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This week, we’re discussing the 1996 werewolf movie, Bad Moon, a Morgan Creek production we both somehow missed, now streaming on Amazon Prime. We talk about its under-the-radar release, recognizable-but-not-huge cast (including Mariel Hemingway and Michael Paré), and how the movie feels like a bright, slick ’90s horror with occasional ’80s vibes. We praise the…
Happy Halloween! We wrap up our fifth and final Halloween episode of the season with The Witching Season, a micro-budget, Halloween-soaked horror anthology that began as a web series and plays like five connected episodes. We talk about how the segments share a cohesive look, consistent cinematography, and clever little callbacks (radio/TV clips and visual…
We continue our October Halloween lineup with 2009’s remake/reimagining of Night of the Demons, comparing it to the campy 1988 original we still have a soft spot for. We talk about what made the first film iconic—Angela’s weird energy, the dance, the poster art, and practical effects—and why this version feels like a bigger-budget copy-and-paste…
In week three of our Halloween series, we finally tackle the long-requested 2013 analog horror/comedy WNUF Halloween Special, framed as a found VHS tape recording of a 1987 local newscast and a live call-in seance. We dig into how convincingly it recreates the era—VHS degradation, nonstop regional commercials, and corny local-news Halloween coverage—and why it…
We kick off Halloween week two with 1998’s Halloween H20 (“H2O”), the franchise revival that leans hard into the late-’90s slasher wave (Scream, I Know What You Did Last Summer) and largely ignores the earlier sequels. We talk about why the movie feels so different from Carpenter’s first two films—more jump scares, more comedy, and…
We kick off Halloween season by diving into 1988’s direct-to-video oddity Hack-O-Lantern, a surprisingly decent-looking but truly terrible, wildly entertaining Satanic cult slasher loaded with Halloween atmosphere, costumes, parties, and plenty of gratuitous nudity. We talk about how the movie’s “so bad it’s good” charm comes from its community-theater-level acting, baffling plot turns, random musical…