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Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys: we’re talking about 1989’s Silent Night, Deadly Night 3: Better Watch Out! and 1990’s Silent Night, Deadly Night 4: The Initiation. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or koozy. Head on over to www.xlvacx.com to check them out. Thank you also to Essex Coffee Roasters, our newest sponsor. Head to www.essexcoffeeroasters.com to check out their fine assortment of coffee, and enter CINEPUNX in the promo code for 10% off your order! As always thank you to our Patreon subscribers. Your support means the world to us and we are eternally thankful. If you would like to become a Patron, head to patreon.com/cinepunx. Thanks in advance! We start by talking about what we’ve done involving horror recently. Liam talks the films 12 Hour Shift, Siberia, and Justin talks about the documentary What Awaits Us (about the ‘80s hardcore band Beyond) and the first episode of the CBS miniseries adaption of The Stand. Up first is Silent Night, Deadly Night 3: Better Watch Out! We begin by talking about the film is a rather weird sequel to a relative well-known slasher film. We give a brief summary of the film and discuss how, despite it being lesser known than part two, it’s probably the better film. We talk about how the film has little to no connection to Christmas whatsoever. We touch upon how low budget slashers live and die by their kills and the quality thereof and how this film really doesn’t do the work to live up to that. The continuity (or lack thereof) between this film and the prior film is talked about, and how often times Christmas horror films use the Christmas setting as a gimmick and little else instead of having Christmas being an essential part of the film. We briefly touch upon how Bill Moseley talent is wasted in this movie and how people only really like SNDN2 because of the “garbage day” meme. We talk about how the movie, despite looking ridiculous, seems to be afraid to really go for the all and be crazy with its premise. Up next is Silent Night, Deadly Night 4. We open by talking about how, much like the third film, this film has little interest in maintaining any connection to Christmas. We give a brief summary of the film. We talk about how despite our criticisms we actually enjoyed this movie quite a bit, possibly because Brian Yuzna made it his own and did whatever he wanted with it. We talk about the upsetting practical effects from HB favorite Screaming Mad George. We briefly touch upon some of the feminist aspects of the film, in that the female leads of this film are presented as genuinely menacing to men. The film being a lesser known Yuzna film is touched upon. We briefly talk about some of the things we didn’t like the film, including some of the more insufferable acting a scene of sexual assault. Thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, and LVAC for the support and buttons (check them out at www.xlvacx.com and on Twitter),

  Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys, and we’re talking about 1972’s Lemora and 1988’s Paperhouse First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thank you also to Essex Coffee Roasters, our newest sponsor. Head to www.essexcoffeeroasters.com to check out their fine assortment of coffee, and enter CINEPUNX in the promo code for ten percent off your order! And as always thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful. We start by talking about what we’ve done involving horror recently. Liam talks the films Alone, Anything For Jackson, and Rise Of The Guardians, and Justin talks about the films Peninsula, Freaky, and the newest Max Brooks novel Devolution. Up first is Lemora. Liam talks about how the film examines the idea of pushing the idea of innocence upon a young attractive white woman and how it involves a world filled with characters intent on devouring her in one way or another. The idea of the film being a criticism of Christianity is examined, and Justin talks about how the name of the town the film takes place in (Astaroth) is indicative of this film being a criticism of Christianity. Justin also talks about how he initially thought the film was a nod to “abject person” as discussed, as is the “sovereign figure”. Justin talks about how he wasn’t a hundred percent sold on the film although it feels like an archetypical “hero’s tale”. The film as “Southern Gothic” is discussed. We briefly talk about the phenomenon of ghost towns and how they relate to the Great Depression. Up next is Paperhouse. Justin begins by admitting that he wasn’t feeling the film until the horror element kicked in and then fell in love with how effective the film portrayed the “logic of children” and how it put him in the proper mindset to enjoy it. We talk about how the film is often accused of not really being a horror film, and Liam argues that this functions as a bait and switch to “ease us into a boiling pot.” We talk about how while the film never explicitly comes out and addresses any underlying issues it’s very clearly about something much darker than the subject matter. We discuss some of the more unexpectedly horrifying imagery. The idea of the film being about sexual abuse and how children relate to such horror is discussed, and how the structure of the film itself feels like the reality a child would construct to hide the truth of the abuse. The phenomenon of films about children’s unrecognized desires is discussed. The film’s depiction of “puppy love” and how accurate it is is depicted. The film’s similarity in how abused children view their parents with The Shining. We talk about how the film might not be seen as a horror due to how effective it is in executing certain dramatic elements and how neither of the child characters in the film are annoying. We again talk about how easily and successfully the film nails “dream logic” and it unexpectedly made both of us feel a very real yearning for childhood. First and foremost, thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributi...

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys, and we’re talking about 1972’s Blood Freak and 1987’s Blood Rage. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thank you also to Essex Coffee Roasters, our newest sponsor. Head to www.essexcoffeeroasters.com to check out their fine assortment of coffee, and enter CINEPUNX in the promo code for ten percent off your order! And as always thank you to our Patreon subscribers. Your support means the world to us and we are eternally We start by talking about what we’ve done involving horror recently. Liam talks the films Run, and Justin talks about the films Come Play, The Vigil, and Porno. Up first is Blood Freak. We give a brief summary of the film, and Liam realizes he may or may not have actually enjoyed this film. Justin argues that the film is actually the kind of puritanical sex negative kind of film that slasher films are often accused of being while Liam counters that the film has no real moral compass. We talk briefly about the background of some of the production of the film. We touch upon how a film with this silly of a premise needs to stay entertaining and there are times when it isn’t. Up next is Blood Rage. Liam yells about the homey Josh Alvarez for borrowing his copy of the film. Justin talks about while the movie itself is quite entertaining, two of the key plot points are just rehashes of prior fims that did it better. We briefly touch upon the films embrace of debunked and somewhat problematic Freudian talking points, but the film is too ridiculous to focus on that. We talk about how convincing the performance of Terry/Todd is, and how the cruelty of the character Terry is very believable. We touch upon the eerily realistic nature of the performance of Terry as an actual sociopath. Justin talks about how the films ending has a natural cruelty to it that is quite effective. Some of the more brutal kills are discussed. First and foremost, thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, and LVAC for the support and buttons (check them out at www.xlvacx.com and on Twitter), Essex Coffee Roasters (www.essexcoffeeroasters.com) and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, check out our Spotify account at Cinepunx, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers!  Check out www.cinepunx.com for more info on some of our other podcasts, some ultra stylish Cinepunx related merchandise, and how you can donate to our Patreon! Until next time…thanks!       The post HORROR BUSINESS Episode 90: BLOOD FREAK & BLOOD RAGE

WELL, HERE WE ARE, DOING IT AGAIN! On this, our 122nd episode of Cinepunx we get distinguished and artsy as we discuss two Gotham Awards nominees, First Cow and The Assistant. We didn’t know this when we recorded, but both films also made Indiewire’s top films of 2020 list as well! These two films, both directed by women, are very good. We hope our discussion did them justice, as both are subtle and interesting films which deserve maybe commentators smarter than we are, but not cooler cause we are the coolest. As usual we also discuss our lives, current events, and talk some film and music we have been enjoying in Wack and On Track! We encourage you to check out all the things we mentioned, and apologies for not linking to all of them. Life, you get it. As usual we want to thank You, the listener, for your support and encourage you rate, review, subscribe, and tell a friend. Please, it means a lot. Thanks of course to all of our Patrons on Patreon. Check it out, toss us some duckets. Huge thanks to our sponsors LEHIGH VALLEY APPAREL CREATIONS and ESSEX COFFEE ROASTERS   REMEMBER, USE CODE “CINEPUNX” AT CHECK OUT TO GET 10% OFF YOUR ORDER WITH ESSEX! We also have new merch available in our store, check it out, and buy a shirt for you and your partner The post CINEPUNX Episode 122: FIRST COW and THE ASSISTANT appeared first on Cinepunx.

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys, and we’re talking about 2003’s Shaun Of The Dead and 2010’s Juan Of The Dead. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thank you also to Essex Coffee Roasters, our newest sponsor. Head to www.essexcoffeeroasters.com to check out their fine assortment of coffee, and enter CINEPUNX in the promo code for ten percent off your order! And as always thank you to our Patreon subscribers. Your support means the world to us and we are eternally We start by talking about what we’ve done involving horror recently. Liam talks the films The Evil, Jumbo, and the miniseries Salem’s Lot. Justin talks about the series Supernatural wrapping up and how that has impacted him. We briefly talk about the films The Wolf Of Snow Hollow and His House. Up first is Shaun Of The Dead. Justin opens up the conversation by claiming that this film is one of two “horror comedies” that is a perfect balance of horror, comedy, and “heart”, and that the film stands on its own not just as a parody of Romero films, but as an actual entry into the wider field of the subgenre of zombie films in horror. We briefly go off on a tangent about the work of Edgar Wright and how the Cornetto Trilogy is his crowning achievement. We discuss how the film understands that more than likely in the event of a real zombie apocalypse it wouldn’t be random humans you’d be facing as zombies, it would very likely be your friends and neighbors. The film’s quick establishment of the Romero-esque social commentary is touched upon, and how the film is so much more than jokes and gore but rather like its namesake it’s actually saying something. Some of the film’s themes of rejecting adulthood, abrasive masculinity, and immaturity are touched upon. We talk about how Pete, the quasi-villain of the first act isn’t really a bad guy at all unless viewed through the lens of someone like Shaun who doesn’t have their act together. The melancholy theme of outgrowing your friends is touched upon. The loveable character of Ed actually being one of the worst characters is touched upon. Justin talks about how some of the emotionally heavy scenes in the movie affected him, and how some of them are smartly used to humorously break down some classic zombie film tropes. We conclude by talking about how this film was ahead of the curve when it came to the zombie culture boom of the ‘10s. Up next is Juan Of The Dead. We begin by talking about how the film feels like a ninety-minute set up to justify a pun in the title. Liam points out that while it’s not the worst zombie movie he’s seen, it definitely doesn’t live up to its namesake. Liam talks about how he finds the film rather funny in how it relates to the culture of Cuba and how it smartly zings Spanish and American imperialism. We talk about how Cuba is largely removed from zombie culture; in that it’s distanced from the very idea of a zombie. Justin talks about how the films initial reaction to zombies is heavily influenced by the films deeply entrenched Catholic culture by jumping to people who are possessed or vampires, and then how the government is blaming capitalist dissidents. Cuban film culture is briefly touched upon, in that it’s almost non-existent. Finally, we dig deep into the problematic “gay panic” attitude of the film, and how even though it’s reflective of an aspect of Latinx culture it’s still very off-putting. First and foremost, thank you to everyone and anyone who donated on Patreon, checked this episode out,

HERE IT IS, YOUR LATEST HIT OF CINEPUNX TO CALM YOUR NERVES! Hey friends, welcome back for another exciting episode. This one is our long long delayed Halloween cross over with my other show, Horror Business featuring my sexy and charming co-host, Mr. Justin Lore. UP FRONT WE WANT TO APOLOGIZE FOR OUR AUDIO ISSUES, AND BY “OUR” I MEAN JOSH’S Look, if you have been listening to the show for awhile you are well aware of two things Josh is bad at technology We are poor and can’t just buy him a new computer However, if you would consider either SUPPORTING US ON PATREON orrrr BUYING ONE OF OUR COOL NEW DESIGNS it would go a long way toward getting us recording quality audio again. So, why did we go out of our way to have such a HORROR LUMINARY like Justin Lore on the show? So we could discuss THREE HAIR RAISING TALES OF GHOSTLY TERROR Kuroneko, The Legend of Hell House, and The Devil’s Backbone If you check out the other cross over episode here, you will hear about how this episode became, basically our desire to cover ghost tales for Halloween, and how we each picked 2 we felt like discussing. As usual we do WACK AND ON TRACK, and there is a technical issue that severely messes with Josh’s audio, but it happens pretty far into the episode so it should be fine.   Thanks to LEHIGH VALLEY APPAREL CREATIONS and ESSEX COFFEE ROASTERS for all their support. Go buy something. There is more to say and to link to, bu y’all have waited for this episode way long enough. Thanks for your support, tell a friend, post on socials, be awesome. The post CINEPUNX Episode 121: KURONEKO, THE LEGEND OF HELL HOUSE, THE DEVIL’S BACKBONE w/ Justin Lore, King of Horror appeared first on Cinepunx.

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. We’re joined by the homey Josh Alvarez of CINEPUNX and we’re talking about Empire Of Passion, Poltergeist, and The Others. Once again, we had some audio issues so please bear with us. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thank you also to Essex Coffee Roasters, our newest sponsor. Head to www.essexcoffeeroasters.com to check out their fine assortment of coffee, and enter CINEPUNX in the promo code for ten percent off your order! And as always thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve done involving horror recently. Josh talks about watching The Mortuary Collection and Books Of Blood. Liam and Justin talk about the entirely online Nightstream Fest, Liam talks about the films Save Yourself and The Wolf Of Snow Hollow as well as the new Netflix series The Haunting Of Bly Manor. Justin talks about some of the films he saw at Nightstream, including It Cuts Deep, Come True, Rose Plays Julie, and My Heart Can’t Beat Unless You Tell It To, as well as the film Hunter’s Moon and the Mahoning Drive In event that was a double screening of Poltergeist and The Exorcist as well as a screening of Fire In The Sky with Travis Walton in attendance. Up first is Empire Of Passion. We begin by talking about our opinions on ghost stories, with the general consensus being that ghost stories are pretty cool. We talk about the history of ghosts in Japanese cinema. Josh gives a brief synopsis of the film and explains why he chose it. Justin talks about how the film was more melancholy than spooky and some of the things about the film that particularly upset him, including the strange violence present in all the sex scenes. We discuss some of the sources of horror the film presents even before the supernatural becomes involved. Some of the more visceral elements of the film are discussed, notably the scene in which a character gets their eye poked out. Up next is Poltergeist. We discuss the prickly history of Steven Spielberg’s involvement with the film and give the caveat that while Spielberg likely had a hand in some stylistic elements of the film, Hooper ultimately had the final say in the direction of the film. We give a brief history of Spielberg’s involvement in the world of horror and how he came to write Poltergeist. We talk about how the movie definitely has some classic elements of a Tobe Hooper film. Some of the unorthodox sources of horror are discussed, including the concept of losing a child while having the child trapped somewhere in the same house as you. Justin talks about the films ability to tap into a very child-like place inside of us. We briefly talk about how the film affects us differently as adults and parents. Finally, we have The Others. Liam gives a brief history of his involvement with the film and how he came to appreciate it. Josh talks about why he likes this movie so much, and Justin talks about while he didn’t think it was bad, but it felt almost too cruel. We briefly touch upon some of the theological and sociological underpinnings of the film. We talk about the elements of toxic parenting in the film, and how the ending is somewhat unearned in that regard. Some of the sadder elements of the film are touched upon, and we talk about how the movie is a very classic Gothic film. First and foremost, thank you to everyone and anyone who donated on Patreon, checked this episode out,

HEY TEAM WE ARE BACK!!! So, I think we talked about this on the show before, but 4 years ago now we started a conversation with friend of the show and well known Delco native Michael Berdan about movies and music and all manner of things. Our plan was to record with him prior to a show he was playing at PhilaMOCA with Dark Blue. However, there were issues (intentional sabotage by Sharky) and we postponed our conversation till we had time again. Well, we got busy as you know, but more importantly Berdan’s awesome project, UNIFORM blew up and well, getting back together went from “in a month or so” to right now, the apocalypse. Sure, it took us four years to finally follow through on our promise, but look, HERE WE ARE! The timing is great because we have more time to connect, it is the spooky season so we all have spooky on the mind, and UNIFORM has a new record out that both Josh and I are obsessed with.  For this episode we were inspired by a few things, one was the fact that we all know each other a little better not from shows, but from the now gone EXHUMED FILMS 24 HOUR HORRORTHON, by Berdan talking about his October schedule he had programmed, and by the Patreon exclusive episode of HORROR BUSINESS Lore and I did where we programmed our own 24 hour Horrorthon THAT’S RIGHT, STRAP IN, BECAUSE WE HAVE EACH PROGRAMMED OUR OWN IMAGINARY HORRORTHON FOR YOU TO ENJOY! Besides enjoying hanging out virtually with our friend Berdan and discussing horror, my personal goal for this activity was to surpass the list I did for Patreon. Was I succesful? YOU DECIDE!!! It was an utter pleasure to discuss music and life and Delco and of course HORROR with Berdan, he was easily one of our favorite guests and we cannot wait to have him back on the show. We want to know what YOU thought of our picks, so get in touch with us over social media or email and hit us with your feedback. We want to thank our sponsors of course LEHIGH VALLEY APPAREL CREATIONS  and ESSEX COFFEE ROASTERS Right now if you use CINEPUNX promo code you get 10% off! Thank to everyone who has spread the word, supported us on patreon, bought a shirt, and otherwise just been awesome The post CINEPUNX Episode 120: 24 HOURS OF HORROR w/ Berdan of UNIFORM appeared first on Cinepunx.

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1931’s Dracula and 1954’s Creature From The Black Lagoon. Off the top we apologize for the audio issue/sound quality. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve done involving horror recently. We talk about Random Acts Of Violence, Liam talks about watching the original The Amityville Horror for the first time recently as well as watching Children Of The Night and The Borrower. Justin talks about watching Night Of The Living Dead at the Mahoning Drive In. Up first is Dracula. We briefly talk about Tod Browning’s body of work including the famous lost film London After Midnight. We talk about the phenomenon of a large amount of people having read the book due to schools assigning it to students while not having seen the film, and how the film is based more on the stage production of the book than the book itself. We talk about strange unorthodox structure of the source material, the concept of sexuality and shame in the film, and Bela Lugosi’s status as a somewhat washed up sex symbol. We go off on a brief tangent on how the film differs from Coppola’s version, in that Coppola’s version dives way deep into Dracula’s backstory. We talk more about Lugosi’s stardom and his semi-feud with Boris Karloff. Justin rambles about being more frightened of Dwight Frye as Renfield than he is of Lugosi. Harker’s non-presence is touched upon. The film’s status as something of a keystone of Universal’s legacy when it comes to horror is touched upon. We briefly touch upon some of the things about the production of the film that we don’t about, including some of the things that are clearly holdovers from when the film was a stage production. Up next is The Creature From The Black Lagoon. Justin talks about how when he first saw Monster Squad as a child, the Gill Man was the monster that grabbed his attention the most and how for him the Gill Man is the only monster whose really withstood the test of time. We talk about some of the underlying themes of the film, such as the unusually positive stance on science for a ‘50s B film, the vague touches of racism (monstrous other menacing white woman). Liam talks about his first exposure to the film. We talk about how ‘50s sci fi monster movies are usually not our cup of tea. The gorgeous cinematography of the film is touched upon, as is the pacing and creature design. We talk about how the film deftly avoids the “wise indigenous person” trope but also has a touch of the previously mentioned “woman in peril from Other” trope. We talk more about the ‘50s cinema tendency to portray scientists as effeminate and useless, and how this film portrays scientists not only as not effeminate but as somewhat brawny and overly traditionally masculine. First and foremost, thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re joined by friend of the podcast Dean Kapsalis, director of the upcoming film The Swerve and we’re talking about 1972’s Sisters and 1976’s The Tenant. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve done involving horror recently. Dean talks about picking up a Bentley Little novel on the strength of Justin’s recommendation, seeing the films Sea Fever and Burning, as well as revisiting An American Werewolf In London. We briefly talk about the recent episodes of Lovecraft Country. Liam talks about the film She Dies Tomorrow and the documentary In Search Of Darkness on Shudder. Justin talks about the South Korean film #Alive. We briefly talk about the HBO series Raised By Wolves. Up first is Sisters. We begin by talking with Dean about why he chose this film, and he talks about how the opening hooked him. The film is a mystery set in Staten Island and it sets up initially as a mystery with the protagonist being a young Black man. We talk about our backgrounds with Brian de Palma, and Dean talks about how he’s a huge fan of de Palma’s visual style. Justin talks about how the “pop psychology” aspect of the film is what bothered him the most. We talk about how Jennifer Salt’s performance absolutely anchors the film, despite much of the focus of the film being on Margot Kidder. Liam briefly talks about how the film feels like it influences John Byrne’s run on Alpha Flight. Up next is The Tenant. We begin by talking about our background with Polanski and by addressing Polanski’s horrible shit personal life and how he’s an actual monster. Dean talks about how when he was younger and he first saw the movie he was obsessed with it, and how the film visually appealed to him. We discuss the concept of separating the art from the artist, and how usually it’s an easy thing to do. With Polanski’s, however, it’s difficult because even though he’s a disgusting piece of shit, his films are almost always amazing. We talk about the surreal sense of paranoia and anxiety that the film excels at immersing the viewer in. Justin talks about how the film made him feel extremely claustrophobic through its cinematography and how it made familiar places feel alien and threatening. The films disregard for a continual sense of what is real and what is not is touched upon, and we discuss the influence of this film on Dean’s own work as well as the film 1BR that also played at Brooklyn Horror Fest. We talk about some of the more unorthodox imagery in the film (the tooth in the wall, people idly standing in a bathroom), and some of the poor choices the protagonist makes that lead them to their fate. Justin talks about how Polanski’s character makes him feel simultaneously revolted and sympathetic. The film’s commentary on the cyclical nature of existence/the eternal return is touched upon. Thanks so much to Dean for coming on and talking with us. His debut full length, The Swerve, will be available on iTunes and VOD on September 22nd. We cannot recommend it enough. Also, thank you for listening. Thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re doing a Patreon request with two films from 1965: Die, Monster, Die and Planet Of The Vampires. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve done involving horror recently. We talk about the new HBO series Lovecraft Country, Liam talks about I’ll Be Gone In The Dark and Demon Knight, and Justin talks about watching the films The Hunt, The Pale Door, and Uncle Peckerhead. Up first is Die, Monster, Die. We begin by comparing it to the recent adaption of the source material with Nicholas Cage’s The Color Out Of Space. We give a brief summary of the film. We talk about how the film is essentially a classic haunted house/gothic story bookended with plot points from Lovecraft’s source material. We touch upon how the film kind of steers away from plot elements of COOS and instead weave in other classic elements common in Lovecraft’s work. Lovecraft’s opinion on science is briefly touched upon. Up next is Planet Of The Vampires. We briefly talk about the films influence on Alien and give a brief summary of the film. Liam talks about how he normally doesn’t enjoy films in this style. We briefly talk about the legacy of Mario Bava and how he could make a little go a long way. We talk about how there moments in the film that are surprisingly frightening for a film of this era. We talk about the charm of the film and how it won us over despite looking somewhat cheesy. Justin talks about how the film reminds him of the novel Monster by Christopher Pike and how he enjoys non-traditional approaches to vampires. Bava’s choice of color and lighting in the film is discussed, and how it contrasts with some of the cheesier effects. We conclude by talking about some of the political implications of the film. First and foremost, thank you for listening. Thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, and LVAC for the support and buttons (check them out at www.xlvacx.com and on Twitter), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, check out our Spotify account at Cinepunx, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers!  Check out www.cinepunx.com for more info on some of our other podcasts, some ultra stylish Cinepunx related merchandise, and how you can donate to our Patreon! Until next time…thanks! The post HORROR BUSINESS Episode...

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1972’s The Legend Of Boggy Creek and 2004’s Incident At Loch Ness. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve done involving horror recently. We talk about the new HBO series Lovecraft Country, and Justin talks about She Dies Tomorrow, We Summon The Darkness, Random Acts Of Violence, and Sputnik. Up first is The Legend Of Boggy Creek. We both agree that the poster is somewhat iconic and arguably the best thing about the film. We largely disliked the film, and Liam talks about how it resembles a Disney nature film we used to watch in elementary school back in the ‘80s. Justin gives a little bit of a background on the phenomenon of the Fouke Monster, the creature alleged to exist in the film. Liam talks about how dreary the film is and how it looks like it takes place in a far different time period that it’s supposed to. Justin talks about how it’s painfully obvious the whole thing revolves around a hoax. The entire film feels performative and boring, and even the Sasquatch attacks feel flat and uninteresting. The ADR and dubbing are horrible, and the film presents an uneven tone. We talk about the films presence in the DNA of modern found footage films, as well as kicking off the trend of Bigfoot themed horror films. Up next is Incident At Loch Ness. The film feels a little too “winking and nodding” at the camera over the presence of Werner Herzog; Liam describes it as “loving the smell of its own shit”. We talk about Herzog’s self-awareness and how he is willing to lampoon himself. We touch upon the film would make a great episode of Curb Your Enthusiasm, and how the filmmakers seem obsessed with showing off how much they know about Herzog’s myth. Justin yells about how the cryptozoologist in the film uses horrible logic and how such logic is a trademark of QAnon bullshit. Despite the films flaws it’s still entertaining. Liam brings up that the film couldn’t decide how “in on the joke” it wanted to be. Thank you for listening. Thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, and LVAC for the support and buttons (check them out at www.xlvacx.com and on Twitter), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz666, check out our Spotify account at Cinepunx, and remember to rate, review, and subscribe to us on iTunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers!  Check out www.cinepunx.com for more info on some of our other podcasts, some ultra stylish Cinepunx related merchandise,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 2010’s Black Swan and 2014’s The Babadook. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve done involving horror recently. We talk about the recent Shudder original film Host, and Liam talks about the film All The Colors Of The Dark. Up first is Black Swan. We give a brief summary of the film, and we talk about how the film wasn’t initially referred to as a horror film because of Aronofsky’s reputation. We briefly talk about the nature of Darren Aronofsky’s work, and Liam posits that he essentially makes well crafted exploitation films. We talk about some of the more visually arresting and horrifying scenes of the film. We touch upon Aronofsky’s tendency of cruelty towards his female characters, and how the film is largely a more stylish body horror film. We return to Aronofsky’s lack of interest in fleshed out characters and how he’s more interested in caricatures of people. The horror one’s own self is discussed, and we talk about how whether or not what we’re witnessing is “real” is completely meaningless in regard to enjoying this film. We briefly discuss the concept of “camp” and the idea of “the Showgirls paradox”. The idea of Vincent Cassel’s character as an effigy for Aranofsky as a director is touched upon. We talk about the horror of questioning your own sanity and being unable to trust your own perception of things. We briefly discuss the concept of “perfection” and how it relates to cultural conditioning and tradition. Up next is The Babadook. We talk about how the film might hit harder for people who have special needs people in their lives. Liam points out how the film goes through three phases: spooky kid, psychotic woman, and then monster movie. Liam talks about how his experience of the film has changed since becoming a parent in that he feels more empathy for the child. Justin talks about how the police station scene is the most upsetting scene in the film for him. We talk about the very sweet concept of Sam, the child in the film, still feeling an unyielding love for his mother even though she repeatedly declares that she hates him, and how that is both tender and a source of horror. Justin discusses how he relates personally to the end of the film and how it’s a very effective metaphor for dealing with trauma and mental illness. We talk about how the films ending is far more effective than most classic horror films in that it shows that pain and suffering continues on and there is no simple fix for a complex issue. We talk about the intensity and effectiveness of the main performances in the film. We conclude by talking about how Essie Davis is “miserably horny” in this film and how that relates to depression destroying the libido. First and foremost, thank you for listening. Special thanks to our good friend Dana for recommending these movies. Thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1987’s Dark Age and 2007’s Rogue. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve done involving horror recently. We talk about the trailers for the films Random Acts Of Violence and She Dies Tomorrow and attending the Mahoning Drive-In’s annual Zombiefest. Liam talks about seeing the documentary You Don’t Nomi and Justin talks about seeing Relic. Up first is Dark Age. We begin by talking about the concept of Ozploitation filmmaking, and how oftentimes such films are just as much about Australia as they “what they’re about”. We talk about how the film centers upon the idea of “colonial guilt and anxiety”. We discuss the “magical indigenous person” trope and our unfamiliarity with Aboriginal Australian culture. We briefly talk about the nature of atrocities against Aboriginal Australians and the concept of ‘50s westerns fetishizing Indigenous Americans. The concept of Oodoban as an unreliable narrator, which diverges from the “indigenous Aboriginal” trope, is touched upon. We talk about the uneven nature of the crocodile prop and how sometimes it looks great and other times it looks silly. We spend a bit talking about how in the film Wake And Fright an actual violent kangaroo hunt was film, and how in Dark Age a similar phenomenon may have occurred with the scenes of crocodile hunts. Up next is Rogue. We begin by talking about Greg McLean’s tendency to make excessively cruel films revolving around a savage and untamed Australia. We discuss the cheapness of killing the dog and how the film is excessively stuffed with undeveloped human drama that has too many threads that go nowhere with too much backstory. The flat nature of many of the characters is touched upon. We talk about how when the crocodile isn’t present the film is actually quite effective at being suspenseful, but the reveal of the crocodile is just kind of silly because of how bad it looks. The clunky use of CGI in this film is discussed and how its not good enough to be seen for as extensively as it is. The irrational behavior of many of the characters is discussed and how it takes away from the suspense of the film. We talk about the contradicting statements from characters who are supposed to be ‘croc experts’ on the nature of the crocodile. We talk about John Jarrett’s performance in this film and Justin talks about how even though he enjoyed Dark Age more he actually enjoyed Jarrett’s performance in this movie more. The bullshit “based on a true story” marketing ploy is touched upon. First and foremost, thank you for listening. Thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.

Greetings and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1981’s Deadly Blessing and 1982’s The Slayer First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. We talk about Wes Craven’s career for a bit.  Liam talks about watching the documentary Scream, Queen! and Justin talks about the Netflix series Bataal and Ghoul. Up first is Deadly Blessing. We give a brief summary of the film, which sticks with being a slasher film up until the very end. We discuss the lack of tension and “fear of stalking” in the film. We talk about how the film is largely not exciting until the very end when it kind of switches genres to exploitation shootout, as well as the inexplicable and almost nonsensical reveal about the gender of one of the characters. We talk about how the film is a reflection of Craven’s fear of religion and his upbringing and how they might actually be right when it comes to morality. We discuss how the film touches upon the secular fear that maybe religion is right, a theme similar to folk/pastoral horror themes. We talk about the lack of creative kills and creepiness. Up next is The Slayer. We give a brief summary of the film, and how the film doesn’t really push the sparseness that it hints at. We talk about how the unfocused the film is, and how it kind of spreads it bets by trying to incorporate elements of different horror subgenre films. We discuss how the film does a lot of work suggesting that the main character is losing her mind but then just devolves into a boring slasher film. The nonsensical ending is touched upon as is the fact that the ending was obviously written as a way out beforehand. We conclude by talking about the how the entire movie is worth it for the skeleton monster at the end, but how the actual ending of it all being a dream is bullshit. Thank you for listening. Thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com and on Twitter), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz666, check out our Spotify account at Cinepunx, and remember to rate, review, and subscribe to us on iTunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers!  Check out www.cinepunx.com for more info on some of our other podcasts, some ultra stylish Cinepunx related merchandise, and how you can donate to our Patreon! Until next time…thanks! The post

Greetings and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1992’s Candyman and 1995’s Candyman: Farewell To The Flesh. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or koozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by somehow talking about Gambit from X-Men for way too long. We then briefly discuss what we’ve done lately involving horror. Liam talks about watching Death Line and Shirley, and Justin talks about watching the Netflix original Our House. Up first is Candyman. We begin by talking the background of the film, including the director’s filmography and the film being based on a Clive Barker short story. We briefly discuss how the short story is typical Clive Barker fare while the film is decidedly very un-Clive Barkery. We dive deep into what takes up most of our discussion, which is that we both unabashedly love this film despite it being a rather tone deaf and at times problematic film. We talk about how our personal histories with the Candyman franchise. Liam marvels at how good the film is, given it’s a movie that takes place in “the hood” based on a short story written by a lily-white British man and has some corny overtones. Justin talks about how the film leans heavily into simple imagery to conjure up dread and fear and succeeds wildly, and how despite film being well made and gorgeous it is a mess thematically. We talk about the performance of Tony Todd and how that performance is so remarkable people tend to forget he’s actually playing a villain. Liam talks about the concept of Candyman being parasitic in nature, and how the film’s setting being moved from London to Chicago’s Cabrini-Green is both a good and bad idea, in that it’s a more visually appealing setting but the film largely fails to really utilize some of the deeper racial themes that could be explored. We discuss the films unfortunate use of the wise Native American/mystical Negro/white savior tropes and some of the more racist tropes in classic literature. We dive deep into some of the more problematic themes in the film, including the idea of a black man who is undeniably “other” lusting after and seducing a white woman, the “jungle-ization” of urban Chicago, the way that the film subtly let’s white racists off the hook for Candyman’s origin i.e. a lynch mob murdering a black man for loving a white woman. We briefly talk about how Nia DeCosta’s upcoming Candyman might correct some of the problematic elements of the film. We talk about some of the other performances and some of the scarier parts of the film. Up next is Candyman: Farewell To The Flesh. We begin by talking about the film falls victim to the “McGuffinization” of horror films and becomes something of an adventure horror film. Liam talks about how connecting Candyman’s origin to the protagonist’s family is a wise decision and goes a way to correcting the problems in the first family. We have a violent and prolonged argument about the meaning of the protagonist’s family hiding her history from her. Liam discusses how the fact that Candyman is related to the protagonist is a move away from traditional horror in that the horror is within the character as opposed to an external threat. We talk about how despite the film attempting to unravel and lay out some complicated racial themes it still comes off as clumsy and misguided. We discuss some of the things we like about the film, and Liam talks about the theme of the film how wh...

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1980’s Night Beast and 1990’s The Suckling. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or koozie. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. Liam talks about watching Blood Machines on Shudder. Justin talks about watching the Epix miniseries War Of The Worlds and the Amazon Prime documentary The Hat Man, as well as the films Grave Encounters, Grave Encounters 2, and What Keeps Us Alive. Up first is Night Beast. We begin by giving a general outline of the film. We give our very general opinions on the film, and then disagree on the nature of the performances of the film. Justin argues that it is a joyless affair whereas Liam argues that it was fun. We touch upon the weird phenomenon of aliens who’re smart enough to pilot a ship across the galaxy and little more than rabid animals when they land. Liam talks about the gore in the movie feels tremendously out of place. We talk about how the movie is so bland and inoffensive that it becomes offensive. We discuss the films filled attempt at adding an “exploitation” angle with it’s weirdly out-of-place rapist subplot. The films legendarily awkward sex scene is touched upon. Up next is The Suckling. We begin by addressing the abject tastelessness of the film and how it might be a turn off for some people. Justin talks about the films somewhat mixed message on abortion, whereas Liam thinks it’s just a testament to the film’s general obnoxiousness. We talk about the film’s human villain being almost too annoying due to the actor’s overacting, as well as another character’s tendency to say horrible uncomfortable shit about sex workers. We discuss the films subtle examination of how customers of sex workers often seek to demean those same sex workers to make themselves feel better. Liam brings up the films choice to make the films only likable male character a black war veteran who has seemingly been unable to find any other work besides working in a brothel and how that may have been commentary on how vets are treated. Justin talks about some of the more interesting set design choices, such as the cocoon that the creature surrounds the house with, as well as some of the other FX scenes he found particularly upsetting. We make an argument that the FX had no right to look as good as they do given the budget. Thank you for listening! Thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com and on Twitter), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz666,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1986’s Dead End Drive in and Neon Maniacs. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. Liam talks about watching Z and a few of the films from director Brian Trenchard-Smith. Justin talks about watching the films Skyquake, Radius, The Neon Dead, Nine Miles Down, and We’ve Forgotten More Than We’ll Ever Know. Up first is Dead End Drive In. We begin with Liam explaining why he chose the film, why he enjoys it, and how he believes it should be a more widely known film. Justin talks about how the film feels almost like a dream, in that it had a subtle un-logic too it. We discuss the film as a metaphor for both concentration camps and Palestine, and how the film has a very Australian look to it. We talk more about Trenchard-Smith’s filmography, and how impressive the film looks for being made so cheaply. We talk about the weird paradox of the film never being widely received in America, despite being quite good and coming out at a time when America was obsessed with Australian culture. The film’s depiction of the phenomenon in Australia in which East Asians are singled out for a particularly venomous strain of racism and the history of racial violence in Australia. We touch upon the films use of the protagonist as a very effective audience surrogate and the paradox of despite the drive in being little more than an open prison, many of the people there are fine with it because the world outside of it is hopeless and uncertain. Up next is Neon Maniacs. We give a brief summary of the film and talk about the weird ‘80s phenomenon of casting thirty-year old’s as high school students. We talk about the similar dreamy feel that our previous film had. The films constantly running out of money as both its biggest handicap and its largest source of strength is discussed, with Liam describing it as “barely existing” and “finished?” We talk about how the movie would have never made it unless Lloyd Kaufman had rescued it. The disjointed and uneven look of the film is touched upon, as is the somewhat murky lighting of the film. We have a disagreement on whether or not the film is meant to look corny. The constant conflict amongst the crew members is cited as another source of the films lack of coherence. We talk at length about the film’s lack of ending and how it feels like the filmmakers ran out of money for the fifth time, shrugged at one another, and called it a day. We talk about how despite the fact that the film is an absolute mess and the seams are showing a hundred percent it’s too charming to hate. The film’s similarity to Masters Of The Universe action figures is touched upon. First and foremost, thank you for listening. Thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of hi...

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. This week we’re talking about 1999’s House On Haunted Hill and 2001’s Thirteen Ghosts. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or koozie. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. Liam talks about rewatching the original House On Haunted Hill. Justin talks about watching Penny Dreadful: City Of Angels, Into The Night, and the Shudder exclusive film Z. Up first is House On Haunted Hill.  We talk about our initial experiences with the film, and how it kind of got swept under the rug due to being released the same year as several other huge blockbusters. We briefly talk about the history of Dark Castle Films. We touch upon the idea of the film having several aspects of early 2000s horror films that eventually became beat to death and cliched but is still effective. We talk about some of the strengths and weaknesses of the film, including the more bizarre imagery, the operating theatre scene, and some of the camera techniques, along with Chris Kattan and the lack of relatable characters. Liam talks about the films failure to honor the original films spirit of pure campiness. We talk at length about the films CGI-heavy climax and the unearned appearance of Kattan’s ghosts at the end. The heavy influence of Jacob’s Ladder is discussed, and Justin has a dramatic realization that the aliens in Fire In The Sky were steampunk. We talk about the mid-90s obsession with a dirty and old aesthetic when it came to making things scary. We continue to disagree about the dusty CGI in the climax. We conclude by agreeing that the movie overall is a fun watch despite its flaws. Up next is Thirteen Ghosts. We open up by giving a general summary of the film. We begin by giving a general summary of the film, and Justin posits that despite being a weak film overall the film actually has some interesting mythos behind it, although Justin admits the ridiculousness of ghosts being afraid of Latin for some reason. The films lack of distinction due to the house being made of glass is touched upon, as is the weak plot device of there being goggles that allow the viewer to see the ghosts. We talk about how much of the energy of the production of the film seems to have gone into the design of the ghosts, and how the editing of the film is distracting in how fast it is. We touch upon how the remake fails to translate the theatrical gimmick of the original film. Justin argues that if Matthew Lillard’s character was transplanted to House On Haunted Hill it would make way more sense for the ending of a ghost saving the survivors. Liam defends the presence of Rah Digga in the film, and we hate on the little kid in the film. Liam laments the fact that the film had such a low bar to hit in being a remake, but it instead decided to “extreme” the film up and we conclude that the film is largely “unfun”. Thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers...

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1988’s Edge Of The Axe and 1990’s Deadly Manor. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. Liam talks about watching the film Whirlpool and the Netflix show The Last Kids On Earth. Justin talks about seeing the films Verotika, Butt Boy, and Endangered Species. Up first is Edge Of The Axe. We begin by discussing how Justin is not a fan of slashers overall. We talk about the intensity of the film’s kills, not in how extravagant they are but more in how intense they were. The film’s attempts at a red herring are touched upon, and we talk about the traditional device of the red herring and how American slashers differ from European slashers in that typically the identity of the killer is already known as opposed to “whodunnit” style movie. The films obvious non-English speaker having written the script quality is talked about. We talk about how the film, despite clearly being done for a paycheck doesn’t look like it and has a dedicated feel to it that a lot of slashers don’t have. We go on a tirade involving hardcore. Up next is Deadly Manor. We begin by arguing about whether or not the movie is actually good, and Liam argues that the movie is meant to be taken in jest. We briefly discuss how the house used in the movie is burned down and filmed but that footage is never used. We discuss the films development around the casting of the actress who plays the killer. We talk about the lack of any endearing characters and how the film ends with the rare phenomenon of the killer being caught. The cultural phenomenon of “biker merauders” as movie villains is briefly touched upon. The excessive conversation in the film is touched upon. Liam talks about how on the special features the sex scene was apparently an ordeal due to the male actor not wanting to be seen naked by the rest of crew. We conclude by talking about how the film definitely feels less “passionate” than the directors prior work, how there are no gripping and compelling aspects of the film, and how the cinematography feels flat and lifeless due to the film being shot on in one location. First and foremost, thank you for listening. Thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com and on Twitter), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, check out our Spotify account at Cinepunx, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 2002’s 28 Days Later and 2007’s 28 Weeks Later We want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. We discuss Shudder’s new series Cursed Films, and how revealing the episode on Poltergeist was. Liam talks about seeing the film Underwater and Justin talks about seeing the films Vivarium and M.O.M. (Mothers Of Monsters) the review of which by Cinepunx’s own Annamarie Benson can be read here. Up first is 28 Days Later. We begin by talking about our initial experience with the film when it was first released, and the hype around the film as “the scariest film since The Exorcist.” We talk about how the film kicked off the modern “zombie” craze and how it made Danny Boyle “a thing”, the fact that the film was one of the first films that was shot on digital video, and the soundtrack contribution of post rock band Godspeed You! Black Emperor. We discuss the fact that despite the film undoubtedly horrific in nature it remains a hopeful and optimistic film. Justin talks about how the films affected him so much it shaped his views on direct action and animal liberation. The intensity of the performance in the opening scene is touched upon. Some of the more intense and emotional moments of the film are discussed, and Justin talks about how it is the elements of sadness and tragedy that stick with him more than the actual horror. Christopher Eccleston’s character and his cynical, nihilistic nature as the true villain are discussed. The concept of how simple it is in the film to become an “other” as opposed to having to die in the classic Romero films is discussed, as is the somewhat more unsettling idea of these things just wanting to kill you as opposed to the desire to eat you in the Romero films. The simplicity of the film as a thought experiment of what would happen if inhibitions were removed from society and the social contract no longer applied. Some of the filming techniques and how it makes the infected seem slightly inhuman are discussed, as is the technique used to make the ending seem surreal and dreamlike. We talk about some of the few things we dislike about the film and how the movie was made for relatively little and made a ton of money. The length to which Boyle stretched the budget and how effective he was in getting shots of an abandoned downtown London. The film’s character development and how effective it is in getting us to care about these characters is touched upon. John Murphy’s “In The House In A Heartbeat” and how iconic the song has become is touched upon. We return to the concept that the film ultimately is about hope and the widening of a narrow worldview. The idea that the film is uniquely English in that England is the only place this specific film could work is touched upon; we talk about the comic book series by Boom! Studios, and we conclude by discussing the idea of how the Rage epidemic was initially ignored by people in metropolitan areas and how it relates to the tendency of Western society to ignore serious social problems until they boil over i.e. our current situation with COVID-19. Up next is 28 Weeks Later. We start by odd it is that it took five years to make a sequel to a film that was as wildly successful as the first one. We talk about how effective the opening sequence is and how it set...

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about South Korean horror films: 2003’s A Tale Of Two Sisters and 2017’s The Mimic. We are advising anyone who hasn’t seen the films to watch them before proceeding, and both films are available on the Shudder streaming service. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. We discuss Shudder’s new series Cursed Films, and Justin talks about seeing the films Housewife and Swallow. Up first is A Tale Of Two Sisters. We begin by giving our backgrounds in Asian horror films and what we’re familiar with, and Justin talks about how it’s a subgenre he’s not quite familiar with beyond the basics. Liam discusses how terrified of J-horror he is and how affected he was by Ju-On. We then move on to discuss how the film marks the shift away from Japan to South Korea as the epicenter of Asian horror. The distinctive visual style of East Asian horror films as they relate to East Asian concepts of ghosts is touched upon. We talk about the emotionally crushing nature of the film, and how it blends numerous upsetting strains of tone to makea genuinely albeit horrific to behold film. We dissect how the appeal of the film comes from how absolutely over the top every element of the film is and how if it wasn’t quite so crazy it wouldn’t be that appealing. We discuss how the film utilizes many of the elements American horror cinema has taken and overdone but instead uses them to great effect. We once again talk about how the film takes elements from “psychological” horror films in which oftentimes the supernatural elements are simply in a character’s head and then adds actual real supernatural elements to it, making it that much more horrifying. We discuss the extremely upsetting twist in the movie and how gut wrenching and heartbreaking the depiction of the event revealed in the twist is. We talk about how the film wants you to feel things and cares about your feelings but makes you very very upset. The fact that in addition to the main character experiencing some extremely psychological there is an actual ghost haunting her is touched upon. Some of the more visually frightening aspects of the film are touched upon. We conclude by talking about how even though the film is very upsetting and sad, it’s undoubtedly a film that needs to be seen because of how beautiful and moving it is in the end. Up next is The Mimic. We talk about how the film differs from our first feature in that it is far slyer and more stylistic in upsetting the viewer. We discuss how the central premise of the film, while terrifying, was ultimately one of the less upsetting things of the film. The karmatic aspect a lot of Korean films have towards spousal infidelity is touched upon. We give a brief summary of the film. Some of the more insidious aspects of the film are discussed i.e. how the genuine innocence of a child is used as the ultimate lure for victims of the titular creature are touched upon. We talk about the effectiveness of the final scene and how genuinely emotionally shattering it is. We discuss at length the idea of how the girl in the film, despite being a manifestation of the creature, is still a child who is legitimately afraid of her father and the creature itself. The “familiar harshness” of the film is touched upon,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about two films involving Satanic Cults: 1968’s The Devil Rides Out and 2011’s Drive Angry. And, as a bonus, we’re joined by the wonderful  Scott Poole, author of Monsters In America and Wasteland: The Great War And The Origins Of Modern Horror. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. Scott talks about reading Kim Newman’s Anno Dracula and revisiting the films of Yorgos Lanthimos, Liam talks about seeing The Invisible Manand White Force, and Justin talks about re-watching Terrified on Shudder, starting the television series The Plot Against America, and diving into the work of artist Junji Ito. Up first is The Devil Rides Out. We open up by giving a brief summary of the film, and a background of the novel series that work is based on. Justin talks about how the film initially felt like it was assuming the viewer had a background knowledge of the series and how they turned him off at first but then it was something that appealed to him eventually. Some of the more interesting aspects of the films production are touched upon, as is the vague mysterious background of Christopher Lee’s character. The restrictions placed upon the film by production codes not allowing nudity are discussed. The somewhat dated nature of the film is discussed, as is Terence Fisher’s work with Hammer Films. The juxtaposition of the film as being set in the 1920’s but very clearly being made in the 1960s is discussed, and we briefly talk about how the film was one of the first to feature the actual Devil as a villain. The theme of the a rightfully distrusted aristocracy is touched upon. Richard Matheson’s distinctly American stamp upon a film that is supposed to be very British is examined. Charles Gray’s performance as a contrast to Christopher Lee’s is discussed. Justin talks about the quaintness of the orgy scene not for its lack of nudity but more so for how at this point in time summoning merely the Devil or Satan is kind of passé. The heavy-handed Christian theology and morality is touched upon. Up next is Drive Angry. We give a brief outline of the film. We discuss the absurdity that is the concept of a bureaucracy in Hell. Nic Cage as an “out of control proletariat” is discussed. The like-ability of much of the cast is discussed, as is the idea of the Devil as “not that bad of a guy” who actually despises much of what is done in his name, something in line with the moral code of the Church of Satan. The interesting idea of how Nic Cage isn’t actually against anyone who has any real supernatural abilities is touched upon. Cage’s career as being an actor who is strongest when he is acting opposite of a strong female lead is discussed. The weird touch of a “buddy adventure” film that the movie has is touched upon. Nic Cage’s legacy as an actor is discussed. First and foremost, thanks to Scott for joining us and talking about these movies. His books can be purchased here and he can be followed on Twitter at @monstersamerica. Thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests,

Greetings and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1986’s House and 1988’s House II. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. Liam talks about seeing Alucarda, and then discusses the conclusion of HBO’s The Outsider. Justin talks about the Netflix series I Am Not Okay With This, and the films The Invisible Man and VFW. Up first is House. We start by talking about our earliest experiences with this film; Liam talks about how the film early on seemed like little more than a fun adventure movie only to realize later on that the film is quite scary. We discuss how a lot of people conflate the two films and confuse the second for the first, the difference being that the first one is actually quite scary whereas the second is rather silly. The idea of the film being just a little too much for being an introductory film into the genre for kids is discussed. Justin talks about seeing the film on HBO as a child and believing that the one monster in the film was “Bloody Mary”. Some of the scarier moments in the film are discussed, especially the effects of the film and how legitimately nightmarish some of the imagery is. The film as a parable for how Vietnam vets were treated, and for PTSD in general, is discussed. The film’s uneven ending and resolution is touched upon, in that early on the film alludes to the house itself being some kind of malevolent entity until it’s revealed that the entire plot was an orchestration of a singular character and we spend some time on how the film has something of a weak ending overall. The film transitioning from a “funny but effective horror movie to an entirely horror adventure film” is touched upon. The film’s somewhat tasteless depiction of the Vietnam War is briefly discussed, and we again talk about how the film could be seen as a metaphor for how soldiers are treated when they return from war: everyone loves the troops until they come home and it’s time to actually hear what they have to say. We conclude by discussing George Wendt’s performance. Up next is House II. The production of the film is touched upon, as is the drop in quality from the first film and its inclusion in the La Casa series. We give a brief outline of the plot of the film and how, unlike the first film, it establishes a “big bad” character early on (but then fails to really include the character until the end of the film). Royal Dano’s character, and how he’s the most “human” character in the film, is touched upon. Some of the creatures, including the fabled Dogerpillar, are discussed. John Ratzenberger’s character, and how he might actually be the most interesting character, and how it’s Liam’s favorite part of the film is discussed. We conclude that, while the film isn’t nearly as good as the first one it’s still an extremely fun film. Thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com.  We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contribution...

Greetings and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about two films involving missionary killers: 1975’s PROFONDO ROSSO and 1987’s STAGEFRIGHT, and we’re joined by very special guest Dean Kapsalis, writer and director of our favorite film of the year THE SWERVE. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. Dean talks about seeing the films Gretel & Hansel, Underwater, Wounds, and The Lodge. Liam talks about rewatching The Fog, and Justin talks about seeing Horse Girl and After Midnight Up first is Profondo Rosso. Dean opens up the conversation by talking about his background with this movie, calling it both the masterpiece of Argento’s filmography and the greatest giallo of all time. We briefly discuss Argento’s pre-Suspiria filmography. Dean talks about how, as a director, he believes that first scenes are everything. Comparisons to an earlier Italian film (Blow-Up) are made. Justin talks about how this movie is the archetypical giallo film, and how absolutely violent and brutal the kills were. The vague supernatural touches of the film are discussed, as is the films actually successful red herring. Liam talks about how this film is Argento’s “transition” away from giallo and into more supernatural films. The gender issues of the film are touched upon, as are Argento’s impact upon the genre in that he set out to make “the giallo that ends all giallos”. The political history of Italy is discussed to give context for some of the nationalistic imagery in the film. Up next is Stagefright. We begin by talking about the various connections the filmmakers of this film had with various other films in the Italian horror realm. Dean explains why he chose the film, and Justin goes on a tangent about why he’s afraid of owls. Some of the more stylized and creative kills of the movie are dissected, as is the films tendency to “break the rules” of slasher films. The concept of the film existing as a critique of the film industry is discussed. The believability of the nature of the killer is touched upon, as is the soundtrack and how it fits the time period perfectly. The killer’s habits of posing his victims after killing them and how that makes him even more realistic is touched upon, as are some of the more surreal moments of the film. Thank you to Dean for coming on to talk with us. You can follow him on Twitter at @dean_kapsalis and @theswervemovie. Also, thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com.  We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666,

Greetings and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about two films involving missionary killers: 1976’s GOD TOLD ME TO and 2001’s FRAILTY First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful. Thanks! We start by briefly discussing what we’ve done lately involving horror. Liam talks about seeing the films Knifes And Skin, The Terror, and the trailer for Spirals: The Book Of Saw. Justin talks about the HBO series The Outsider and seeing the films The Turning and Gretel & Hansel.   We talk about some of our favorite scenes in the film, including the scene in which the main character confronts his biological mother on the issue of his conception and she has an emotional breakdown. We go off on another tangent on how the film draws from the concept of “ancient astronaut theory” and how such concepts are inherently racist. We tie it back into the film by examining how the film suggests that divinity and extraterrestrials might not be entirely different but how Cohen never actually says, for certain, that religion was inspired by aliens. We then touch upon the depiction of a murderer talking about his crime in the film and how realistic it is in contrary to some other depictions of them in film in that it is so mundane it becomes unsettling. The somewhat problematic scene in the film where the main character attacks and murders a room full of black men is talked about. Up next is Frailty. We begin by briefly talking about the terror of Powers Booth. We give a brief summary of the film, sing the praises of Bill Paxton, and talk about some of the performances of the film. We talk about how the narrative of the film is framed. The films big reveal and how it’s so intricately layered is touched upon, as is the films overall melancholy nature. The way the film stays deliberately vague on as to whether or not Bill Paxton’s visions are real or not until the end is discussed. We talk about how the film could be seen as analogy for abuse or neglect, in that a child is forced to step up and take responsibility when a parent is clearly not well. The performances of the child actors in relation to Bill Paxton’s are discussed. We talk about our personal histories with the film, lament on the death of Paxton, and the phenomenon of the McConaughnaissance. The lack of a happy ending and how that opens up a terrifying concept is touched upon. The movie’s lack of a definite adherence to the Judeo-Christian God is discussed, as is the commentary on the nature of God and the Devil. Thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com.  We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about our favorite horror films of 2019 and we’re joined by the one and only Josh Alvarez of the Cinepunx podcast! First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. Josh talks about watching Hell House LLC, Liam talks about seeing the Netflix Dracula series, and Justin talks about seeing Underwater.   Our top ten lists were as follows Josh 10. Crawl 9. Brightburn 8. Dogs Don’t Wear Pants 7. Climax 6. Luz 5. It: Chapter/The Dead Don’t Die 4. Ready Or Not 3. Us 2. The Lighthouse Midsommar   Liam Depraved9. Ready Or Not8. Crawl7. Daniel Isn’t Real6. Bliss5. Harpoon4. In Fabric3. Tigers Are Not Afraid2. Midsommar1. The Swerve Justin 10. Bliss 9. The Girl On The Third Floor 8. 1BR 7. Harpoon 6. Climax 5. Daniel Isn’t Real 4. Crawl 3. Doctor Sleep 2. Us 1. The Swerve   Some of the films in 2020 we’re looking forward to include After Midnight, The Turning, Antlers, A Quiet Place Part II, Gretel And Hansel, The Color Out Of Space, I’m Thinking Of Ending Things, and Antlers. Thank you to Josh for jumping on the mic with us and providing levity to our otherwise dour podcast. We love him more than words can describe. Check out his band Crossed Keys! Thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, check out our Spotify account at Cinepunx, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out www.cinepunx.com for more info on some of our other podcasts, some ultra stylish Cinepunx related merchandise, and how you can donate to our Patreon! Until next time…thanks!   The post HORROR BUSINESS Episode 69: 2019 In Review W/Josh Alvarez appeared first on Cinepunx.

HERE WE ARE AT THE END OF FUCKED UP YEAR, AND THERE IS ANOTHER ONE COMING! Welcome one and all you our 2019 year end review, featuring our partner in crime and honored guest, one Mr. Justin Lore of our esteemed sister podcast, Horror Business! Justin joins us for a brief excursion through some of our favorite things from this past year in Film, Music, Tv, and Book form. There is a lot to love from 2019 even as there is a lot that was hard and sad and tragic. Still, we have a lot of hope for 2020 despite the rough circumstances that have begun it. Thank you to all our listeners, our amazing Patreon supporters, our sponsors at Lehigh Valley Apparel Creations  A huge huge huge thank you to all the folks who contributed their time and talents to the Cinepunx Podcasting Group in 2019. Folks did art for us, guested on our shows, spread the word, attended our events, shared their podcasts with us, and wrote about the stuf they loved and hated. It was a hard year, but even in the darkest of years the light of those we love shines through. Thanks for being awesome. See you again real soon. 2020- THE YEAR OF CINEPUNX WORLD DOMINATION The post CINEPUNX Episode 105: 2019 YEAR IN REVIEW FEATURING JUSTIN LORE OF HORROR BUSINESS appeared first on Cinepunx.

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1964’s Blood And Black Lace and 1966’s Kill Baby…Kill. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. Liam talks about seeing Black Christmas, and Justin hasn’t seen anything involving horror. We begin by talking about Blood And Black Lace. We give a brief summary of the film and talk about the influence it had on the subgenre of giallos. The films “groundbreaking” qualities are discussed, including it’s contributions to the ‘whodunit’ style films. Giallos in general are discussed briefly, and we talk at length about the films unorthodox choices in lighting and cinematography. The look of the villain, the brutality of the kills, and the films lack of cheesy clues/red herrings is touched upon. Next up is Kill Baby, Kill! We give a brief summary of the film, and discuss the films lack of stakes. We discuss the films somewhat flat cinematography, lack of real narrative, and somewhat boring story. We weren’t really big fans of this movie so we didn’t really have much to say. First and foremost thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, check out our Spotify account at Cinepunx, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out www.cinepunx.com for more info on some of our other podcasts, some ultra stylish Cinepunx related merchandise, and how you can donate to our Patreon! Until next time…thanks!   The post HORROR BUSINESS Episode 68: BLOOD AND BLACK LACE & KILL BABY…KILL! appeared first on Cinepunx.

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you! In this episode we’re talking about 1983’s The Keep and 1996’s Apt Pupil. And, as an added bonus, we’re joined by long time friend of the show Ryan Sawyer! We apologize for some of the audio issues including Ryan’s recent horror activities, which was unfortunately cut off. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. Liam talks about the final Exhumed Films event at the Lightbox Film Center and seeing Joker and Doctor Sleep, and Justin talks about seeing the films Sweetheart, Velvet Buzzsaw, Antrum, Wounds, Harpoon, Hush, and Happy Death Day 2U. We begin by talking about The Keep. We each discuss how we first became aware of the film (Ryan being introduced by a friend, Liam through cable TV, and Justin through the work of F. Paul Wilson). We discuss the troubled production of the film and how Michael Mann was somewhat handcuffed by Paramount’s meddling. We briefly touch upon Wilson’s view of the film and how it’s softened over time. We examine the various shortcomings of the film: oftentimes it feels incomplete, rushed, and half formed. We briefly talk about the film’s divergence from the source material and how that takes away from the heart of the story (moral dilemma, a lack of stakes, muddled mythology, etc). We talk about the surreal and fascinating imagery of the film and how the almost makes up for the confusing narrative. We briefly talk about the larger interconnected mythos of F. Paul Wilson’s fiction (the Adversary Cycle and the Repairman Jack saga). Next up is Apt Pupil. We begin by giving a brief summary of the film. We talk about the problematic nature of Brian Singer and how his films are often viewed through the lens of his crimes. We touch upon the homoerotic subtext of the film and the idea of “the male gaze” being cast upon Brad Renfro. We briefly talk about how the film is reminiscent of the film In A Glass Cage and how the film treats the concept of Nazi war crimes with something like velvet gloves. We talk about how the film weakly attempts to frame the death drive of Nazism in through sexual tension between Renfro and McKellan via BDSM, and we again discuss the problematic nature of Brian Singer making a film about an older man engaging in quasi-BDSM with a teenager. Ryan brings up the concept about how both films revolve around the idea of something being suppressed and that something being released to wreak havoc on the world in some way. We touch upon the questionable view of Nazism as a corrupting ideology as opposed to an ideology that attracts corrupt people and allows them to act out their evil desires. We briefly discuss what we actually enjoyed about the film but this turns into how the film hasn’t really aged all that well. First, and foremost, a huge thanks to Ryan for being rad enough to come and talk to use about these films. Also thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys: today, we’re talking about 1982’s Halloween III and 2007’s Trick R’ Treat. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or koozie. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. Liam and Justin talk about the Brooklyn Horror Film Festival and the films they saw, including Nightmare Fuel, Blood Quantum, The Shed, The Swerve, and 1BR. Liam talks about the recent Exhumed Films annual Horror-thon and some of the films he saw there, as well as seeing Parasite. Justin talks about attending the recent Exhumed Films Masters Of Horror event, seeing The Lost Boys at Frank Banko Ale House Cinemas and An American Werewolf In London at the Colonial Theatre in Phoenixville, as well as the films The Dead Don’t Die, Dry Blood, Wrinkles The Clown, 3 From Hell, Red Letter Day, The Girl On The Third Floor, Doctor Sleep, and Little Monsters, and the return of the TV series Castle Rock. We begin by talking about Halloween III. We give a history of the film and how John Carpenter initially meant for the series to be an anthology style series of films rather than a sequence of sequels, and briefly discuss our opinions on the franchise as a whole. We talk about some of the performances and what makes the franchise so good, and Justin discusses what hits so hard about the film. We dissect the film as an analogy for criticizing hoarding of wealth and consumerism, as well as some aspects of the film that could be perceived as anti-colonial. We talk about some of the performances in the film and our personal histories with the movie. Next up is Trick R’ Treat. We discuss how the film breaks outside of the box that many anthology films live and die by and how it is a relatively recent film to be considered a classic but is nonetheless beloved. We talk about the impact the film has had on Halloween culture, in that the idea of “the rules of Halloween” sprang from it. We briefly talk about the fact that this film has a strong sense of justice in that the bad guys often get what is coming to them and that many of the people who die deserve it. We examine the fact that despite the film’s relatively lighthearted tone, there are a few genuinely creepy moments. And finally we talk about the character Sam, who has become something of an iconic character over the years and was a wise branding move on behalf of the filmmakers. First and foremost, thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, check out our Spotify account at Cinepunx,

Greetings, and welcome back to Horror Business. We have an awesome episode in store for you. In this episode, we’re talking about a Fulci double-feature, 1980’s City Of The Living Dead and 1981’s The Beyond. And we even have a special guest: Joe Vitello from the B-Sides With Boog and The Horror Show podcasts! First in our hearts and in our copy, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt, sweater, pin, or coozy for your business, band, project, or whatever else you have going on in your life. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start with a brief discussion of what we’ve watched lately. Liam and Justin talk about the recent Weekend Of Terror at the Mahoning Drive In, and Justin talks about the Netflix series Marianne and the movies I Trapped The Devil, Seeds, Jacob’s Ladder, Bliss, The Wind, and Climax. Next up, our main topic: Fulci. We begin with a brief outline of City Of The Living Dead, as well as the first time we each saw the movie and the different ways the movie has affected us. We discuss our favorite scenes, as well as the level of gore in the movie. Liam explains how both this and The Beyond have been mislabeled as zombie films, an especially galling when Fulci’s Zombi is sitting right there! Liam talks about some of his favorite Fulci trademarks, i.e. lingering shots on faces, voyeuristic camerawork with gore, and eye injury. The hated character of “Bob” is briefly discussed. Fulci’s filmography is a mixed bag of both genre and quality, and we touch upon this while discussing the semi-problematic qualities of Italian horror cinema, and the loose connections to Lovecraft in both films. Next up is The Beyond. We give an outline of the movie, and Justin again touches upon Fulci’s trademark of lingering camerawork over ultra gory scenes in a way that is “vaguely pornographic.” The lunacy of the spider sequence and how it makes no sense at all plot wise OR logistically is touched upon, with Justin defending that scene in that it is at least well done. We talk about our initial experiences with the film, and further discuss Fulci’s career. First and foremost, thank you to Joe for taking the time to talk spooky movies with us. You can follow him on IG at @boognish1985 and his podcast THE B_SIDES WITH BOOG at @boogs_b_side. As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, check out our Spotify account at Cinepunx, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out www.cinepunx.com for more info on some of our other podcasts, some ultra stylish Cinepunx related merchandise, and how you can donate to our Patreon!

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1986’s From Beyond and 1995’s Castle Freak, and we were joined by Devin Boudreaux of Boise straight edge outfit Rejection Pact First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing H.P. Lovecraft’s impact on horror and what we’ve done lately involving horror. Devin talks about seeing Blood Harvest for the first time, completing his Hammer horror Christopher Lee collection the Blu Ray of Scars Of Dracula, and watching the Purge TV series. Liam talks attending the recent Reel Weird Weekend event at Mahoning Drive and seeing Remote Control and Videodrome and seeing Ready Or Not with Justin, who also talks about watching the second season of AMC’s The Terror, beginning Netflix’s Mindhunter, the trailers for The Lighthouse and Little Monsters, and seeing IT: Chapter Two, the review of which you can read here. Discussion starts with From Beyond. We give a brief outline of the film, highlighting the fact that this is the second time Stuart Gordon has worked on a Lovecraft adaption with both Jeffery Combs and Barbara Crampton. We each give our backgrounds on the film and how we discovered it. The look of the film, including the color palate and claustrophic set design is discussed in how it echoes Lovecraft’s own style of storytelling. Devin makes the comparison how the film was later echoed thematically by The Matrix. The sexuality of the film is discussed, in that the Praetorious character is portrayed as a seething ball of sensuality. We touch upon how the film lacks the touch of kitsch that Re-Animator had, as well as being more gruesome and grisly than Gordon’s prior adaption of Lovecraft. Ken Foree as the audience surrogate is touched upon, as he is the only purely good character throughout the entire movie. Next up is Castle Freak. We begin by discussing the origins of the movie, in which Charles Band made a poster for the movie first and then hired Stuart Gordon to make a movie based around the poster. We give a brief outline of the film and Justin agonizes over not knowing where Charles Band got the money to buy a castle. Justin talks about how the movie, despite being based on a Lovecraft story, actually inject into the movie a common theme in Lovecraft that wasn’t present in the source material. Devin talks about how this was his first viewing of the movie and how it didn’t quite live up to his expectations based on the posters he’d seen at the video store as a kid. Liam discusses about how the movie, despite clearly being shot only to take advantage of a creepy setting, actually works. The lack of character development is touched upon as is the overall shortage of sympathetic characters. We conclude by discussing the “cheapness” of how the film looks. First and foremost, thank you to Devin for taking the time to talk spooky movies with us. You can and should check out his band on IG at @rejectionpact. As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1986’s Spookies and 1991’s Popcorn. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. Justin talks about seeing Scary Stories To Tell In The Dark, Liam talks about the surprise of finding out that The Walking Dead comic book series wrapped up, and we discuss the trailers for Underwater, Antlers, The Pool, Bliss, Happy Face, Satanic Panic, Parasite, The Death Of Dick Long, The Golden Glove, Climate Of The Hunter, Scream, Queen!, Rock Paper Scissors, Something Else, and Deerskin. Justin also talks about attending Monster Mania Con in Cherry Hill last weekend. We begin by talking about Spookies. We give a basic outline of the plot and discuss the troubled production of the film, in which the entirety of the film was shot and then the financier decided to shoot additional footage with a different director to pad the running time. The weird phenomenon of actual adults looking for a place to drink and party in the beginning is discussed. We talk about how the movies strength (the excellent practical effects) is also is its biggest weakness, in that the film is clearly just an extended set up to show off the various effects. The unfortunate problematic nature of the Asian spider women is touched upon. Some of our favorite parts of the movie are discussed. We talk about the phenomenon of a bad movie being made earnestly being somewhat redeeming. We conclude by talking about how despite being flawed it is still a rather charming movie, and how it’s a shame it’s so hard to find on home media. Next up is Popcorn. We give a brief outline of the movie and discuss how it has developed a cult following since it’s been released, despite being widely panned critically. We talk about the movie’s failed attempt at offering some kind of “meta” commentary on slasher films. The troubled production of the movie is touched upon. We talk about what doesn’t work for the movie, including lackluster performances, disjointed narratives, and a weak storyline. Justin argues that the movie isn’t clever or good enough to accomplish what it sets out to do, which is lightly parody and skewer the William Castle style gimmicks of 1950s/1960s horror and scifi movies. The films attempt at being subversive and failing is touched upon. Liam argues that movie actually succeeds at being “respectful” to the movies it’s attempting to skewer. Some of inconsistencies in the movie are discussed As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted.

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1972’s Asylum and 1974’s The Beast Must Die. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror, including the recent VHS Fest at the Mahoning Drive, seeing the films Crawl, Midsommar, Annabelle Comes Home, Perfection, and I Am Mother, the trailers for Rabid, Jacob’s Ladder, and It: Chapter 2, and the announcement that Marvel Studios would be producing a new Blade film. We begin by talking about Asylum. We start by giving a rough outline of the film, and then talking about what makes a good anthology film, or in this case a bad anthology film. We talk about each individual story and discuss what we liked about each vignette. We briefly talk about the impact Robert Bloch had on horror as a whole, including his work dealing with the Cthulu Mythos. The influences of the various segments are discussed, both in what they influence and in what influenced them. The question of whether or not the film should be given some slack because it was arguably the first horror anthology film is delved into. Next up is The Beast Must Die. We begin by giving another “hard and fast Horror Business” rule when it comes to horror movies, in this case that a werewolf movie is only as good as it’s werewolf design, and in turn we criticize the design of the werewolf of this movie, which is essentially a large dog with extra fur added. We discuss the plot of the movie and how transparent it is from the gate. We touch upon the films attempts at being a “whodunit” style film but doesn’t drop any clues, how the red herrings in the movie were clearly obvious, and the annoying gimmick that was added in post-production. We weren’t big fans of this movie, so there’s not much substance to what we’re talking about besides tearing the movie apart. As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out www.cinepunx.com for more info on some of our other podcasts, some ultra stylish Cinepunx related merchandise, and how you can donate to our Patreon! Until next time…thanks! The post HORROR BUSINESS Episode 62: Asylum & The Beast Must Die appeared firs...

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. We’re talking 1980’s Cruising and 2018’s Knife + Heart, and we’re joined by noted cinephile and fellow Cinepunk, Adrianna Gober! First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or koozie. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. Adrianna discusses tabling at the recent Horror Sideshow Flea Market in Allentown, Liam discusses a few films he’s seen recently, including the newest entry in the Puppet Master franchise, and Justin discusses the release of the first trailer for the upcoming Mike Flanagan film, Doctor Sleep. We begin by talking about Cruising. We give a rough outline of the plot of the film, the concept of Al Pacino’s character leading a double life, and the possibility of there being multiple killers. We touch upon early misinterpretations of the narrative technique of the film, and Adrianna discusses the concept that the film strongly implies that Pacino is at the very least a killer, if not the killer. We discuss the concept of representation in film, and how this film was accused early on of lumping all gay men into one monolithic group. Some of the performances in the film are discussed, and the rumored connection between William Friedkin and a suspect in the Bodybag Killer murders is touched upon. Some of the post-production digital effects are discussed and how it brings the movie down. Some of William Friedkin’s influences in making the film are discussed, including a film titled New York City Inferno, which later influenced Yann Gonzalez’s Knife + Heart. The eroticism of the film is discussed at length, and we go off on a brief tangent on “arty gay porn.” We conclude our segment by briefly touching upon the impact of the AIDS epidemic on the gay cinema community. Next up is Knife + Heart. Liam and Adrianna discuss their discovering of the film, and Liam touches upon the film’s heavy giallo influences. The brief touches of humor in the film are discussed, mostly in the depictions of the films being created within the film. Adrianna discusses the concept of porn historically being one of the the only cinematic spacse for LGBTQ people to tell their stories and feel represented, and how modern examinations of gay cinema tends to gloss over this history. The film’s humanizing of its characters is touched upon. Justin discusses the film’s defense of pornography as legitimate art, the film’s color choice, and the phenomenon of relating to romantic encounters in gay cinema. The deep melancholy of the film is discussed. The supernatural elements of the film are touched upon, as are the commentary upon the protagonist’s behavior as reprehensible despite her being the character that is supposed to be sympathetic. Liam points out that the film highlights the tragic concept of how oftentimes queer cinema is about death. A huge thank you to Adrianna for coming on the show and hanging out with us. She and Liam do a podcast on the Cinepunx network dedicated to the Canadian superhero team Alpha Flight, called The Flight Stuff, so if you enjoyed her conversation on this episode go check that podcast out. As always, thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys; we’re talking about 1971’s The Devils and 1981’s The Other Hell. First and foremost, we want to give a shout-out to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or koozie. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing what we’ve done lately involving horror. We discuss the fifth annual Zombiefest at the Mahoning Valley Drive-In, the upcoming Cinepocalypse Film Festival, the debut of the trailer It: Chapter 2, and Brightburn. We begin by talking about The Devils.  First, a brief background on the work of Ken Russell and the phenomenon of the Devils of Loudon, the historical event that the movie is loosely based upon. The set design of the film by the incredible Derek Jarman, and how it has a very futuristic and dreamy feel to it, in a deliberate choice by Russell to make it feel “out of time.” The history of the editing of the film is touched upon, in that much of the original footage from the “directors cut” has been lost. Some of the scenes from the directors cut are briefly touched upon. The films portrayal of Urbain Grandier, in that makes him a much more tragic figure than he was in reality. The way women were treated by the church in the 17th century religious world is examined, and the way they submitted to the power of men is also discussed. The films examination and declarations on human sexuality and how religion and society relates to that is examined. The historical phenomenon of mass hysteria and the religious implications of it are talked about. Grandier’s authenticity making him the closest thing to a hero in the film is discussed, and the gray unstable morality of the entire cast of the film is discussed. The film’s portrayal of women and homosexuality is discussed, as is Ken Russell’s trademark lack of subtlety. For more on how Liam feels about The Devils, as well as the opinions of fellow Cinepunk Josh Alvarez, please head on over to Cinepunx to check out the episode they did on this movie a while back! Next up is The Other Hell. We begin by giving a background of director Bruno Mattei, in which we discuss Mattei’s value as a filmmaker and whether or not he makes entertaining films. The history of nuns in horror films is briefly touched upon, in that it encapsulates both the idea of innocence being corrupted and repressed sexuality. Justin talks about how he wasn’t really a fan of the movie, and it feels plodding and aimless and ultimately unsuccessful in its goal. Mattei’s “eye for upsetting things” in the visual medium is touched upon. The miscellaneous plot issues are talked about at length, and Liam ultimately concludes that the film is worth seeing, and if you’re a fan of Italian horror, you might be a fan of this and Justin reluctantly gives the movie a half a star for being earnest. We end by talking how a filmmaker like Fulci knows how to make a movie rich in visual weirdness but light on plot while filmmakers like Mattei aren’t quite as successful. As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode, we’re talking about 2017’s Satan’s Slaves and 2018’s Don’t Leave Home, both Shudder exclusives. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by briefly discussing the concept of spoiler culture and then discuss what we’ve done recently involving horror. Liam talks about catching a recent screening of Knife + Heart and Justin talks about attending Monsterpalooza in Los Angeles, meeting Carly and Amy from the Final Girls podcast, and we the both talk about seeing the remake of Pet Sematary. We begin by talking about Satan’s Slaves. We give a brief plot outline of the movie, and Justin talks about how the movie is very successful in setting up an atmosphere of terror and eeriness. Liam discusses how the film, given its proximity to East Asia (the film itself is Indonesian), is very reminiscent of some Asian horror films and modern horror films as well, in addition to some horror films of the ’70s. We discuss how a turn in the third act changes much of the film’s mood retroactively. We discuss how much of the movie feels somewhat disjointed and disconnected. The cohesion of the family unit is touched up, and some of the creepier scenes are discussed. The film’s uniqueness in being a religiously themed horror film that doesn’t fall into many of the tropes other religious horror films fall prey to is touched upon. Next up is Don’t Leave Home. We begin by giving a brief outline of the film, and spend much of the time discussing the concept of colonization as a source of horror. The phenomenon of pastoral horror is explained and discussed. The film as a fairy tale is touched upon, and how that fairy tale is a metaphor for Ireland’s relationship with England. The film’s decision to avoid religious tropes in a movie that delves lightly into religion is discussed, as are some of the performances of the actors in the film. As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks as always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out www.cinepunx.com for more info on some of our other podcasts, some ultra stylish Cinepunx related merchandise, and how you can donate to our Patreon! Until next time…thanks! The post HORROR BUSINESS Episode 59: SATAN’S SLAVES & DON’T LEA...

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 2015’s The Invitation and 2018’s You Were Never Really Here. We’re joined on this episode by Izzy Lee of Nihil Noctem Films. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start with Izzy talking some of her recent projects, including a screening of her recent film My Monster at several different festivals, as well as the premiere of her short film The Obliteration Of The Chickens, as well a horror script she is working on, some short horror fiction pieces she’s working on for the book Tales From The Crust, a screening of the documentary Hail Satan, and the film Tone Deaf, Justin talks about seeing Captive State and the Netflix series Love, Death, And Robots, and Liam talks about finishing the comic book Harrow County and seeing the film Slice. We begin by talking about The Invitation. We begin by giving a brief summary of the film, and how the movie has a very “Los Angeles” feel to it, which lends it a dreamy look. Izzy explains why she chose the film and her initial reaction to it. We discuss the concept of the protagonist as an unreliable narrator and the source what causes him to be an unreliable narrator. Some of the themes of the film, including paranoia, grief, inadequacy, and alienation are discussed. We briefly touch upon the performance of John Carroll Lynch and the sinister air it lends to the film. The success of the tone of uncertainty the film manages to maintain up until the end is discussed.   The theme of “the beautiful pain of being alive” is dissected. Izzy talks about how these two films she picked are more “thrillers that focus on the destruction of the family unit, grief, losing a loved one, and the terrors of being alive” and how these elements are the “real life horror” that make the genre so wonderful and personal to her. There is a brief discussion on the nature and definition of “horror” in horror films. We finish by discussing again on the nature of grief and how difficult it may be to move from a tragedy while being involved with a social group of people equally affected by the tragedy. Next up is You Were Never Really Here. We begin by giving a brief summary of the film. Izzy explains why she chose the film to discuss, stating that the film is both underseen and underrated and talking briefly about Lynne Ramsay’s background. The sparseness of the plot and how it serves the story are discussed, and how the emotional journey is the major point of the film. Justin talks about his initial disinterest in the film due to his skepticism of another film about an angry white man on the warpath and how this films sets itself apart from the pack of similar inferior films, including the tragic nature of a character who may very well be damaged beyond repair but is nonetheless compelled to continue living, and how the sparseness of the film lends to the overall sparseness of the story. The film’s choice to avoid the “redemption through violence” trope and its lack of romance and style is dissected. Some of the unconventional moments in the film are discussed, as are some of the films technical aspects. The idea “the films we love rarely love us back” is touched upon. We conclude by talking about the films abrupt shift in tone in the very last scene with the final line of dialogue. As always thanks to everyone and anyone who donated on Patreon,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about two of the greatest back to back franchise entries of all time: 1979’s Alien and 1986’s Aliens First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve seen or done lately in the field of horror. Liam talks about an upcoming screening of Knife + Heart at the Steel Stacks in Bethlehem and our recent screening of Al White’s Starfish in Philadelphia, and Justin talks about seeing A Hole In The Ground, the trailers for Midsommar and The Dead Don’t Die, and attending the recent New Jersey Horror Convention. We also talk about Jordan Peele’s recent film Us. We begin by talking about Alien. We begin by giving a background on the creators of the film, including Dan O’Bannon and H.R. Giger. We discuss Giger’s influence on the film, and how his surreal and sexual style of art shaped the perception and themes of the film. The myriad sexual themes of the film are discussed, including an interpretation of a fear of sex, a fear of penetration, a male fear of rape, a male fear of birth, and a fear of the feminine. We briefly touch upon how O’Bannon solved Lovecraft’s “monster problem” by presenting us with a very unique and very well defined monster. The films idea of the ignorance and myopic nature of humanity’s universal view is discussed. The film’s place in the broader genre of “body horror” is touched upon. The various socialist themes of the film are discussed, in that the movie is an examination of the working class of this universe. The critiques of capitalism that the movie presents, in that the villains of the movie are not only the xenomorph but also the faceless and nameless corporation that forces the workers into dangers for the sake of profit. The exploitation of workers is also discussed. The “used future” aesthetic of the film is discussed. The film as a critique of imperialism and colonialism is discussed. The films success in creating empathy for all its characters is discussed. The deaths of several of the characters, and how effective and upsetting they still are, are touched upon. Finally, we briefly discuss our personal experiences with the film. Next up is 1986’s Aliens. We open up by briefly talking about our favorite James Cameron films, and move on to give a brief background of the film. The film’s continuation of some of the themes present in the first film is touched upon, including corporate greed and the military industrial complex. Liam argues that the film actually softens the criticism present in the first film, as this film actually gives a human face to the corporation, which may or may not absolve the actual corporation of any responsibility. The film as a criticism of American involvement in Vietnam is discussed at length. We discuss the differences between the theatrical cut and the TV/directors cut, and how the director’s cut and the additions it has over the theatrical cut make the film both more tragic and more horrifying. The criticism of the film as anti-feminist because of the addition of Ripley being a mother is discussed, as is the confusing nature of the scene where Ripley attacks the Queen’s nest after rescuing Newt. Ripley’s role as the reasonable and rational character in a male dominated film is touched upon. Some of the technical aspects of the film are briefly touched upon,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about creature features with 1983’s The Being and 1992’s Split Second. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve seen or done lately in the field of horror. Liam talks about seeing the film A Hole In The Ground, and Justin talks about seeing The Possession Of Hannah Grace, I Think We’re Alone Now, and Lords Of Chaos. We begin by talking about The Being. Immediately we discuss how the film was very clearly a vanity project for the produce Bill Osco, who had a starring role in the film. Osco’s “career” is discussed. We are openly befuddled at how a movie that has so many accomplished actors in it can be so bad. We discuss the film’s lack of coherency, poor effects, confusing narrative, and horrible editing. Jackie Kong’s hands being tied during the filming of this movie is discussed. Next up is 1992’s Split Second. We begin by giving a brief summation of the film. Liam argues that the movie is very heavily influenced by the comic book series Heavy Metal. The mixing of genres that the movie uses, be they cyberpunk, neo noir, horror, and sci fi, is touched upon. The movies sense of being very “90s” is discussed. The creature design is touched upon. Rutger Hauer’s innovation of the “hardboiled cop” trope is discussed, in that he brings a sense of vulnerability and fragility to the character.   Kim Cattrell’s acting is touched upon, as is the fact that she is more than just a romantic subplot in the movie, in that she plays the role of anchoring Hauer’s character in reality and sanity. There is more discussion on the similarities with Heavy Metal. Some of the shortcomings of the movie are discussed, and we postulate that this is a movie that could benefit from a remake. As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out www.cinepunx.com for more info on some of our other podcasts, some ultra stylish Cinepunx related merchandise, and how you can donate to our Patreon! Until next time…thanks! The post HORROR BUSINESS Episode 56: THE BEING & SPLIT SECOND appeared first on Cinepunx.

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys, and a very special guest! On this episode, in honor of February being Black History Month and Women In Horror Month, we’re discussing two films revolving around Black womanhood: 1974’s Sugar Hill and 1997’s Eve’s Bayou. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve seen or done lately in the field of horror. Liam talks about seeing the films Happy Death Day and Climax, the Netflix series Russian Doll, and Justin talks about reading Doctor Sleep. We discuss the recent documentary on Black horror Horror Noire, as well as the upcoming screening we are hosting of Al White’s Starfish on March 18th at the Rotunda in Philadelphia (info on tickets can be found here) We begin by talking about Sugar Hill. Liam gives a brief history of the Blaxploitation movement in film and how that influenced horror films in the ‘70s. We give a brief outline of the film. We talk about the look of the zombies in the movie, and how it sets them apart from other zombie films. We discuss some of the performances of the actors and how they carry the film in two different films. We discuss the performance of the white villain in that he is far more detailed and insidious than most villains in Blaxploitation films. We move on to some of the more problematic aspects of the film, such as the villains white girlfriend being the stand in for Sugar’s anger at her boyfriend. We also talk about how the films ending, in which Baron Samedi, instead of taking Sugar’s soul as basement, decides to take the white girlfriend of the vanquished mob boss as his slave, which plays upon a trope of the lust filled Black man preying upon hapless white women and turns the Baron from a fleshed out trickster character into something from a minstrel show. We wrap up the discussion on the even pacing of the film, the general fun attitude, and the overall good direction it takes. Next up is 1997’s Eve’s Bayou. We open up by talking about the movie isn’t a traditional horror film. We talk about the solid performances in the movie, the subtleties of these performances that only make sense in the end of the of the film when the truth (we think) is revealed. The theme of the malleability of memory is touched upon and how our perceptions of memory are unreliable at best. A brief discussion on the definition of the term “supernatural” ensues. The way the movie keeps us guessing about the motivations of many of the characters is discussed. Some of the more memorable moments of cinematography are discussed. The theme of the loss of innocence in a biblical sense is talked about, in that it is about the gaining of knowledge a child is typically unaware of at such a young age. The ambiguity as to whether or not Eve was supernaturally responsible for her father’s death is discussed. The genuine connection between the children and their aunt and uncle is discussed as compared to the somewhat detached relationship they have with their father. The concept of life being harder for Aunt Mozelle as a Black woman vs. life of Louis as a Black man is touched upon. We once again dissect the idea of memory as a very plastic thing. As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening.

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys, and a very special guest! On this episode, in honor of February being Women In Horror Month, we’re discussing two films directed by women: 1986’s Sorority House Massacre and 2001’s Trouble Every Day. And, to make it even more special, we’re joined by Al White, co-host of the Geeks podcast on the We Are Tessellate network and the writer/director of a film we both enjoyed, 2018’s Starfish. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve seen or done lately in the field of horror. Al discusses being on a huge slasher kick and watching Student Bodies, The Funhouse, Bloody Birthday, and Mother’s Day, as well as playing the newly released Resident Evil 2. Liam talks about reading Grady Hendrix’s new book We Sold Our Souls. Justin talks about the TV series The Passage, as well as the series Project: Blue Book, and the YouTube documentary series Hellier. We also talk about the upcoming horror documentary Horror Noire, available on Shudder. We begin by talking about Sorority House Massacre. Al begins by talking about how he initially enjoyed the movie upon first seeing it, and that despite it being a technically bad movie, it still has a certain weird charm. We talk about the film heavily lifting plot elements from both Halloween and A Nightmare On Elm St. Liam talks about how the killer in the movie isn’t scary or engaging in the least, and this movie suffers from not only having an interesting killer but also lacking actual developed characters. We also talk about how the movies strongest element (the strange dream sequences) are the elements the film uses the least. Justin talks about how it was something of a disappointing movie because it becomes extremely predictable once the film starts to hit the same beats as Halloween. There’s more discussion on the weak portrayal of the killer, and Al talks about how at the very least the film avoids giving the female characters “cartoon” personalities and seemed like actual real people but nonetheless the lead is the only character who only really stands out. Some of the film’s lackluster attempts to recreate certain elements of Halloween and how they fall woefully short are dissected. The lack of “leering”/the male gaze and the strange contextual nudity in the movie is discussed. Next up is 2001’s Trouble Every Day. Al discusses his first experience of the movie being due to him being a fan of Tindersticks (who do the soundtrack) as well as Vincent Gallo’s Buffalo ’66 being his all time favorite film. Justin cops to not being a fan of Vincent Gallo, and we discuss the somewhat controversial nature of Gallo’s career. Al talks about how he enjoys the ambiguous nature of the film and how the wife in this film is the most fascinating character, as well as he personally enjoys movies that are “love stories that exist to the detriment of the characters.” We talk about how the movie avoids the beats and tropes of horror movies, and how aside from the cannibalistic element the movie is more of an art film than a “horror” film. Justin talks about how the attack scene in the movie was extremely graphic and unsettling, as well as comparing the film in a broad sense to Don’t Look Now. The nature of addiction and obsession is discussed, as well as the way loved ones of addicts often justify the addiction.

Greetings, and welcome to the Horror Business year in review of 2018! First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve seen or done lately in the field of horror. Liam begins by talking about seeing Hellfest, Bandersnatch, and Over The Garden Wall. Justin talks about watching Upgrade and the premiere of the History Channel TV series Project Blue Book. We start by giving a series of honorable mentions, including Halloween, Pyewacket, The Nun, Overlord, and more. We then move on to our top tens. Liam’s top ten list was as follows. Hereditary Luz Heart + Knife Mandy Starfish One Cut Of The Dead The Witch In The Window Suspiria Unsane The Endless   Justin’s top ten are as follows Starfish Hereditary Possum Mandy The Cured A Quiet Place The Night Eats The World The Ritual The Wildling The Endless As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out www.cinepunx.com for more info on some of our other podcasts, some ultra stylish Cinepunx related merchandise, and how you can donate to our Patreon! Until next time…thanks! The post HORROR BUSINESS Episode 53: Best Of 2018 appeared first on Cinepunx.

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. On this episode we’re discussing 1993’s Full Eclipse and 1995’s Project Metalbeast. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve seen or done lately in the field of horror. Liam begins by talking about seeing Land Of Mine. Justin talks about watching Under The Silver Lake and Disobedience, two non-horror films. First up is 1993’s Full Eclipse. We begin by giving a brief outline of the film. We talk about the movie is a weird combination of ‘90s comic book movies and ‘90s cop movies. The stereotypical nature of the film in that it has all the tropes of 90s action films is discussed, as is some of the tropes the movie leans in on frequently. The various plotholes of the movie are picked apart, as is the design of the werewolves, and Liam describes his concept of werewolf films living and dying on the design of the werewolf. Our final summation is that the movie could be a lot of fun if the creators of the film had a bigger budget and had leaned further into the more comic book elements of the film. Up next is 1995’s Project: Metalbeast. We begin by giving a rough outline of the film and picking apart some of the ridiculous part of it. We discuss the sub par werewolf design, the bizarre and insane nature of the plot, and how nothing in the movie really makes any sense. As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out www.cinepunx.com for more info on some of our other podcasts, some ultra stylish Cinepunx related merchandise, and how you can donate to our Patreon! Until next time…thanks! The post HORROR BUSINESS Episode 52: FULL ECLIPSE & PROJECT: METALBEAST appeared first on Cinepunx.

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. On this episode we’re discussing 1984’s The Company Of Wolves and 1996’s Bad Moon. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve seen or done lately in the field of horror. Liam begins by talking about seeing Lars Von Trier’s The House That Jack Built, and we discuss our opinions on the work of Von Trier. Liam also talks about the recent Netflix film CAM and a recent Japanese film entitled One Cut Of The Dead and The God In My Ear as well as seeing Overlord in theatres with Justin. Justin then talks about seeing the films Mom And Dad, The Night Eats The World, The Cured, Possum, Marrowbone, Primal Rage, and Summer of ’84, as well as starting the newest season of Syfy’s Channel Zero. First up is 1984’s The Company Of Wolves. Liam and Justin spend much of the episode good heartedly sparring over their opinions over the film, with Liam greatly enjoying the film while Justin is only lukewarm on it. We give a brief outline of the plot of the film. We discuss the positive aspects of the film, including the cinematography, the practical effects, some of the imagery, the story, and the structure. We then turn to what we didn’t necessarily enjoy about the film, including the pacing, the tone deaf nature of the film at times in regards to blossoming female sexuality, and the heavy handed nature of the film’s message. There is more discussion on the themes of the film, as well as the body of work of Neil Jordan. Liam discusses the design of the werewolves and how he thinks that if the design isn’t the “hulking man beast” bipedal werewolf, then the best design is simply people turning into actual wolves. Justin criticizes the ending in which the wolves are actually real as misguided and ill-executed. Up next is 1996’s Bad Moon. We give a brief outline of the film, touching upon the oddness of the film opening up in Borneo as well as the somewhat unnecessary and gratuitous sex scene. The films lack of werewolf lore and it’s mushiness in character development is dissected, along with some of the more confounding decisions made by the weak main character. We talk about how the movie attempts to position itself as a classic werewolf tale of love and tragedy but fails due to the films inability to decide if the main character is struggling with his plight or embracing it and being malicious. The concept of the character Thor, a German Shepherd who is the main character of the story the movie is based on, struggling with the desire to submit to the werewolf as a pack leader versus standing up to the werewolf to defend his human family, is touched upon. The fact that the film gets right the hardest part of werewolf films (the design of the werewolf) while gloriously missing the mark on the rest of it, is discussed, with Justin basically arguing that the movie sans the sex scene at the beginning is essentially a kids film with a scary werewolf. The films laughable transformation sequence is touched upon and there is more discussion on the effectiveness of the werewolf design. The films grim yet satisfying ending is discussed. As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. On this episode we’re discussing 1971’s Let’s Scare Jessica To Death and 1990’s Henry: Portrait Of A Serial Killer. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve seen or done lately in the field of horror. Liam briefly talks about seeing the Netflix original film Apostle and attending the annual Exhumed Films 24 Hour Horrorthon, and seeing the film Great White aka The Last Shark and Fade To Black. Justin talks about seeing the films Terrifier, Cold Skin, Still/Born, and Slender Man and starting the final season of the TV series Penny Dreadful. First up is 1971’s Let’s Scare Jessica To Death. We begin by talking about the quasi-underrated nature of the film and giving a brief outline of the film. We touch upon the strange and misleading nature of the title and how the film never quite reveals as to whether or not what we’re seeing on screen is real. We talk about the way mental illness is depicted in the film and the possible symbolism of other characters in the film that aren’t Jessica. The concept of an environment being hostile to outsiders is touched upon. Up next is 1990’s Henry: Portrait Of A Serial Killer. Liam talks about how he first encountered the film, and how it is essentially the “anti-80s horror film” and how it didn’t hold up upon a second viewing. We talk about the almost unnecessary cruelty of the film at times and how the excessive violence comes off as just that: excessive. There is a brief discussion on the abandonment of supernatural themes in the early 90s and the rise of the splatterpunk movement. The “nobilization” of Henry and how the film flirts with sympathizing with him is discussed; as is how this is a shortcoming on the part of the filmmakers for waffling on the nature of Henry i.e. is he evil or just misunderstood? The conflation of “intense and violent” with “good and scary” is discussed. As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out www.cinepunx.com for more info on some of our other podcasts, some ultra stylish Cinepunx related merchandise, and how you can donate to our Patreon! Until next time…thanks! The post

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. On this episode we’re discussing Canadian horror films with Society & Return Of The Living Dead 3 with fellow horror hound and long time Cinepunk Jen Rodgers!. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve seen or done lately in the field of horror. Jenny begins by talking about some of the films she’s seen at Fantastic Fest, including the film School’s Out. We talk about David Gordon Green’s recent Halloween, Luca Guadagnino’s Suspiria, and Justin and Liam attending the Brooklyn Horror Film Festival and seeing Knife + Heart, Welcome To Memory, The House Of Sweat And Tears, Luz, and Starfish. (Justin’s review of Starfish can be read here, and more reviews from Cinepunx of films that played at the festival here, here, here and here) We briefly talk about the Netflix series The House On Haunted Hill, and the Chilean horror film Aterrados. Up first is 1989’s Society. We briefly discuss the arc of Brian Yuzna’s career, including his work with director Stuart Gordon. Next we discuss our initial exposure to the film, such as seeing the poster in video stores when we were young or various stills from the film on the Internet. We dissect Yuzna’s portrayal of the wealthy upper class as inherently sinister and freakish, even without the body horror elements of the film being included. We touch upon the special effects of the film and briefly talk about the work of effects artist Screaming Mad George and his influence on the body horror genre. Up next we talk about 1993’s Return Of The Living Dead 3. Justin tells a brief anecdote of why he was stupidly afraid of this movie as a kid. Next we talk about the mythos of the ‘suffering zombie’ that ROTLD introduced with the first film, and how that helps us invest in the characters of this film even if they are otherwise uninteresting. We delve into the films shortcoming in portraying Julie as a character with actual agency and how instead it portrays her as just a tool to reflect the suffering of the lead male character. The look and feel of the film in how it is very “90s” and “post-Hellraiser” is briefly touched upon, as is the film reaching beyond what it’s capable of as compared to the first two ROTLD films which knew their place. Finally, we talk about how the look of the zombies is very “Yuzna” in the sense that instead of regular human zombies they are malformed creatures who are barely human. As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Special thanks to Jen for not only coming on to talk Yuzna with us but for graciously hosting the recording of this episode in her home! Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Faceb...

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. On this episode we’re discussing Canadian horror films with Deathdream and Curtains. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve seen or done lately in the field of horror. We discuss seeing Panos Cosmatos’ new film Mandy. We discuss the paradox of Nicholas Cage being both a very talented actor and a very weird person given his choice in the films he makes, as well as some of the problematic elements of the film, including the idea of a film focusing on a female character whose only purpose is to die and send the male character on some kind of quest. Justin talks about attending the Monster Mania and New Jersey Horror conventions and his semi-annual rereading of Robert McCammon’s Usher’s Passing. Up first is 1974’s Deathdream aka Dead Of Night. We give a brief summation of the film. Liam points out that it’s the “weirdest version of a lot of things: a zombie film, a Canadian film about America, and a Canadian film about the Vietnam War.” The film as a metaphor for PTSD is discussed at length, as is the similarity of Andy’s experience coming home to veterans coming home. The “fish out of water” scenario that Andy experiences is compared to going from homelessness to not being homeless. The scene where Andy kills a dog is discussed, in that it’s one of the few scenes in a movie where a dog is killed for a valid reason; in this case it is to show how “non-conscience” Andy is and how is this is a reflection of soldiers are often thrust back into civilian society without being properly “deprogrammed” from military life. The intensity and darkness of the climax and ending of the film is discussed, especially the scene where Andy’s father takes his own life and the very end where Andy, decayed and decrepit, attempts to bury himself in a shallow grave he has dug for himself. Justin makes the comparison to the ending of An American Werewolf In London in how it’s the furthest possible thing from a happy ending. Up next we talk about 1983’s Curtains. We give a brief summation of the film. We discuss the disjointed nature of the film, in that it feels as there are numerous films occurring once and none of them are connected. The film struggling to be a giallo or a traditional slasher or a made for TV drama is discussed. We attempt to understand the various plot holes of the film, the technical discrepancies, and the failed “red herrings”. We discuss the “wasted talent” of the film, in that several accomplished actors are in this movie for nothing. As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted.

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. On this episode we’re discussing films by Italian director Lamberto Bava with Demons and Demons 2. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve seen or done lately in the field of horror. We talk about Rocksteady Rush, The Witch In The Window, Castle Rock, The Nun, and a few recent showings we caught at the Mahoning Drive In.   Up first is Demons. We give a basic rough outline of the movie. We discuss how, despite sometimes falling short in the acting, the look of the movie, be the cinematography or the practical effects, give the movie a very dreamlike feel. We then talk about how the movie feels “mired in the ‘70s’” despite at times looking very ‘80s. We talk about the influence of Dario Argento in the film, in that some of the lighting is done strictly for atmosphere and serves no other purpose aside from being visually unsettling. The depictions of punks and pimps in the film are discussed. The idea of the film being partially about the cinematic viewing experience is discussed, as is the idea of the film as something criticizing and even mocking horror movies that provide stale and clichéd origin stories for their monsters. The complete lack of logic in the movie being a strength is discussed, in that the movie leans so hard into the weirdness of itself that it ends up being stronger for it. The “red headed ticket taker” as an example of the classic giallo red herring is examined. The more “fantastic” elements of the movie, including the action movie sequences, are discussed, as is how the ending of the movie adds to the non-Lynchian “dreamlike” feel of the movie. The movie as a depiction of an “80s teenaged fantasy” is discussed. The Demons franchise, and the European practice of promoting entirely unrelated films as belonging to a franchise they don’t belong to, is discussed. Up next is Demons 2. We begin by talking about how the movie is largely just a rehash of the first one, but with less atmosphere. For example, moving the setting from a stylish movie theatre to a modern apartment building takes away from the atmosphere of it. The lack of clarity as to what movie we are seeing (are we watching a movie within a movie within a movie, or is this a direct sequel to the first movie that takes place in the ruined world of that film?) is examined. The movies few strengths are examined, but we spend most of the time lamenting how this movie tried to be an unconventional sequel by not carrying on the same storyline of the first film all the while trying to recreate the high points of the first film. As always thanks to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, Alexis, and LVAC for the support and buttons (check them out at www.xlvacx.com),