Tagged: comedy

This week we tackle 1987’s The Curse, an Italian-made, sequels-in-name-only entry starring Wil Wheaton and loosely adapting H.P. Lovecraft’s “The Color Out of Space” with a Reagan-era farming backdrop.

We talk about how the film’s Jakarta-to-remote-village setup builds atmosphere, the boldness of its dialogue and staging, and the gorgeous candlelit cinematography inspired by shadow puppetry. Along the way we unpack the twisty mystery, the curse at the heart of the village, and the film’s disturbing violence, including the skinning and the chilling connection between human skin and puppet-making. We also debate the movie’s big exposition dumps, its cultural specificity, and why—subtitles and all—it’s still a compelling, well-made horror story worth seeking out.

We talk about how hard it is to find, why it feels more like late-’70s TV horror than an ’80s theatrical release, and how its “so bad it’s funny” charm makes it perfect for a group watch. Along the way we highlight the recognizable cast, the goofy demon-possession plot, the constant green-glowing mausoleum, and the over-the-top practical effects that go from silly to outrageous. Between awkward editing, absurd kill scenes, and tonal whiplash comedy moments, we end up with mixed feelings—but plenty to laugh about.

After breaking into the Emax lab for a story, reporter Lori inadvertently rescues Max, a genetically engineered dog spliced with traits like speed, strength, climbing, camouflage, and even acid urine—then chaos follows as the mad scientist Dr. Jarrett and the police close in. We talk standout cast and effects, the surprisingly sitcom-like tone and Spielberg-ish score, and set pieces ranging from a swallowed cat to an escalating chase back to the lab. Max ultimately dies stopping Jarrett, but a final reveal hints his legacy lives on in a litter of puppies—including one that looks a lot like Max.

We dig into its standout Tybee Island, Georgia locations (including the fort ruins and the abandoned theater), the surprisingly gorgeous orchestral score, and how the film tries to blend standard slasher beats with surreal, dreamlike, potentially supernatural elements. Along the way we break down the small adult-couple cast dynamic, the slow soap-opera pacing, the shadowy killer presentation, and several kills (including a memorable pitchfork moment) while noting the heavy A Nightmare on Elm Street parallels. We also unpack the confusing, ambiguity-driven ending and why the movie feels ambitious even when it doesn’t fully land.

We talk about Raimi’s signature style, the small-cast setup, and the power-dynamics story between office underdog Linda Little (Rachel McAdams) and her arrogant boss Bradley Preston (Dylan O’Brien) after a plane crash strands them on an island. From the chaotic crash sequence to the boar hunt, shifting sympathies, and escalating psychological violence, we dig into the film’s twists, the mansion reveal, and that sharp final-year-later payoff. Along the way we hit the box office/streaming success, standout performances, and why the ending feels so satisfyingly wicked.