Rémy & Marcs break down Peeping Tom (1960), the controversial film that wrecked Michael Powell’s career before being rediscovered as a foundational proto-slasher and a deeply disturbing psychological profile of its killer. We dig into its voyeuristic horror, and critical backlash. If you are able to support Tom Fitzgerald, please sign up for the OFH Patreon: ⁠http://patreon.com/onefuckinghour⁠

Episode 159: PICKPOCKET is a quietly radical masterpiece that redefined cinematic storytelling through its stripped-down performances, obsessive focus on gesture, and a hypnotic, almost spiritual portrayal of crime and isolation. In this episode of One F*****g Hour, we dive deep into Robert Bresson’s singular, meticulous style, unpacking his strange use of non-actors, fragmented editing, and psychosexual undercurrents to reveal how every frame is engineered with unnerving precision. If you are able to support Tom Fitzgerald, please sign up for the OFH Patreon: ⁠http://patreon.com/onefuckinghour

Episode 158: For their 1958 movie pick, Evan, Rémy & Marcus go one f’n hour on Hitchcock’s Vertigo—one of cinema’s most unsettling portraits of obsession, desire, and control. They dive into its deeply personal, psychosexual undercurrents: identity as performance, love as projection, and the disturbing dynamics at its core. It’s Hitchcock at his most honest, surreal, and revealing. If you are able to support Tom Fitzgerald, please sign up for the OFH Patreon: ⁠http://patreon.com/onefuckinghour⁠