This week we celebrate Latin American Heritage Month with a look at a horror movie out of Mexico that is very hard to put into words and so we try anyway and sound like complete lunatics. Falling toward the end of the Galindo family film dynasty, Vacation of Terror 2: Diabolical Birthday (Vacaciones de Terror 2: Cumpleaños Diabolico) sees Galindo cousin, Pedro Galindo III with a surprisingly stunning cast of Mexican movie stars. Pedro Fernandez turns up in yet another movie for the Galindo's with his magnificent curly mullet and easy cool. Teen pop star Tatiana shows up to sing her hit single Chicos Chicos as she ages out of the teen pop arena but just a few years prior to her ascent as one of Mexico's biggest children's entertainers. The whole cast is rounded out by a bona fide legend of Mexican film, Joaquin Cordero and I have to wonder if any one of these actors stopped for a moment and pondered what exactly they were doing in this movie because if we were any one of these actors we would be very confused and very concerned.

In this very loose sequel to 1989's Vacation of Terror the evil witch-possessed doll somehow escaped its fate of the previous movie and winds up as a prop on a movie studio. With a lot of questions probably best left unanswered, the doll hides under an elaborate birthday cake and transforms into a horrible slimy goblin creature and wreaks havoc on the movie lot as our heroic Julio and bouncy Mayra race against the clock to save the imperiled soul of her sister, Tania, before the sun rises and the slimy witch goblin steals her soul for good. Or something.

Look, just go with it.

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Aileen Clark of Uy Que Horror is back to join us for a look at two truly unhinged scare films. In the 1960s and 70s churches occasionally produced low budget morality tales and scare movies to frighten their congregations into going back to church if they feel like they're slacking off. The problem is that they were made by people who didn't know how to make movies with casts of non-actors and extremely low budgets. They were cheap and terrible and everyone hated watching them. Along came Ron and June Ormond and their son Tim, the first family of exploitation, teamed up with Reverend Estus W. Pirkle, a charismatic fundamentalist preacher from Mississippi to adapt Pirkle's fire and brimstone sermon If Footmen Tire You What Will Horses Do that threatened easily frightened Christians with seeking out draconian churches that shunned anything looking like empathy and service in favor of a hard line position against all things communism.

In the sequel, The Burning Hell, Estus Pirkle has decided that his last sermon didn't put enough terror in the hearts of Christians over going to hell so here's one that's literally all about how much hell sucks and how you definitely want to accept Jesus Christ into your heart so you don't go there.

These fiery sermons are illustrated with scenes of trashy, gory violence that you definitely don't expect to find in movies meant for fragile, easily offended Christian people. They are completely weird and hilarious.

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This week we're looking at the arch-cult film from 1988, Killer Klowns From Outer Space. Its released was botched entirely by the distributor who were almost deliberately defiant in their unwillingness to screen the movie on much more than a few screens. It found its legs on cable and VHS where it was an instant hit and went on to launch a merchandising empire culminating in a video game and one of Universal Studios' most popular attractions at Halloween Horror Nights.

When a UFO that looks an awful lot like a circus tent lands in Crescent Cove and aliens that look an awful lot like circus clowns wander into town with murder and mayhem in mind its up to a local cop, his ex-girlfriend, and her manchild boyfriend to stop them in their tracks and save Crescent Cove. Directed by the Chiodo Brothers, who were known for ambitious special effects, stop motion animation, and puppetry with credits under their belt like Elf, Critters, and Pee Wee's Big Adventure, it's a send up of 50's alien invasion movies with a plot that's almost one-to-one for the classic 1958 film, The Blob.

We love it. You love it. Let's love it together. Have a listen.

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This week we dive headlong into one of the most baffling 80's video store hits, The Wraith, in which Charlie Sheen is a ghost or an alien or a ghost alien who gets revenge on the wily gang of Arizona cretins that murdered him by running them over with his magic ghost alien car.

The Wraith is a lot of things. Good is not one of them but it has a certain ineffable charm that makes it tremendously fun to watch in spite of its story being positively incidental to the rest of the movie. It casts the widest possible net to remind you of movies like Close Encounters of the Third Kind, Death Wish 3, and The Road Warrior. Do you like cool cars? Do you like explosions? Do you like aliens, ghosts, or ghost aliens? Are you willing to let slide about a dozen totally unresolved plot points and completely ignore the fact that this movie leaves you with more questions than answers? You will probably love The Wraith.

The soundtrack rules. Sheen seems completely unaware of the movie he's in. A pre-Twin Peaks Sherilyn Fenn is doing her best with what she has. Clint Howard gloriously answers our question: is it a wig? All this and more in our exhaustive breakdown of The Wraith from director Mike Marvin.

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This week we're joined by Mark Anastasio, program director for the Coolidge Corner Cinema in Boston to cash checks and bite necks with a look at Werner Herzog's ambitious remake of the FW Murnau's 1922 not-Dracula adaptation, Nosferatu. Mark has first-hand experience with Herzog, having hosted him at the theater numerous times and regales us with stories that we've never heard about the man before. He also does a pretty good Werner Herzog impression.

In this movie, Herzog is joined by his creative arch-frenemy Klaus Kinski in a unique existential twist on one of the genres most unimpeachable classics. Here, Count Dracula is bunched, broken old monster with no desire to live but no path toward death. He brings pestilence and horror from the old world to then-modern day Germany and meets his match with the one woman in the city with the knowledge and determination to destroy the beast.

Featuring Herzog's stunning visual storytelling and a few utterly bizarre performances, Nosferatu is unlike any horror movie you've ever seen in spite of it being a story told and retold dozens of times since the dawn of film.

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This week we're shaking off the despair of a nuclear war one-two punch and staying in the made-for-tv mode for something incredibly dumb. Where Threads and The Day After are significant television events, this week's movie is anything but. It's a baffling riff on both popular haunted house movies of the era and classic gothic horror but that's about as coherent as the vision gets. Everything that follows is an exhausting exercise in early 80's made-for-tv drivel.

Parker Stevenson, fresh off his run as Frank Hardy in the Hardy Boys Mysteries is joined by Lisa Eilbacher, Joan Bennet, and Slim Pickens for a stay at a far-too-modern for gothic horror house in southern California. Either the house itself, or the extremely sophisticated security system is in love with Eilbacher's character. We can't really figure it out. Ultimately it doesn't matter because the charm lies in precisely how artless and strange this movie is. Also, you get a few musical numbers.

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This week we dive back into the breach for another run at nuclear Armageddon with a look at the BBC's 1984 answer to The Day After, Threads. Where The Day After was a bleak movie about the end of the world as a result of nuclear it was still very much a movie. Director Mick Jackson provided an aggressive, bludgeoning alternative that gives it to you with both barrels, an unflinching look at precisely how bad nuclear war will be, backed by data. In this movie you get the specifics.

Threads tells the story of an escalating confrontation between the United States and the Soviet Union in Iran that leads to World War 3 and the way that it affects the people of Sheffield, England through the eyes of young Ruth Beckett. In short, it'll be very, very bad. We will all die like dogs and it'll be painful and humiliating all the way to the end.

Though not a conventional horror movie, Threads is very much appropriate for the genre.

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Tonight! On a very special 99 Cent Rental we take a trip back to 1983 to take in the movie that shocked the 100 million Americans that watched in horror as the world ended in a nuclear fireball before their very eyes. As the 80's ground on and The United States and The Soviet Union were running out of puppet governments and proxy wars to fight the status of nuclear war became less a matter of if and more a matter of when. The ABC network sought to send a sobering message to the people of America who had been convinced that we could win a nuclear war by delivering an uncompromising made-for-TV epic that detailed what would happen after everything had been obliterated.

A stacked cast of excellence paint a picture of a shattered America in the last days of humanity. The sheer scope of our nuclear weapons are put on the screen. We see an entire city in middle America blasted off the face of the Earth forever. We see the survivors of the blast struggling to stay alive in the face of hunger, sickness, and radiation poisoning. Dave is less than impressed with the movie and struggles with the political struggle that informed the possibility of a nuclear holocaust. Bryan's feelings on the movie are much more complicated, having grown up within a few miles of two high priority nuclear targets as all this was going down.

It's our longest episode yet and we have thoughts. There will be no survivors.

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This week we take a step back to 1984 for a movie that couldn't possibly be anymore 80's if it tried. It's Thom Eberhardt's Night of the Comet starring Catherine Mary Stewart and Kelli Maroney. Through shit luck two Valley Girl sisters miss out on the once-in-a-lifetime passing of a comet what's tail bathes the earth in deadly cosmic radiation, reducing people out in the open to nothing more than a pile of red dust and those who stayed in under less than ideal conditions to monstrous cannibals. A think tank of scientists, hidden in an underground base, are looking for a cure to the condition but at what cost?

It's at one time a fun teen horror comedy and a movie that tries to get a couple of young women to tangle with the reality of being the last living people on earth and while it doesn't always land in one piece, it's a tremendously fun piece of cult. Dave loves this movie tremendously and makes a case for it being an unexpected piece of feminist horror and Bryan, never really taking it too seriously in the past comes out the other side a believer. Together, we both hate the movie's ending with a furious passion. Let us tell you all about it!

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We're coming at you with a bonus episode dedicated to the memory of the late, great, Ozzy Osbourne. Trick or Treat from 1986 is hardly a great movie and was almost forgotten as quickly as it entered theaters but what we find in this movie is a remarkably authentic portrayal of what it was like to be a metal head in the 80's. Satan was lurking everywhere and all of your friends' parents were convinced that people who listened to metal were all drug addict murderers or at least would become drug addict murderers if they kept listening to that Ozzy Osbourne character.

We pay sweet tribute to Ozzy, talk about the satanic panic, and our own experiences growing up metal in the 80's and really get down with this utterly bonkers horror movie. We hope you enjoy.

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