Fresh from a Saturday afternoon theatrical viewing of Ti West’s first film in 5 years, Ray and Shawn give you a quick, spoiler-free review/reaction to X. It’s awesome and we’ll tell you why you want to see it on the big screen if you can!
“Isolation Breeds Horror.” Indeed it does, and a recent example of this in cinema is Mickey Keating’s new film, Offseason. Starring Jocelin Donahue, Joe Swanberg, Jeremy Gardner, Richard Brake and Melora Walters, the film is an exploration of tropical southern gothic isolation Horror. Offseason hit VOD last Friday – a $6.99 rental on Prime and is playing in arthouse theatres around the country. Here’s what we thought.
Also this episode, Anthony watches monster movies with his son and finishes the Horror Space Opera game Valfaris on his Switch, and Shawn and Ray talk suggest where newcomers to New Wave French Horror begin with Shudder’s recent addition of a large part of the movements most notable films.
Ray and Shawn continue this new regular adjunct series – Sticks & Stones, with a look at 1984’s Children of the Corn and 2013’s Jug Face, two movies that have more in common than you’d probably realize at first glance.
Ray and Shawn begin a new, regular adjunct series – Sticks & Stones will look at the wealth of film and literature that fall into the realm of Folk Horror, starting this week with a discussion that begins with Kier-La Janisse’s new documentary Woodlands Dark and Days Bewitched (Severin Films), and continuing onto Avery Crounse’s 1983 forgotten epic Eyes of Fire and Robert Eggers’ 2016 masterpiece The Witch.
We bring you our favorite Horror of the past year. Movies, TV, Novels, Comics and more – this is the best of the best.
Spoiler-free reviews of all the big Autumn Horror flicks, as well as the awesome new Yellowjackets series on Showtime!
Ray ventures out on his own and give us two SPOILER-FREE reviews for Julia Ducournau’s Titane and Sion Sono’s new Nic Cage vehicle Prisoners of the Ghostland!
It’s time to get ready for a fight, horror fiends! In 1976, director John Carpenter released Assualt on Precinct 13 and almost single-handedly created the modern siege film. The story of a policeman with a couple of other officers, secretaries, three felons, and a hysterical man trying to keep at bay gang members who are trying to break into a closing police station in an abandoned section of Los Angeles to kill them all was groundbreaking. The gang members were a nameless, faceless threat, while the people keeping them out were charismatic and likable. The film also highlighted a characteristic that would be synonymous with the siege drama: urban blight. These films and stories would literally not be possible if the locations under siege – once functional structures occupying the heart of booming, populated areas – had not been left behind, abandoned by urban growth. Since the film was released, the genre has become a favorite subgenre within Horror (even Carpenter himself returned to it several times) so today, we are going to dive into a siege double feature with John Carpenter’s Ghosts of Mars and Joe Begos’ VFW.Continue reading “Cineray Under Siege!”
Ray and Shawn go over their recent viewings, and there are A LOT of recommendations therein. From Netflix’s new Fear Street: 1994 to Ray’s impressions on this year’s Etheria Film Festival, to a succession of films Shawn is already betting will end up in his top of the year six months from now, we have a lot for you this week. Oh yeah, and there’s a totally impromptu discussion about Terminator to begin the episode. Just ‘cuz.
Let’s get physical, fiends! And I’m not talking about aerobics. Nope, what I am talking about is sex! And not just sex, but freaky sex at that!
You may ask what this has to do with horror movies. Well, when the intercourse involves a human and a non-human creature, it becomes incredibly horrific. So let’s get it started with today’s double feature of The Special and The Untamed.Continue reading “Cineray’s Freaky Sex Party!”
Now that Rose Glass’s debut feature Saint Maud is readily available to watch on VOD we’ve got a review! Did A24 hit it big again with another indie debut? Is Saint Maud worth your time? Did we like it? The short answer to all those questions is yes, but tune in to hear all the whys and wherefores. Also, we do a flashback watch and review of Joel Anderson’s Lake Mungo. Plus, The Special, Ken Russel’s The Devils and Anthony and Shawn say you must watch Adam Stovall and MacLeod Andrews’s A Ghost Waits! All that, and a whole lot more!
It’s time for payback, fiends! If you are any kind of horror fan, you know that there is a revenge sub-genre. It has existed almost as long as horror movies have, with Tod Browning’s Freaks being one of the earliest examples I can think of. What separates horror revenge films from revenge thrillers is the level of violence and gore that bridges typically into the territory of exploitation. Other prime examples of the genre are The Last House on the Left and The Day of the Woman, aka I Spit on Your Grave. These films are known for their extreme levels of violence and gore. So with revenge in mind, today’s double feature is Revenge and Mandy.Continue reading “Cineray Wants Revenge!”
We give you our reviews of the new Mortal Kombat flick, Jakob’s Wife, as well as discussing Steve Niles’ Winnebago Graveyard, Amazon’s Them, the Hail Satan documentary, Dark Horse’s reimagining of Dan O’Bannon’s original Alien Script and a lot more!!!
Alright fiends, let’s get cheesy!
I make no pretense about my love for cheesy cinema. Some movies are just so bad that they wrap around into the realm of being good again. Sometimes this is because of absurd plots that progress in bizarre or insane ways. Other times, the films are so poorly acted that they border on comedy gold; you know the kind, those movies worthy of group watches where the jokes that arise make viewing experience. Well, for today’s double feature, both films make such odd choices that they are charmingly eccentric and worth a watch, especially with friends (We’re getting there folks, but stay safe – Shawn). That’s right, today’s films are Don’t Panic and Doom Asylum.
Both of these films are so filled with cliches from the genres they draw from that I liken them to pizza, in that even bad pizza is still kind of good (definitely wouldn’t agree there – Shawn). One is the old “demon- summoning-by-mistake movie,” and the other is a straight-up slasher. In each case, these films know the tropes to exploit and the beats to hit and they do so with flair.Continue reading “Cineray – WTF?”
Alright fiends, let’s get metaphysical! Today the double feature goes into the territory of Horror-Science Fiction. Usually, when this particular subgenre of Horror gets mentioned, aliens and/or the future are the central focus. Not with today’s film selections, though. These films’ primary focus is the concept of identity and how it is tied to our bodies. Today’s Cineray double features are Possessor, directed by Brandon Cronenberg and Come True, directed by Anthony Scott Burns.Continue reading “Cineray Contemplates Identity”
Let’s get hairy, fiends! Today’s Cineray recommended movies are two of my favorite werewolf movies ever!
Ever since I was a kid, werewolves have been among my favorite monsters. Something about the lore and the look and the general terror associated with the creatures fascinates me. The concept of being a noble, good-intentioned person cursed to become a monstrous beast driven to attack people by the changing moon is mesmerizing. It’s not Jekyll who keeps taking his potion or an evil vampire driven by bloodlust. No, this is a person trying to control a beast within and trying to cure themselves of it. So today’s double feature is Werewolf of London and Dog Soldiers.Continue reading “Cineray Gets Furry”
We review a bunch of new stuff, including Anthony Scott Burns’ new film, Come True, the Wrong Turn re-boot, and Jerren Lauder’s Stay Out of the F*&king Attic. Plus, Lucky, The Craft: Legacy, Anything for Jackson, and tips on how to overcome streaming’s Paradox of Choice!
Let’s get imaginary friends! For today’s double feature, we need to all try and remember back to our childhoods. For some, it may have been a while – it certainly is for me. If you were a single child or did not have siblings near your age, you may have had an imaginary friend. Someone as a young child you imagined playing with when other kids were not around, or you just felt lonely. Maybe that friend was harmless, or perhaps they made you do bad things or things you were not supposed to do. You know, stuff like dancing on tables, writing on walls, getting into things you were not supposed to, throwing that annoying kid down the stairs. Wow, wait, did I just write “throw a kid down the stairs?” I sure did because today’s double feature is about imaginary friends that are a lot more malicious than usual in Z and Daniel Isn’t Real.Continue reading “Cineray’s Imaginary Friends”
Class is in sessions, fiends! All right, today I am recommending a double feature of foundational horror. Horror, like any other film genre, becomes more entertaining when you know its history. For one, the work that became the foundational building blocks are usually fantastic movies in their own right and are still as entertaining now as they were when they were first released. Knowing these historically significant films can enhance the viewing of later entries because they typically reference them. For today I have picked two films that were the building blocks for the slasher genre. They also have their genesis in the true-life story of the notorious serial killer Ed Gein. Today’s Cineray double feature is Psycho, directed by Alfred Hitchcock, and The Texas Chainsaw Massacre, directed by Tobe Hooper.Continue reading “Cineray: Slasher Fundamentals.”
Ray discusses Tobe Hooper’s 80s Space-Vampire movie Lifeforce as a homage to Hammer Horror by way of Twins of Evil. Tori has an awesome theory that Pyscho Goreman exists in the same world as another film we love, and Shawn sings the praises of Alex de la Iglesia’s recently finished HBO opus 30 Coins! Plus, The Love Witch, the new Mortal Combat trailer, and all the stuff in 2021 we’re waiting for!
All right, fiends, let’s get disturbed! I tend to build my double features based around my interests and what I find entertaining, but honestly, that can be short-sighted. I have long championed the opinion that just because a movie or genre is not my thing does not mean it is not good or worth a person’s time. Everyone has a right to their own opinions and tastes, and with that in mind, today’s double feature is one I have watched but don’t think I would put myself through again. Today’s territory is serial killers, and the movies are Random Acts of Violence and Found.Continue reading “The Serial Killer Cineray”
Greetings, horror fiends. Think about it: we spend our days working or doing whatever we have to, and every night we sleep to restore ourselves. But sometimes sleep is not restful at all; sometimes it’s worse than being awake. Sleep can be troubled, our dreams plagued with the anxieties of our daily lives, nightmares filled with demons of the things we fear. Today’s double feature focuses on nightmares and the monsters that call them home. No glove-wearing, crispy-skinned killers here kids, today’s double feature is Dreamscape and Dream Demon.Continue reading “The Cineray of Your Dreams… or Nightmares!”
We talk about the lost gem of 2020 – Mark Tonderai’s Spell! This one’s gnarly folks, and we’ll tell you why it would have been on our best of 2020 list had we actually seen it in 2020 (shout out to Alex and Christina from the Beyond the Void podcast for putting this on our radar).
Also, Tori talks Drew Rosas’ Blood Junkie, Ray digs into Harley Cokliss’s goopy Dream Demon (recently released through Arrow), and Anthony and Shawn sing the praises of Ben Wheatley’s Kill List! Plus – a lot more HORROR!!!
Chris takes Shawn through a deep-dive on all five of the Hill House imprint books from DC Comics, and Shawn talks Vault’s Dorian Gray sequel The Picture of Everything Else, Aftershock’s Knock Em Dead, and IDW’s Sea of Sorrow!
Steven Kostanski’s new film Psycho Goreman hit VOD on Friday and Anthony and Shawn have seen it and wish to sing its praises! Here’s their quick, spoiler-free review, which also walks viewers through a bit of Kostanski’s history as a part of the Astron-6, his other films, and where you can watch this gore-tastic new flick!
It’s Cineray time, fiends! All right, if you are like me, the last year has been challenging. And if you are a lot like me, you have been watching a lot of horror movies to escape the stress of this year. Certainly, there have been times this year that have felt like life itself is the most fearsome thing in our lives. And that concept that life can sometimes be the monster that stalks us is the concept at the heart of today’s double feature of Fingers and Are We Not Cats.Continue reading “Cineray Loves Weirdos!”
We talk Part for of Netflix’s Chilling Adventures of Sabrina, Love & Monsters, HBO’s Heaven’s Gate documentary, Fingers, Alex de la Iglesia’s 30 Coins, our favorite characters from John McTernan’s Predator, what we love and hate about Fede Alvarez’s 2013 Evil Dead, and what movies will be a better dose of Ninja action than 1983s Samurai Christmas Horror film Blood Beat (here’s a hint – the titles all contain the word “Ninja.” Oh, and a lot more!
It’s the end of the year (finally), and thus, time for the time-honored tradition of ranking our favorite Horror films from the last 12 months!
Happy Holidays, fiends! If you are like me, somewhere in an old family photo album or special holiday frame is a picture of a child version of you sitting on Santa’s lap while crying your eyes out. As we grow up, our parents tell us that Santa brings us presents and, therefore, we should not be afraid of him. But maybe that childhood instinct is correct. Perhaps, trusting a fat old man with beard dresses In a red suit who loves kids is a lot sketchier than we give the story credit. Today’s Cineray holiday recommendations are a couple of films about some very dangerous Santas and the badass kids who battle against them in Dial Code Santa Claus and Rare Exports: A Christmas Tale.
Dial Code Santa Claus – AKA Deadly Games – is like a demented and scarier Home Alone with a kid that has watched all the best 80’s action movies. The story takes place on Christmas Eve in the home of Thomas. Thomas is a brilliant boy with a grand imagination and a wealthy mother that indulges him. He dresses for his day like a mini Rambo and spends his day capturing his dog in trap doors. Thomas has installed a camera system throughout his entire house and can see everything from a remote on his wrist.
The camera system is the least of his security measures.
Thomas also spends his days with Papy, his grandfather, and works to repair his mother’s old car while Julie, his mother, manages a department store. Meanwhile, a man spots the store is hiring for a Santa and takes the job. When a girl accuses Santa of being fake, the jolly bastard slaps her. Julie sees this happen and fires him immediately. He steals her address, though and after killing a delivery driver and stealing his van, goes to her home. When he breaks in, Thomas mistakes this criminal for the actual Santa until a brutal event shows him the truth. Thomas has to mount a defensive to save himself and his grandfather from the psycho Santa.
What makes this movie great is the motifs and sequences it borrows from 80s action movies we know and love. It’s not a movie with a lot of kills, but it’s smart with the kills it does have and fills in the gaps with action. I would even hazard that one kill can be downright polarizing for viewers and may anger them to consider stopping the film right there. But I think it’s a bold move to establish the unforgivable evil as the crazy man simply known as Par Noel and put him in a Santa suit. It creates an eerie undertone beneath those 80’s action motifs.
Take the opening scene of Thomas suiting up with boots, toy knives, and camouflage, all laced up and strapped on to a knock-off hard rock soundtrack. These shots would usually be close-ups on the tight, rippling muscles of a Stallone or Schwarzenegger, but here they’re of a kid whose only resemblance to those 80s action stars is a spectacular mullet. And considering the odds and events Thomas has to deal with, he’s a total badass. It’s not a perfect film by far; there’s an opening that is heavy with exposition, and some of the callbacks overstay their welcome. But it’s a French take on over-the-top American Cinema, so it kind of makes sense.
Next, we move from a psychotic Santa to a demonic one.
Rare Exports: A Christmas Tale is an extremely original concept that is really brought to life by a fantastic cast. The story starts with a survey crew on a mountain. They’re using a drill to take soil samples and find what they’re looking for when the foreman presents Riley, the man finding the operation, with soil that contains sawdust. Riley is excited as he explains the dust’s presence as evidence of something trapped in ice. Riley tells his crew they are close to finding what they set out to find, none other than Santa Claus, or at the very least the being that the Santa myth is based on, frozen in this ice.
Nearby, local boys Jusso and Pietari are sneaking around the site, listening to all of this. They hurry home, and Pietari begins to read up on this creature buried in the mountain. He discovers old folklore about a horned man with goat’s feet who once ran free, whipping and sometimes eating children who misbehave. The next day during the town’s annual reindeer hunt, Pietari’s father Rauno and some other men discover the corpses of hundreds of reindeer, all gnawed and eaten. They believe wolves have been driven wild by the mountain’s excavation, but when the disappearance of some local children follows this, it’s Jusso and Pietari who know the truth. The kids know better than the adults because adults are conditioned to disregard folklore, while the children are open to the fantastic.
Rare Exports‘ crisp, sharp cinematography and excellent production and set design make it a joy to watch. Nothing here looks fake, and similar to John Carpenter’s The Thing, this entry into the “monster thawed from the ice” subgenre feels very original.
Again these are both foreign films with subtitles, one being French and the other Finnish, and they both are great. As is usually the case with a good foreign film, at some point, you forget you are reading as you watch and just start doing it automatically and enjoying the movie. To watch these, you can stream Rare Exports: A Christmas Tale from several places, with options to watch for free with ads or with the cost of a rental or subscription but as usual, it’s on Shudder along with Dial Code Santa Claus so why not watch there.
Well, it’s that season again, fiends! That time when we get crap for watching horror movies during the “holidays.” It’s also when we get together with family and take part in that thinly veiled dance where we try not to get angry at family members we have not seen for a while. So why not watch a couple of horror movies that take all those thoughts about the holidays we have and take them to the violent nth degree. Today’s Cineray holiday recommendations are Red Christmas, directed and written by Craig Anderson and Secret Santa, directed and co-written by Adam Marcus, and co-written by Debra Sullivan.
Red Christmas is a slasher movie with an unusual killer and a mixed political message. This one starts at an abortion clinic that is bombed by a pro-life activist. In the aftermath, the bomber finds and takes with him the surviving result of a late-term abortion. Flash forward 20 years to Diane, played by Dee Wallace, hosting her family at her home in Australia. Tensions are high and old wounds show as the festivities begin. Her daughter Ginny is nine months pregnant and likes to smoke pit with her husband, supplied by her uncle, and her sister Suzy arrives with her pastor husband. The two clash and argue a lot with the family between them. And then a mysterious stranger named Cletus, wrapped in bandages, wearing a cloak arrives, and before they understand what’s happening, he is picking them off one at a time.
The slasher element of Red Christmas is pretty inventive, and once the kills start, they are pretty brutal. In typical slasher fashion, the killer has come for revenge, except here, his origin and rationale are pretty inventive. The kills could be a little more revealing, especially for a slasher, but it being an independent film, maybe that was the best way they felt they could keep down the cost. The special effect on the barely seen Cletus is cheesy looking, and honestly, the mystery of how he looks should have held for the entire film, but it’s quick and easy to see past. Finally, it’s a little muddled in its politics.
The next feature Secret Santa follows with more of a family killing spree but a lot more killing and some excellent dark humor. The film follows a family who meets for Christmas Eve dinner and their annual Secret Santa Ritual. Though blood, these are all different people with histories and issues between them. Tensions are high because, well, old wounds often do not heal. During a tense argument, violence ensues, and people start attacking others and complaining of feeling hot while others try to protect themselves and escape. But one of them has engineered the events of this evening and secretly knows what is going on.
The humor and violence of this film are entertaining, and the actors are great. It’s easy to hate some characters as the film progresses, but there’s a complicated family narrative afoot as well. Take the shrewish family matriarch Shari, played here in spiteful, vengeful glory by Debra Sullivan. Even though it’s an independent feature, the film spares no expense with the practical effects. The kills are fantastic, and some are outright funny. There is one WTF moment of particular gruesomeness in the film that will make you laugh out loud.
Now, to be completely honest, my fondness for Secret Santa transcends how great I think the movie is. This is because, when the Horror Vision podcast was only into its fifth episode, we got the chance to sit down and interview Adam Marcus and co-writer and star Debra Sullivan, and the film’s producer Bryan Sexton about the film. They were all excellent guests and very personable and open about the film process. Adam is generous in his advice and very positive, and Debra could not be farther from her character onscreen. She is very friendly and a great actor, considering how much you hate her character onscreen. That being said, more people need to see this horror film, and it’s always part of the reason I pick my Cineray features. Red Christmas can be rented from all the usual places but is free with Prime, Peacock, and Shudder, while Secret Santa is available for rent or purchase through Prime and YouTube.
Chris, Ray, and Shawn meet up to talk about all things Horror! First, hear Chris talk about the joys of not only Max Brooks’s new novel Devolution, but the full-cast Audio Book performance of both that and Brooks’s seminal zombie novel, World War Z! Next, Shawn has seen the new, Barbara Crampton-Produced Castle Freak remake and he LOVES it! Hear why. And Ray continues to methodically educate himself on Shudder’s entire catalog; this week he talks about Fulci’s New York Ripper, Bava’s The Body and the Whip, and the not-for-the-weak-of-heart Angst! Plus… Christopher Landon’s Freaky, and a lot more!
Anthony, Tori, and Shawn meet up to talk about all they’ve been reading and watching. Big review this week is Shudder’s Porno, which dropped just before the holiday. Worth a watch? You betcha! Hear Shawn’s review of that and new HULU suspense flick Run, as well as Tori’s admiration for Jim Jarmusch’s much-maligned The Dead Don’t Die. Anthony helms the time machine and revisits Clive Barker’s Lord of Illusions and Hellraiser V: Inferno. Plus: Eibon Press’s Fulci Comics and a whole lot more!
Hey horror fiends! This week was Thanksgiving, and if you are like me, you had enough turkey to last you a while. But thankfully, we never get tired of horror. For this week’s Cineray double feature, I have decided on a couple of slasher movies. One is legitimately set on the Thanksgiving holiday while the other is not, but there is a theme that ties them together I will reveal later. Today’s recommendations are Blood Rage, directed by John Grissmer, and The Mutilator, directed by Buddy Cooper.
Blood Rage is a great slasher that happens to take place on Thanksgiving. The story focuses on twin brothers Todd and Terry and their mother, Louise. One night while at a drive-in, Louise, played by Louise Lasser, begins to make out with her husband while her sons sleep in the back of the station wagon. Terry wakes up and wakes his brother and tells him to sneak out of the car with him. While out looking in car windows and around, Terry finds an ax. He happens upon a couple having sex in their car and gets caught pepping with Todd standing behind him in the distance. Terry hacks the man’s face to death, then gives the ax to Todd and smears blood on him. Todd is traumatized and left catatonic and institutionalized. Ten years later, after Louise visits on Thanksgiving, Todd escapes. Meanwhile, after Louise announces her engagement to her boyfriend, Terry gets triggered into a killing spree at the apartment complex where they live.
Blood Rage is a fantastic slasher movie with lots of gore and a pretty inventive plot. Once Terry starts offing people, it’s pretty great. He hacks and slashes his way through his victims, and the effects are all practical and excellent. The dismembered hand clutching a can of beer is pretty memorable. Mark Soper plays the twin brothers Todd and Terry, and he does a great job of it. Terry is ruthless and cruel in his actions, while Todd, by comparison, is soft-spoken and just kind of lost in how to stop his brother. As the film progresses, there is an indication that there may be an incestuous Oedipal relationship between Louise and Terry. From a man killing to eliminate competition for his mother’s love, we shift to a movie whose action focuses on a man’s accidental murder of his mother.
The Mutilator focuses on the story of Ed and his father, Big Ed. One day while his father is out, Ed is cleaning one of his father’s hunting rifles to surprise him when the weapon accidentally discharges and shoots his mother in the next room, killing her. When Big Ed comes home, he blames Ed and has a psychotic break. Many years later, Ed is now in college and decides to go with his college friends to his father’s beach home for Fall Break. What they don’t know is that Big Ed is hiding at the beach house, waiting to exact his revenge on his son after all these years.
What makes this film fun is how odd of a slasher movie it is. It’s fairly formulaic in its plot and structure, with the killer ramp up in violence and the characters indulging in episodes of making out. But the tone of this film is bonkers. It starts with the very stark, almost overly dramatic mother’s death and then cuts to the friends meeting and deciding to go to the beach house, which is a very light-hearted scene. And then the film’s original title Fall Break, comes on screen over a music montage more fitting for a cheesy 80’s comedy. The film does this more than a few times. It will be a slasher movie one moment and then decide it wants to be a teen sex comedy for a moment or two.
These films are worth a watch because they have largely been forgotten about, even amidst the increased market for regional slasher movies. Plus, both films both focus on killers motivated by family relationships and anger. If you have been on either a zoom call or a small family gathering, this season chances are you may feel homicidal too. The Mutilator is on Amazon prime video, and Blood Rage is on Prime, Kanopy, and best of all Shudder. Now you can watch Blood Rage all on its own, but as I always do, I recommend it watched as part of the
Anthony and Shawn spend a calm afternoon catching up on recent viewings. Josh Boone’s New Mutants, Micah Gallo’s Itsy Bitsy, Jeremy Gardner’s After Midnight, and Shudder’s Cleansing Hour. Also, our reaction to the news about Dan Trachtenberg’s Predator and Ridley Scott’s next Alien movie! Plus, a helluva lot more!
Tori spent her October doing the unthinkable – watching ALL 9 seasons of American Horror Story start to finish. Hear her talk about the experience. Ray does a tribute to Drive-ins in cinema with Psycho Beach Party and Chillerama, and Shawn watched The Dark and the Wicked! Plus, Joe R. Lansdale’s The Drive-In, The Driller Killer, Shudder’s WNUF Halloween Special, and a bloody lot more. (Really bloody!)
All right, all you hip horror hounds, it’s time for another groovy Cineray double feature. If you are picking up what I am putting down daddy-o’s, today’s recommendation is a couple of films that celebrate the hay days of 60’s drive-in horror movies with a modern twist. But first, perhaps I should offer a little backstory on how all this got started.
Movie theaters are still shut down here in Cali for the most part. Yours truly and Shawn – who is kind of the Horror Vision podcast group CEO – have recently attended a handful of drive-in presentations. For me, it’s been many years since watching a movie from the car, and these recent experiences have rekindled a lot of great old memories. So in celebration of the drive-in experience, today’s double features are Chillerama and Psycho Beach Party.
Before I get into each movie, let me get into a bit of drive-in trivia and the movies of the drive-in. For those too young to have experienced the drive-in experience or did not have one in your area, the drive-in is a pretty different experience from the theater. For one thing, you are in a car with whomever you have come with and are somewhat isolated from the other patrons. This isolation allows you to make comments or even talk during the movie without worrying about bothering other parties (But not too much, Ray! – Shhh!ing Shawn).
The Drive-in was also known as a popular make-out spot, something which both films I will talk about today showcase. And there was a particular type of cinema that thrived at the drive-in. These films were second-run, independent ones, not the big, new releases that played at the then-burgeoning multiplexes. So giant monster movies and the more schlocky or cheesy movies were the more popular fare. Therefore, I wanted to make both films I recommend today homages to that time and those types of films.
First up is Chillerama, a horror anthology featuring the directing talent of Adam Rifkin, Bear McCreary, Adam Green, Joe Lynch, and Tim Sullivan. The connection to the drive-in is both the setting, the framing device, and the subjects of the short films within the film.
The wrap-around or ‘framing’ story surrounds a group of characters at the drive-in for the last night before it is closed and demolished to watch a presentation called Chillerama, a set of short films we as an audience watch along with them, checking in between films to see their story as it unfolds.
The first story in Chillerama is a giant monster movie called Wadzilla, followed by I Was a Teenage Werebear, a monster movie called Diary of Anne Frankenstein, and the wrap-around story called Zom-b-movie. All of the shorts are filled with humor that verges on parody. Sometimes the jokes get a bit juvenile, but ultimately they are all gruesome fun with gobs of modern gore.
Similarly, our second feature, Psycho Beach Party starring Lauren Ambrose and Nicholas Branden, is also infused with a lot of humor. The film centers on Florence, a 16-year-old girl in the 1960s who enjoys going to drive-in movies with her best friend. One night a girl is murdered at the drive-in, and the police investigate. Meanwhile, Florence is invited by the popular Marvel Ann (Amy Adams) to the beach and sees Starcat (Brendan) and his friends surfing. She asks to learn, but they laugh her off. Florence goes to the surf guru the Great Kanaka and, after freaking him out by exhibiting an alternate personality, intimidates him into teaching her. While the bodies pile up, Florence earns the nickname Chicklet as her surfing improves, and she experiences more strange episodes.
These films are enjoyable without any prior knowledge of the genres referenced but even more so with said knowledge. It’s worth your time and enjoyment to watch some old horror movies for those looking for some of that knowledge. Particularly giant monster movies like Them, Tarantula, or similar giant monster movies, Frankenstein, the Bride of Frankenstein, the early zombie movies of George Romero, I was a Teenage Werewolf and the teenage Beach movies of Annette Funicello. Knowing these films enhances your perspective of how well these movies reference the material and help with some of the more subtle jokes. The first time I watched Chillerama, I only liked it a bit; however, after viewing a lot more of the material it references, I enjoyed it a whole lot more.
Finally, if nothing else, I hope these films serve as a jumping-off point to consider more of the classic cinema that has become the road some of our beloved movies have walked down. The filmmakers who made movies like Hatchet and Mayhem that we love now grew up on these older movies and informed who they are and what they created. Also, consider finding where your nearest drive-in is and having a night at the drive-in. Besides the other great attributes I already listed, drive-ins usually feature double features and allow you to bring in your own refreshments, which is a tremendous deal over the theater experience. Both of these movies can be found on Prime video, Chillerama is free, but you will have to rent Psycho Beach Party.
One thing this past Halloween really highlighted for me is the fact that there is an abundance of short films in the Horror Genre, and as such, there are more vehicles out there to deliver them to us than I’d ever realized. This includes fests, but also, there are shorts on Shudder, Amazon Prime, umbrellaed within series on streaming services, and online. After attending Joe Bobs Haunted Drive-In on October 27th, I formulated a plan to begin seeking these out and posting them here in a new column.
Welcome to The Short Version!
With the help of The Horror Vision’s new Facebook Discussion Group – I’ve been falling down a bit of an Internet Rabbit Hole on Horror Shorts. Here then, are some of the most recent shorts I’ve seen or trailers for series that host them. Seek this stuff out – there are often times when I don’t have enough time to watch a full flick, and Shorts can deliver the same intensity and wonderment that a full-length does.
To start, here’s what I considered the best of the short films I saw on October 27th at Joe Bob’s Haunted Drive-In:
Next, here are some I’ve found or been pointed at by fellow Horror Vision Discussionairies (yes, I totally just made that word right the hell up. Deal with it!)
Blight was directed by FX gurus Kate Walshe and Christopher Goodman.
Miners Mountain was written and directed by Bennett Pellington. There’s a Part Two in the works, the trailer for which can be viewed HERE.
Next, here are the trailers to two shows I stumbled across on Amazon Prime lately. The First, By Night: Origins is the first in what I hope will be more seasons of an anthology show, each episode unique unto itself and very different in tone and
The Second, a Spanish-produced anthology that continually sees the same actors and creators making low budget but very well executed Horror shorts:
I don’t know much about either By Night: Origins or From Beyond the series, however, both are short enough seasons to knock out in little time, and both definitely pressed the “Happy Horror Joy Buzzer” in me.
More next time in The Short Version! See you then.
Hey fiends! So Halloween has come and gone, and if you were like me, it was somewhat uneventful while you sat at home being safe. But maybe you are not ready to let the season go by quite just yet. So why not take in a couple of great anthologies that are perfect for saying goodbye for the season with Scare Package and Tales of Halloween.
Scare Package is a fun anthology of horror shorts all tied together by a couple of framing devices and tons of fun horror and gore. The film is not just an homage to the horror genre but is also how most horror fans over the age of 30 were first introduced to horror movies, the local video store. The film’s primary framing device is Rad Chad’s video store, where the stories usually have their genesis as either a story or a videotape being played or discussed. Rad Chad is the know-it-all horror guy, and Sam is one of his customers, the attention-seeking horror nerd. Later Chad acknowledges his role as a know-it-all horror guy and that he is a part of a horror movie. Most of the characters in the meta situations are easily recognizable in horror, and the way they are used and displayed is comic and fun.
Many genres of horror are referenced, and usually, every short references more than one. From slashers to monsters to devil worshippers to body melt to black government scientists, so many troupes are referenced and made fun of but in the most loving of ways. The people involved in this love horror movies and wanted to create something that showed that love. There is a fun reference early on to a horror icon who later makes a cameo as a character. Among some of my favorite moments are a short involving body melt and a secret government experiment. There is also a wrap-around framing device and an entertaining character in it.
Tales of Halloween is a lot less meta but still pays its share of homage while utilizing a more cemented location and a fun run start to finish. The film takes place on Halloween in a suburban town. A local DJ, played by Adrienne Barbeau, narrates and is heard throughout the film when characters listen to the radio. For fans of the Fog, you will live the use of Barbary. Some of the stories are very horror focused while others are horror-comedy. Among the genres referenced are urban legends, vengeful ghosts, devils and imps, slashers, aliens, witches, and demons. I tend to like the more comedic, but a couple took me by surprise with their twists.
I think the order of Scare Package and then Tales of Halloween is the better choice because of how the stories are presented. Scare Package tends to ramp up and even ends with a bang. Continuing with Tales of Halloween is a good way to end the night because it’s almost a cool down and all of the tales take place on Halloween night. If you feel ambitious or just have lots of time, you could always make this a triple feature with Trick-r-Treat if you did not already watch it this past Halloween season. I would probably place it right between the two or after Tales of Halloween, but that one I will leave for you to decide.
Finally, both Scare Package and Tales of Halloween are available on Shudder, where I suggest watching them. For one, they are both conveniently streaming in one place, so whether you are watching from a computer or smart tv you can stay in one application. Tales of Halloween is on the main page under a Shudder Halloween and Scare Package is in the separate category Exclusive and Original. But I would recommend looking up the Last Drive-In presentation of Scare Package just to add another element of fun with Joe Bob Briggs.
Ray, Anthony, and Shawn hit Zoom to talk about all their pre-Halloween watches. We talk about The Mortuary Collection, Tremors 7: Shrieker Island, The Haunting of Bly Manor, French New Extremity flicks Sheitan and Ils (Them), Haun and Luckert’s new comic Red Mother, the glory and thrift of region-free Blu Ray players, and Modern CG as the new schlock! That’s not everything, but it’s a lot of it!
Ray, Kirsten, and Shawn bring you their immediate review/reaction to the nine short films and plethora of awesome trailers that Joe Bob Briggs, Darcy the Mail Girl, and Felissa Rose hosted at Joe Bob’s Haunted Drive-In tonight at the Roadium in Torrance, CA. Tickets are still available for several shows this week – go HERE to buy them now!
Our favorite from the fest:
It’s our two-year anniversary, so Chris, Ray, Anthony, and Shawn hit Zoom and talk about everything they’ve been watching. In this episode we talk Ron Bonk’s House Shark, Glen Danzig’s Verotika, the 1935 predecessor to The Wolf Man, Stuart Walker’s Werewolf of London, 976-Evil, and Chris and Shawn cover Narrative Horror podcasts Borrasca and The Magnus Archives (both fantastic!). That’s not everything we cover though, so join us for another episode chock full o’ Horror!
For today’s Cineray recommendations, the focus is on the early career of David Cronenberg with the films Shivers, Rabid, and The Brood. These films are very early in his career and are great examples of his abilities and both showcase a talent that would become famous for his imagination, imagery, and signature body horror. There is no one quite like Cronenberg to really disturb you and make you feel so trapped by the flesh we live in and how easily it can be manipulated.
Before Cronenberg became an English major and film student at the University of Toronto, he was an honors science student. Now, this may seem like a minor fact, but it was that interest in science that has informed his films ever since. You will not find ghosts or supernatural elements in the films of Cronenberg. His focus is on creating horrors based on scientific possibilities and the power of the human mind. Going even further, Cronenberg is an atheist and believes that there is no spirituality. So despite the viewer’s ideologies, the visions he creates are entirely based on scientific possibilities and make them that much more terrifying.
I would say Shivers is a good place to start this party, as it’s Cronenberg’s first feature film and perhaps the least seen. The story revolves around urban professionals living in the new Starliner apartment complex, a place that caters to the young urban professional looking for all the amenities of the city (Montreal), without actually having to live there. You know, gym, doctor’s office, pharmacy, movie theater, etc. Dr. Roger St. Luc discovers his coworker has killed a woman and reports it to the police. Roger then learns that the man killed himself while developing a parasite to take over organ function in the human body.
Meanwhile, the film also follows a young man who becomes a breeding ground for the parasite after having an affair with an infected girl. As it spreads, the tenants of the building begin to act more sexually aggressive. Roger discovers that Hobbes was trying to turn the world into one big orgy, and it becomes a race against time as Roger attempts to stop the parasites’ spread.
What makes Shivers so damn interesting is why it’s terrifying. Unlike zombie movies where the person becomes a mindless flesh-eater, here there is a piece of the original person left. But their inhibitions have been stripped away until what’s left is little more than animals, sexual beings of a ravenous appetite, stripped of moral constructs or any ideas beyond satisfying the most animal of instincts. It’s fascinating to peek into fear from a very logical mind. From medical experimentation, the next film delves into the dangers of experimental medicine.
Our second feature Rabid is more famous for Cronenberg’s use of pornstar Marilyn Chambers as his star than the film itself, which is a shame. The film centers on Hart Reed and his girlfriend Rose, played by Chambers, who has a motorcycle accident riding in the country. Hart suffers minor injuries while Rose is seriously injured and burned. They are taken to the Keloid Clinic for Plastic Surgery, where head surgeon Dan Keloid decides to use an experimental treatment on Rose. He uses morphogenetically neutral grafts to her chest and abdomen in the hope that it will differentiate and replace the damaged skin and organs. Rose remains in a coma, while Hart is released. When she does wake, Rose does so screaming, and another patient goes to comfort her. While he does this, Rose pierces his skin and takes blood from him. He has no memory of the incident, and while he is transferred to another hospital for observation, Rose escapes. While Hart begins to search for Rose, she attacks more people, as do those she has fed on.
Again the loss of oneself in a monstrous transformation is horrifying but so are the doctor’s actions. Although it’s not as stressed as it could have been, Cronenberg is still pointing out the dangers of medical experimentation. Recently the Soska sister’s remade this film, and they certainly made a strong emphasis on this concept with a story twist. But it’s important to remember this is an original concept and only the second feature film by a great director. From the dangers of medical experimenting to the dangers of exploring the human mind, we head into our last film on the list.
The Brood is another highly original concept, but there are times the premise gets a little hokey. The story centers on Frank Carveth. He is dealing with his wife Nola, who is legally embattled with for the custody of their 5-year-old daughter Candice. At the same time, Nora is being treated at the Somafree Institute, where psychotherapist Hal Raglan, played by Oliver Reed, is using an experimental technique called Psychoplasmics. The technique encourages the patience to let go of their mental disturbances to manifest their repressed feelings as physiological manifestations. Frank has no respect for it and is annoyed he has to bring his daughter there to see her mother. After bathing Candice, Frank is incensed to see she has bruises and believes Nora is responsible. While he leaves his daughter with her maternal grandmother Juliana to visit a lawyer, he also informs Raglan he is ending visitation rights. Raglan decides to intensify his therapy sessions, and during a session with Nola, he discovers she beliefs her mother abused her while her father ignored the abuse. Not long afterward, Juliana is killed by what appears to be a child, Candice overhears the incident and discovers the body. Soon more people Nola is angered with are attacked by the strange mutant children while Frank struggles to protect Candice and Raglan tries to find a way to stop what he suspects is happening with Nola.
The whole “mutant killer children” concept is a little on the hokey side, but there are some great performances and really cool ideas in this film. To start, Oliver Reed is fantastic in every scene he is in. Honestly, it’s hard to pin down your emotions about him onscreen as he transitions from a character you despise, as an arrogant doctor to a man caught up in something beyond his imaginings and desperate to stop it you root for. And Samantha Egger’s Nola has a fantastically creepy final scene that is both disturbing and chilling. The concept of emotional disturbances manifesting physically to the extent they become physical embodiments of your rage strikes me as very original. There have certainly been films where characters have psychic abilities to attack people, but they are literally an angry person who manifests a mutant being that then attacks the source of the person’s rage. I cannot think of another film that uses this same concept, but I would sure like to know if others exist.
Finally, you will have to do a bit of navigating to see all these movies, as I am sorry to say they are not all on one service. Shivers is available on Apple TV, Vudu, and YouTube for purchase or rent. Rabid is for rent on Vudu or Amazon and free on prime and free also on Kanopy. The Brood is only available with a subscription through HBO max or Criterion or free on Kanopy. I think they make for a great triple feature because they showcase the start of Cronenberg’s career and make for great pairing because they have about the same impact. Unlike some of his more famous films with a much more significant impact emotionally and ranking a lot higher on the weird scale, these are fine films and pretty easy to watch in one shot.
This episode, Tori, Ray, Anthony, and Shawn meet back up on Zoom to discuss The Shed and Random Acts of Violence, both recent additions to Shudder’s streaming service. Also, Anthony reviews The Barge People and Tori Impetigore! From there the discussion ranges from whether or not Nick Cage was the right man for Richard Stanley’s Color Out of Space, HBO’s Lovecraft Country and Raised By Wolves, and really, a helluva lot more.
Show Notes: As we mention on the episode, we’re in the final days to back Vincent DiSanti’s upcoming Friday the 13th Fan Film Never Hike in the Snow (You can support the IndieGoGo campaign for the next 8 days HERE, campaign trailer below:
Also, this episode we finished with what we are most looking forward to coming up; here’s the trailers for everything we talk about in that Coming Attractions section:
As quarantine crawls into its fifth month, Tori, Anthony, and Shawn meet up online to talk about everything they’ve been watching/reading to keep them sane. Topics of discussion include but certainly are not limited to the new 80s Horror documentary In Search of Darkness, the original Sleepaway Camp trilogy, Shudder’s new, scary as all hell Host, and soon-to-be-adapted North American Lake Monsters by Nathan Ballingrud, which premieres in October on HULU courtesy of Babak Anvari. We also talk about the cosmic horror of Grant Morrison and Chris Burnham’s Nameless graphic novel, Alien 3 and 4, and rare 80s flicks The Kindred and Killer Party.
Shawn’s annotations on the Ennochian Magick contained in Grant Morrison and Chris Burnham’s Nameless graphic novel can be found here:
That puts you in at issue four’s annotations, but the links for the first three are at the top of the page, and you can click through to issue 5 and 6 from the side bar on the right.
The annotations for Grant Morrison’s entire 7-year Batman run that Shawn mentions in this episode were written by the following.
David Uzumeri’s annotations are my favorite. He does a fantastic job, first on Funnybook Babylon and then on Comics Alliance. Notice you’ll also find his annotations for Final Crisis and FC supplement Superman: Beyond on some of these pages as well.
Gary Lactus does a great job in his own right with annotations. His website Mindlessones.com is a great read and an excellent comic resource and I’ve used it to augment the studiousness Uzumeri’s annotations have inspired in me for this re-reading of epic proportions.
And finally, Douglas Wolk’s work annotating Final Crisis is another fantastic supplement to the series. I know so little about the history and structure of the DC Universe (always been a dabbler in DC and more of a Marvel man) that without something like this I had no hope of understanding even the smallest bit of the epic scope of FC.
That’s all folks!
This past weekend Ray and Shawn dug into two highly anticipated Horror releases – Natalie Erika James’ Relic and Jeffrey A. Brown’s The Beach House. We do in-depth, spoiler-free reviews for both films, but if you’re like us and couldn’t wait to see them, you can listen after our show’s end musical theme and follow us into a full-spoiler discussion. But that’s not all! We also talk about another beach house-themed horror flick, 1984’s The Mutilator! And speaking of 1984, Shawn re-watched and LOVED Summer of ’84. Also discussed, the Altered Innocence Blu Ray for Knife + Heart, 2020’s Etheria Film Fest, The Burning, Matt Ruff’s novel Lovecraft Country, and Shawn finally tracked down a copy of Dante Tomascelli’s 1999 debut Desecration – was it worth his self-inflicted hype? Well, let’s just say we’ll leave the trailer here and let you condense the most memorable moments into a cool two minutes. No need to go further unless you’re a Tomascelli completist.
After a small website mishap – thank you Amy for the save – we’re back, with an episode we recorded nearly a month ago! Hear Ray, Anthony, Tori, and Shawn talk about what we’re watching to get through the Quarantine. Topics of discussion include but are not limited to: Emma Tammi’s The Wind, Paul Verhoeven’s Robocop (about due for a re-watch, eh?), CHUD II: Electric Boogaloo, and Laird Barron’s third book in the Isaiah Coleridge series, Worse Angels. Also, Sara Lotz’s haunted survival novel The White Road, and Anthony revisits Jamie Blanks’ 2001 millenial slasher Valentine. Does it hold up? Listening is half the battle!
Tori, Anthony, Ray, and Shawn gather via Zoom to discuss one of the greatest independent Horror movies of our time – Jeremy Gillespie and Steven Kostanski’s The Void! Part homage to Fulci, Carpenter, and Barker, part practical FX masterpiece, let us tell you why we love this movie! Also discussed, Blood Quantum, Clive Barker’s debut novel The Damnation Game, and a whole lot more!
Still in Quarantine, Anthony, Chris, Ray, and Shawn gather remotely to discuss Travis Steven’s 2018 film Girl on the Third Floor. Also discussed, the criminally underrated REC series, the original Fright Night flicks, and Preston Fassel’s novel Our Lady of the Inferno.
Still relegated to meetings on Zoom but happy to help flatten the curve, Anthony, Ray, and Shawn meet to discuss what’s worth watching, the fate of big-box theatre chains, and… birds?
While the smart people in the world remain sheltered-in-place, Chris, Ray, and Shawn hold their first remote meeting to help give you recommendations for what to watch and read while we’re all trying to Flatten the Curve! Plus – a brief remembrance of Stuart Gordon and the films by him we love!
Hear our Spoiler-Free Review for the feel-good hit of the summer!
The fiends take a field trip to the local big box theatre to support the wide-release of Veronika Fran and Severin Fiala’s The Lodge. Is it worth seeing in theatres? Hell yes! Why? Supporting smaller horror movies who get big chain distribution means other smaller films may get a chance to break through the monotony of the studio system. Plus, The Lodge is freakin’ awesome! Hear our reaction, as well as thoughts on Netflix’s October Faction and Black Spot, Vampire Circus, Joe Begos’ Bliss, Castlevania, 2011’s Fright Night remake, and a host of other horror-filled delights. Also, this episode’s Classic Corner is 80s favorite The Gate! Check it out!
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?
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.
What an awesome freakin’ year!!!
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!
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.
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!
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.