In a world where there are thousands of horror movies to choose from, four men stand up for those that MUST be seen. They have THE HORROR VISION. Your hosts Shawn Baker, Chris Saunders, Anthony Guerra & Ray Larragoitiy meet regularly at an undisclosed underground bunker and discuss all things horror!
This episode we watch and react to Jon Wright’s delightful 2012 Horror/Comedy Grabbers, an Irish monster movie with a beautiful setting and a drunken cast. Our Classic Corner pick is Stuart Gordon’s Re-Animator and we don’t stop there! Locke and Key’s premiere on Netflix, Dale Fabrigar’s D-Railed, Osgood Perkins’ Gretel and Hansel, Shudder’s The Marshes, American Horror Story, David Cronenberg’s debut novel Consumed, and Vault Comics knock-out horror titles The Plot and Black Stars Above. Oh, and there’s quite a bit more where those came from. Su Nioj!
Yes, Shawn loved Underwater so much that he invited his fellow fiends from The Horror Vision to go out and see it in the theatre. Here’s our SPOILER HEAVY discussion, because there’s a lot to discuss! Also, the fine gents from Beyondfest hosted 1993’s Freaked played at the Egyptian Theatre and Shawn was there! A full account of the flick and all the wonderful fixings that accompanied this historic screening!
While an insidious virus sweeps its way across the South Bay, Anthony and Shawn hide out in a covert bunker and press play on what might turn out to be the last movie they ever see! Good thing that movie is Rob Grant’s Harpoon, because as a last flick on Earth, it is A LOT of fun! And as long as the tape is rolling, after discussing Harpoon, we talk about American Horror Story, Daniel Isn’t Real, Denis Villeneuve’s Enemy, and Netflix/Blumhouse’s Sweetheart. Join us for the end, won’t you?
We’re back with a double-sized mutha-f*&ka of an episode! Tori, Anthony, Ray, and Shawn watch and review Jaron Henrie-McCrea’s WONDERFUL The Gateway (aka Curtain), which is streaming on Prime, Tubi, and Vudu for free and everyone should watch. Then we go into our “What the hell did we watch?” roundtable where topics of conversation include but are not limited to Tori’s review of Neil Marshal’s Hellboy, Anthony’s review of Blumhouse’s Black Christmas, Shawn’s review of Antrum: The Deadliest Film Ever Made, and Ray’s analysis of Cutting Class. Yes, that Cutting Class. After that, we have Tobe Hooper’s 1982 masterpiece Poltergeist as our Classic Corner pick, and then we take turns giving you our favorite Horror Films of 2019, and the decade! That’s right folks – a new decade is upon us!
In this episode, we gather to watch and discuss James Gunn’s 2006 slime-encrusted masterpiece, Slither. Ray was a bit concerned this one would be too gross for him. Was he right? Click play and find out.
The discussion also includes but is not limited to: Anthony’s return to Clive Barker’s Nightbreed, Shawn’s final verdict on AHS 1984, Tori’s reaction to Jennifer Kent’s Babadook follow-up The Nightengale, Ray’s theatrical screening of Robert Eggers’ The Lighthouse.
Oh yeah, and our Classic Corner pick this episode is none other than Stanley Kubrick’s The Shining!
This episode we do things a bit different. First, we begin fresh from a group viewing of Michael Goi’s Mary, starring Gary Oldman and Emily Mortimor. Shawn discusses his reaction to Mike Flanagan’s sequel to The Shining, Doctor Sleep. From there we begin a new segment, The Horror Vision’s Classic Corner, with a discussion of George A. Romero’s Night of the Living Dead. Anthony delves into his October-long rewatch of all seven seasons of HBO’s True Blood, and Ray and Shawn’s recent explorations of genre films, including but not limited to, Haunt, the Christopher Smith’s Creep, Beyond the Gates, and as the headline says, much, much more!
No, we do not talk about Frankenstein in this episode. This is the “Frankenstein” episode because due to faulty batteries and an increasing amount of Octoberfest beer, we had to record this one three times, well into the wee hours of the morning. This one is a ‘slow burn,’ but the conversation meanders into some, frankly, pretty cool places, so strap in for Chris and Tori’s reaction to Lupita Nyong’o and Josh Gad in Little Monsters, Ray’s first encounter with the convoluted masterpiece that is Lamberto Bava’s Demons series, Gaspar Noé’s Climax, AHS: 1984 and Apocalypse, Chillerama, and, oh yeah, how Nubbins from Texas Chainsaw 2 recently ran afoul of TSA security! All that, and a whole lot more.
Holy smokes – Shawn just returned from the Screamfest Premiere of Jen and Sylvia Soska’s remake of David Cronenberg’s Rabid and he is foaming at the f*&king mouth for it. Why? Listen to this under ten-minute quick take and find out why you need to get infected ASAP!
Pardon the free-form feel of this quick episode, but it’s late and we’ve just arrived home after the sensory overload experience that is Joe Begos’ BLISS! More on that in a moment, though, as Shawn and Ray give you a quick recap of our Beyondfest experiences for the week. We start with a recap of Joe Bob Brigg’s How Rednecks Saved Hollywood – definitely not horror, but when a two-and-a-half-hour lecture about where Rednecks come from and how they eventually came to define Hollywood is this good AND it’s presented by the premiere Horror Host of our era, you’re damn right we’re talking about it on our podcast! Follow that with a screening of the newly re-gorified cut of Tammy and the T-Rex and, well, that’s the best Monday night we’ve had in quite some time. Then, as mentioned above, shortly before recording this we attended a Double Feature of Joe Begos’ two new films, the psycho-delic vampire freakout Bliss, and the all-star siege horror of VFW and, well, are you starting to see why we love Beyondfest so much?
Chris, Ray, and Shawn gather want you to mark Thursday, September 26th as the day Shudder brought Creepshow back from beyond the veil! That’s right folks, there might be a lot of hype in the horror community, but it’s well-earned; Shudder NAILED it! Here’s our reaction to the first episode.
SPOILER FREE REVIEW: It’s the most wonderful time of the year as BeyondFest 2019 goes into full swing! Shawn flies solo on this quick take review of Richard Stanley’s new film, The Color Out of Space. H.P. Lovecraft adaptations are pretty damn tricky, but Mr. Stanley nails it. Find out why!
Anthony, Tori, Ray, and Shawn gather on a Saturday night to watch Richard Stanley’s 1990’s Trash-Tec epic, Hardware! Before were get there, however, we discuss the Director’s Cut of Midsommar and the difference between theatrical and home viewing experiences, as well as Tori’s Australian Horror Binge, Melt Movies, the upcoming American Horror Story: 1984, the original The Hills Have Eyes and how the dog has the biggest body count in the picture, and the second season of Mindhunter. Oh yeah, and Ray pitches his own unique idea for a slasher movie!
And there’s not a trailer yet, but being that Joe Begos’ VFW recently premiered at Fantastic Fest alongside Bliss, we may have two Begos flicks to look forward to before the year’s out, and that’s good news to us!
Also, there’s Richard Stanley’s The Color Out of Space, the new Benson and Moorehead Synchronic, and honestly, probably a few more we’re blanking on at the moment.
Ray, Anthony, and Shawn give you their overjoyed reaction to Radio Silence’s Ready or Not, surely one of the best movies of the summer. From there, we talk about revisiting Rob Zombie’s Halloween, 1972’s Grave of the Vampire, Joe Bob Briggs, The Transfiguration, Prom Night 2, Mindhunter’s season two, Cronenberg’s Videodrome. Also, Anthony and Shawn provide a recap of their experience attending Long Beach’s MidSummer Scream Horror Con. Finally, you’ll hear for yourself how Scott Schirmer’s 2012 Epic Video Nasty Found. leaves the crew initially speechless.
Originally published in the Spring of 2018 as an Amazon exclusive, Horror Vision founder and co-host Shawn C. Baker’s break-out collection of short stories makes a new mark as the first Literary work published under the Horror Vision Press imprint. 7 Tales to chill your blood:
Scare Me: At a Hollywood movie premiere, Apple and Lucas discover a new app marketed toward enhancing the experience of upcoming horror film Scare Me. The app claims it can blur the lines of reality that separate the viewer from the film. Sounds cutting edge and cool, but can it really be a good idea to inhabit a horror flick’s reality? Probably not.
The Apartment: Upon returning to his home town, Devlin’s former bandmate Cole drops a bomb: the song they wrote and performed as an invocation to the Hebrew Angel of Terror? Not only did it work, but they didn’t complete their banishing ritual.
In His Arms, She Felt Loved: Vicki and Addison’s marriage has devolved to a violent charade, but when she kills him in self-defense, Vicki finds her problems are only beginning.
The Midnight Tree: A barback on Chicago’s southside searches for an elusive nightclub that has a long, infamous history.
Pentagram Girls: After his divorce, Gary discovers dating apps. Be careful Gary, you never know who you’ll meet online.
1422 Euclid: Sex addiction is a terrible thing. What’s worse are the creatures that feed on the addict’s pain.
A Collection of Desires: The couple that kills together stays together, right? Well, when Mark and April decide to murder her landlord, things go kind of awry…
Anthony and Shawn finally carve out a few minutes to give you their take on two of the biggest theatrical released Horror flicks this summer. They literally sit in a car and give you their spoiler-free reviews of Scary Stories to Tell in the Dark, and 47 Meters Down: Uncaged. Check it out and be sure to leave a comment here or on social media telling us if you agree or disagree!
On this very special episode of The Horror Vision, Chris, Ray, Anthony, and Shawn bid farewell to Genre Icon Ruger Hauer. We talk about our favorites from his filmography and even use the back half of the episode to react to a viewing of 1992’s Split Second, which pits Hauer against… well, something. At the top of the episode, we talk about our personal horror film hatreds, Chris’s love of the new What We Do In the Shadows series, Ray’s voyage into the works of Jodorowsky and Kenneth Anger, Anthony reviews Slaughterhouse Rulez, and Shawn reports on his painstaking attempt to watch all the Friday the 13th films in sequential order for the first time.
The Horror genre is very important us here at The Horror Vision, but why? Well, this episode we spend a good chunk of time introducing ourselves, briefly summing up why and how we love Horror so much. After that, we watch Matthew Holness’ Possum. In between, topics of discussion include but are not limited to Tori’s obsession with Luca Guadagnino’s 2018 Suspiria remake/reimagining, remakes in general, and Stranger Things 3.
Anthony and Shawn went to the opening night of Midsommar, Ari Aster’s follow-up to 2018’s Hereditary. How was it? Let them tell you. WARNING – we’d recommend not listening to this or anything else about the movie before seeing it; always best to go in blind. That said, the first half of this short reaction episode is spoiler free. The second half – which is clearly delineated by THV’s infamous “Spoiler Klaxon,” is not. Listen to the first half before you see it, and the rest after.
Holy smokes! Two episodes in one week. Well, it seems we at The Horror Vision have a lot to talk about this month. Anthony, Chris, and Shawn talk about a ton of good stuff, including but not limited to Godzilla: King of Monsters, The Perfection, Jim Jarmusch’s The Dead Don’t Die, and Adam Rifkin’s batshit crazy epic The Dark Backward, all before sitting down and watching Josh Lobo’s I Trapped the Devil and then recording their reaction to it! su nioJ!
Anthony, Ray, and Shawn talk about re-watching last year’s Horror Hallmarks, Yann Gonzalez’s Knife + Heart, Never Hiking Alone, and David Lynch’s Return to Twin Peaks before setting off with Writer/Director Dave McLean on a beautiful river ride in the picturesque Outback. Little do they know, there’s a Rogue Crocodile in the waters waiting to maim and eat them and Patch the Wonder Dog!
As has become their custom, Tori, Ray, Anthony, and Shawn gather on a Saturday night to talk about all the horror flicks they’ve watched since the last episode, then round the night out with a viewing of and reaction to Mike Mendez’s 2000 film The Convent. Other topics of discussion include The Nest, Pledge, Border, Sam Was Here, The Wind, and The Chilling Adventures of Sabrina, Season 1 part 2. Also, Anthony loves the new Mortal Combat game and Shawn is excited as all hell that HULU recently announced optioning author Nathan Ballingrud’s first book of short stories, North American Lake Monsters!
It’s Saturday night and Anthony, Ray, and Shawn are joined by good friends John* and Tori for a viewing of Jordan Downey’s awesome new film The Head Hunter, an instant low-budget classic that serves as a fantastic example of how a great film doesn’t necessarily need a ton of resources behind it. As usual, we start the show talking about all the great stuff we’ve found over the last few weeks – Anthony’s visit to Grindhouse Video in Tampa, Tori’s love of The Prophecy and Exorcist III, and John & Shawn’s LA excursion to I Like Scary Movies, to name a few. Sit back, close your eyes, and open your mind to… The Horror Vision!
*Also, check out John, AKA Jonathan Grimm’s unbelievable art HERE.
SPOILERS!!! Anthony, Shawn, Chris, and Suzy take in the first showing of Kevin Kölsch and Dennis Widmyer’s adaptation of Stephen King’s classic horror novel Pet Sematary at their local theatre and have some pretty mixed reactions. Hear them unpack what they saw directly after they saw it, and try to come to terms with the pros and cons.
While Chris is on tour in Europe with Rezurex, Ray, Anthony, and Shawn get together post-Us and watch the recently released Book of Monsters! Writer Paul Butler, Director Stewart Sparke, and Cinematographer Hamish Saks bring a fun, practical effects-laden story about Sophie, a teenage girl whose 18th birthday becomes a bloodbath thanks to an ancient book of, well, Monsters! Plus, we talk about all the great, and not so great flicks we’ve watched since the last episode, including but not limited to Critters: The New Binge and De Palma!
Recently, my friend Jesus gifted me a copy of Pornsak Pichetshote and Aaron Campbell’s Infidel trade paperback. I’d heard titterings about this book online; that it was a fantastic new horror comic, and a modern update on the haunted house paradigm. But despite flurries of excitement in my peripheral vision, Infidel somehow escaped my purview on the shelves of my beloved comic book shop.
I say most sincerely then, thank you, Jesus, for sending this book my way. Infidel is, simply put, stunning horror. It is modern, terrifying at times, and downright ugly at others. Ugly, despite the absolute majesty of the art and execution of the concept.
You can find this first volume pretty much anywhere comics are sold. Will there be others? I’m unsure; the first trade ends the story satisfactorily enough, but of course, with a success, there is always room for more. Plus, the thankfully vague explanations for the haunting the characters stumble upon in the back half of this volume are just begging to be fleshed out. There’s dark magick here, and something else you can’t quite put your finger on. Which makes everything all the more frightening.
When you look at Infidel, the first thing that strikes you is the art. It’s gorgeous and strange; beautiful even in its abject ugliness. It carries the story but remains abstract and non-committal. Make no mistake, this is not an easy feat, and everyone involved deserves a tip of the hat for the pacing, tone, and emotional resonance Infidel carries.
Look at that. Bone-chilling, right? Well, that’s just the beginning of the nightmare fuel in this book.
Infidel’s basic plot is this: two Muslim American women and their multi-cultural neighbors find themselves living in a building haunted by Xenophobic ghosts. It’s a great set-up, but the execution even transcends what you can say about it in an elevator pitch. Needless to say, the book landed a film deal after a mere two issues, and if reading this late at night, the dark pressing in against your lamp, doesn’t creep you right the hell out, well, you might want to consider signing up for a night in that haunted mansion. Infidel is probably the creepiest book I’ve read since Scott Snyder and Jock’s Wytches (and just when the hell is that coming back?)
Infidel hits you in the horror nerve while whittling your defenses away with well-earned empathy for the characters. Bad shit happens in our world, but in Infidel, that’s only the beginning.
Anthony, Ray, and Shawn kick off their celebration of Women in Horror month with Jen and Syliva Soska’s American Mary. The body horror is in full effect as we, ahem, dissect this modern-day classic that stars the inimitable Katharine Isabelle, Tristan Rick, and Antonio Cupo.
Two Saturdays ago Ray, Anthony, and Shawn sat down and watched Director/Producer Kelton Jones and Writer/actor/producer/editor Clint Carney’s 2017 film Dry Blood. It was a harrowing experience. An indie horror flick definitely worth supporting. Hear our thoughts and order the movie direct from Epic Pictures HERE.
It’s Saturday night and we’ve just had a viewing of Cold Hell! Pumped, Ray, Chris, Anthony, and Shawn decide to do an impromptu episode and talk about what they’ve seen recently, what they recommend you watch and why, what they recommend you don’t watch and why, and all kinds of tangential horror goodness in between!
This episode Anthony, Ray, and Shawn run down all the great horror movies they saw in 2018. Their favorites, the indies that deserve your time, the reasons why, and a lot of discussion on how great the world of Horror is at this moment and how it might just keep getting better!
This episode we welcome Writer/Director/Producer Adam Marcus, Actress/Writer/Producer Debra Sullivan, and Producer Bryan Sexton, creators of the just released on DVD/BR holiday horror film Secret Santa, which played to rave reviews in 19 festivals over the previous year! Our guests discuss true independent moviemaking, the state of horror, the challenges of an 11-day shoot in the middle of a blizzard, their fantastic cast and the genesis of their production company Skeleton Crew.
A few weeks later than planned, but Anthony, Ray, and Shawn finally get a chance to tell you what they thought of Luca Guadagnino’s remake of Dario Argento’s 1977 seminal horror classic Suspiria. Heavy spoilers on that one. Also discussed, Netflix’s The Chilling Adventures of Sabrina, Graham Reznick’s Dead Wax now on Shudder, and The Barn II’s indie go-go.
Anthony and Shawn give you their immediate, post-theatre response to Bad Robot’s Overlord, a WWII action/Horror mash-up that pushes big budget horror in a pretty good direction and bodes well for upcoming big screen horror. In our opinion.
This episode, Chris, Anthony, Ray, and Shawn give you our yearly Halloween must-watches, starting from October 1st and on until the last candle is extinguished on All Hallows Eve! From Halloween classics to left-of-center indies, there’s a ton of great stuff to help get you in the Halloween mood!
SPOILERS! SPOILERS! SPOILSERS! We talk extensively about the new David Gordon Green Halloween film, so PLEASE do not listen until you have SEEN THE MOVIE!!!
You have been warned.
Friday, 10/19/18: Ray, Anthony, and Shawn have just seen David Gordon Green’s Halloween 2018. Leaving the theatre and traveling to a clandestine location, they have not spoken to one another at all about how they felt about the film. They saved that for this mini-episode. The following are their reactions!
In the inaugural episode of the show, Anthony, Ray, Chris, and Shawn warm up talking about recent viewings, then cover Benson and Moorehead’s The Endless. From the further possibilities of the universe these two are creating, to how The Endless ties into their first film, Resolution, we cover it all!
In a few days, the first episode of my new podcast will drop. The Horror Vision is a four-man discussion on all things horror, where my friends Ray, Anthony, Chris and employ a round-table, informal setting to wax philosophical on a featured movie every month. The format of the show will come into its own eventually, but for the moment we’ll begin each episode with a catch-up, spoiler-free discussion on anything we’ve seen since the last episode that we want to tell people about, and then move into the featured film, where spoilers will not be a consideration. For the first episode, which we recorded last Sunday and which should hopefully go up on our forthcoming website and iTunes tomorrow, we chose Benson and Moorehead’s The Endless. While we wait for that to drop, I’ve been thinking. I’ve started watching a lot of movies again, and I wanted to have a place to discuss them. I also wanted to start a new column on Joup since my previous one ended, so I figured, why not combine both? So welcome to the inaugural installment of The Horror Vision: The Column.
I’ve become quite the fan of Writer/Director Jeremy Saulnier over the last few years. Blue Ruin and Green Room would both have been near the top of my year-end film lists in their respective years of release, if I still did year-end movie lists (and I actually might this year, what with all the amazing stuff released). When my good friend Mr. Brown messaged me two days ago that Saulnier’s new one, Hold The Dark, was hitting Netflix on Friday night, I knew exactly what I was going to be doing this weekend.
Is Hold the Dark horror? Not exactly. That’s what makes it all the more horrific and nightmare-like. This is the corner of the genre I reserve for films like No Country for Old Men, Green Room, and Blood Simple, among others. Disclaimer aside, let’s go ahead and get into it.
Hold the Dark is exceptional; in my mind, this is Saulnier’s first masterpiece. Nothing against his other films, but this is just… a level beyond. The control Saulnier has over the chaos of the setting, situations, and characters in this film is amazing, and it’s also what creates such a wonderful tension that sticks in the viewer’s craw, driving you on into this evolving nightmare. Think of Fargo, Season one, the way inevitability holds itself just behind you the entire time, tapping its fingers, reminding you what’s about to emerge from out of the dark. There’s a definite tonal relation to that here, and if you’ll allow me to digress for a moment to make a point, there’s some other relevant comparisons I’d like to make, if for no other reason than it explains how I feel about this movie by juxtaposing them with two other modern examples of what I see as a resurgence of what I can only think to call American Gothic, not a genre per se but a modern sensibility in storytelling that takes cues from Noir, Gumshoe Pulp, Southern Gothic, and the Western genre and runs them through the strange moral wilderness and decay of the twenty-first century.
If you remember, sometime in 2017 HBO announced that Jeremy Saulnier had been signed to direct all episodes of True Detective Season three, seemingly in an effort to return the serial to that “8-hour movie” format it had in its first season. After the fiasco of TD Sn2, where almost every episode felt like a spinning plate that never quite stopped spinning, what became apparent was that what made season one so engrossing and consistent was Cary Fukunaga directing all the episodes, just as what led to season two’s disaster piece was having no less than five different directors across eight episodes. The idea that someone as talented as Saulnier was signing on to take tonal control of the eminent third season excited me. And then Saulnier left the project, and that feeling I have had since season two that maybe the creator is a bit of a nightmare to work with resurfaced, and True Detective went back to being a show that has to earn back my time and interest.
I’d like to think that in Hold the Dark, Jeremy Saulnier made something that shows the producers of TD just what they could have had. Hold the Dark shares similar thematic and tonal DNA with Saulnier’s other work – the arduous but insistent pacing that manifests as a palpable weight on the film’s shoulders, strong characters who don’t give a toss what you might think of them in the name of doing what they have to do, arrows. But Hold the Dark also shares that same DNA with True Detective season one at its best, as well as, in my mind, another modern American Gothic masterpiece, the Cohen Brothers’ No Country for Old Men. There’s something curt about the way the exposition leaks out of the character’s lives as we join them in all these works, coagulating blood from a series of savaged wounds. It makes for an intensity in viewing that not many other recent stories have matched, and while it can be a little exhausting, that is part of the magic. You go through what the characters go through. And complementing this are the most stoic performances I’ve seen in some time – Jeffrey Wright, in particular, does such an immense job focusing Russell Core’s tenacity that at times he looks as though he is about to crumble, somehow without ever giving up the strength that radiates from his molten core (pun intended).
I watched Hold the Dark twice in a row last night – something I almost never do for pleasure – and can tell you I’ll jump at the chance to watch it again at any time. It’s that damn good.