This week, on a very special episode of Reject Radio, co-director of the Oxford Film Festival Melanie Addington joins fan favorite Luke “Fat Albert” Mullen to discuss the prospect of being sued by Bill Cosby, the prospect of “just doing it,” and the prospect of stealing David Slade’s agent. Plus! We find some spare time to review The Last Exorcism and Make Out With Violence without devolving into a fist fight.

The director of Mystery Team will be joining us as we accidentally do our Lost recap show before the finale airs.

This week, on a very special episode of Reject Radio, we discuss the finer points of something or other.

This week, on a very special episode of Reject Radio, we see how drunk we can get on Avatar, on the movies of the decade that were overlooked, and table wine.

This week, on a very special episode of Reject Radio, we decide never to do the show ever again in 2009.

This week, on a very special episode of Reject Radio, we delve deep into the world of why The Oscars should nominate more populist best pictures. And we rob a bank.

I admit that I, too, scoffed at the idea of a Monopoly movie. I still do. It’s not just the cold I’ve been trying to beat for a few days.

This week on a very special episode of Reject Radio, we discuss spoilers (what they are and where to find them), zombie attacks, and why Ricky Gervais really loves being told he’s a fat slob.

This week on a very special episode of Reject Radio, Kevin Carr attempts to continually steer the discussion toward why his addiction to animated pornography is not a social problem, but I get us back on track and talking about horrible, terrible films like clockwork. Plus, chopped and screwed music!

With Neil kidnapped by a madman who hunts down The Most Dangerous Game, Cole is left to his own devices. Luckily, we’ve got special guest co-host Eric Vespe from Aint It Cool News to partake in the mid-show dance break. It’s called the Rumpshaker, friends. Also, we talk about movies at some point.

This week, on a very special Reject Radio, we discuss the finer points of Bea Arthur’s genius while attempting futilely to discuss Year One and the world of remakes taking over theaters like something that really effectively takes over something. Like Genghis Khan.