This week we're doing David Lynch! We dissect his 2001 Hollywood nightmare, Mulholland Drive. David Lynch is one of our favorite filmmakers, period, and one of the greatest of all time and this may be his best movie. Originally conceived as a new television series for ABC, the network ultimately passed on it and Lynch was given the opportunity to repurpose the footage for a new feature.

This movie is about Betty, or maybe it's about Diane. Or hell! It may be about both of them. Are they same person? Perhaps. Following a terrible car accident, a mysterious woman finds her way into the life of Betty and together the two of them investigate the mystery of her amnesia. Someone was trying to kill her when she lost her memory. Who wants her dead? I guess we'll find out. Or maybe we won't. It's a David Lynch movie, after all. Everything goes apeshit in that typical David Lynch way and it turns out that this may have all been the fantasy of a deeply mentally ill woman named Diane Selwyn. Or maybe not. Who can say, really?

We break it down and subject it to our own interpretations and if you want to know what those are you'll have to listen to the episode.

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This week we're doing David Lynch! We dissect his 2001 Hollywood nightmare, Mulholland Drive. David Lynch is one of our favorite filmmakers, period, and one of the greatest of all time and this may be his best movie. Originally conceived as a new television series for ABC, the network ultimately passed on it and Lynch was given the opportunity to repurpose the footage for a new feature.

This movie is about Betty, or maybe it's about Diane. Or hell! It may be about both of them. Are they same person? Perhaps. Following a terrible car accident, a mysterious woman finds her way into the life of Betty and together the two of them investigate the mystery of her amnesia. Someone was trying to kill her when she lost her memory. Who wants her dead? I guess we'll find out. Or maybe we won't. It's a David Lynch movie, after all. Everything goes apeshit in that typical David Lynch way and it turns out that this may have all been the fantasy of a deeply mentally ill woman named Diane Selwyn. Or maybe not. Who can say, really?

We break it down and subject it to our own interpretations and if you want to know what those are you'll have to listen to the episode.

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This week we're looking at Larry Cohen's bizarre sequel to Tobe Hooper's hit TV miniseries, Salem's Lot which was based on the novel by Stephen King. While the studio bent over backwards to convince video renters that this movie was also from the mind of Stephen King and also had that cool Kurt Barlow vampire, Cohen's movie bears very, very little in common with the original.

When anthropologist Joe Weber is called back to New York to deal with his delinquent son, he decides to reconnect with the kid by moving out to an old cottage he inherited from his aunt in Salem's Lot, Maine. When they arrive, however, they quickly learn that the town is haven to a race of vampires hiding in plain sight. They have plans for Joe and his son Jeremy and are desperately trying to maintain their ancient way of life.

Cohen set out to make a satire of American conservatism in the 80's with this movie but the end product doesn't quite stick the landing.

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This week we abandon our original idea to cover the utterly insane 1987 Karate Kid ripoff Karate Warrior with something with a little more meat on the bone, Tentacles. The 70's was an embarrassment of riches, and in many case just plain embarrassing when it came to the animal attack cash-grabs that arose from the titanic success of Jaws. This is one such movie, a unique twist on American International Pictures' typical process of working with foreign films. Rather than import some cheap Italian movies they hired Italian producer Ovidio Assonitis to make a movie here in America with an Italian crew and a star-studded cast of Oscar winners who couldn't say no to a fast paycheck and a little bit of that California sun.

Starring John Huston, Bo Hopkins, Henry Fonda, and more, this blatant Jaws ripoff treads water for 90 minutes, peppering its story with strange asides and bon mots, with characters who trot into each scene to ad-lib and keep their scene partners guessing until it comes time to take on the film's big bad villain, a giant octopus that can't keep its tentacles off anything that swims into its proximity. Is mankind to blame for its feeding frenzy? Maybe? Who can say, really? There's a rich industrialist whose underwater construction project may have something to do with it but this is AIP and it's asking way too much for anyone to answer any questions ever. Just go with it.

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This week we take a step back to the golden age of the slasher movie, 1982, for a look at a movie that misses the mark by a significant margin and yet it still remains strangely compelling. Starring Bill Paxton in one of his earliest roles, Mortuary attempts to cash in on the slasher boom but can't quite figure out what it is about Halloween and Friday the 13th that makes them so successful. Hint: It's their simplicity. Mortuary can't help but complicate matters with numerous inexplicable subplots that remain unresolved all the way to the end of the movie: Why is there a satanic cult? We'll never know.

Young Christie is haunted by a memory of her father's murder that she can't quite square with the known facts. Was he murdered or did he drown and why doesn't anyone believe her when she says she witnessed his murder? Meanwhile, a dude in a black cloak is stalking the night, killing randos while trying to get close to Christie. It's plainly obvious from the jump who the killer is since he's only wearing makeup and not a mask. There's a weird, unpleasant tone of necrophilia running throughout the movie and just about everyone sucks but hey! Christopher and Linda Day George are on the set together and that has to count for something. Honestly, Bryan's not sure why he put this one on the list.

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This week we're joined by Tyler Hyde from the podcast That's Spooky to discuss the made-for-tv scare film, Mazes & Monsters. The film represents the first lead role for future superstar, Tom Hanks in a movie about the dangers of playing Dungeons and Dragons. No, I'm not making that up.

In the early 1980's as Dungeons and Dragons became a sensation of tabletops everywhere, it didn't take long for scolding parent groups to cry foul to every media outlet that would listen and raise a moral panic that rose in tandem with the moral panics around heavy metal music and horror movies. The disappearance of and tragic suicide of James Dallas Egbert III thrust D&D into the headlines and craven opportunists and sensational headlines ignored all the factors that drove him to suicide and placed the blame squarely at D&D, the one thing in his life that brought him joy and provided an escape from the pressures of being a child prodigy. His story informed Rona Jaffe's book, Mazes and Monsters, which led to the rapid development of this TV movie also starring Chris Makepeace and Wendy Crewson.

The story concerns four friends at university who play Mazes and Monsters, the legally distinct dungeon crawler role playing game that causes one player to lose his shit and fall into a psychotic delirium which leads him to murder, madness, and suicide. It is, without question, one of the most toxic movies we've ever seen with a message that seems to be: under no circumstances are you to use your imaginations. You should be thinking about a sensible career now. It's a real bummer, you guys.

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This week we watch a movie that takes several hundred episodes of the seminal gothic soap opera and condenses them to 90 brisk minutes of vampire melodrama in a way that is confusing and frustrating in ways that few movies are.

Dark Shadows, for all its cheesiness and cheapness is one of the most important contributions to horror in the way that it added a dimension to vampire media that hadn't really been explored yet. Without Barnabas Collins you do not get Anne Rice's Vampire Chronicles. No Buffy The Vampire Slayer. No Vampire The Masquerade. In this episode we run it down in depth. Dave is a huge fan of the TV show and can't wait to tell you all about it and fill in the blanks where the movie fails because believe me, listeners, this movie fails big time.

The wealthy Collins family receives a visit from long-lost cousin Barnabas but he conceals a terrible truth. He is a 200 year old vampire, freed from his prison of a hidden locked coffin by the Collins family handyman. He stalks the people of Collinsport by night and falls madly in love with the Collins family governess, Maggie, when she bears a striking resemblance the woman he once loved. It's basically Dracula but with a lot of really weird zigs and zags as it does its best encapsulate over one hundred hours of soap opera storytelling into a short feature film.

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99 Cent Rental returns after our October break with a listener request. Since we just did Don Coscarelli's 1979 debut, Phantasm, a movie made on tiny, sub-500k budget, we thought it made a lot of sense to see what happens when you break through and Hollywood heaps cash on you to make a proper movie. The result is... very Coscarelli-ish. There's no question whatsoever that Don is well-read on matters of fantasy and science fiction and these being the days before Peter Jackson's Lord of the Rings movies mandated that all fantasy features be epic, high-fantasy blow-outs, Coscarelli reaches back into the pool of gritty sword and sorcery for something as characteristically weird as you'd expect from authors like Poul Anderson, Fritz Lieber, and Robert E. Howard. Is it good, though? Well...

The story concerns the hunky, flaxen-haired Dar, the last of his people, who sets out across a dusty landscape seeking vengeance on Maax, the head of a wicked cult in the city of Aruk who will be killed by the son of King Zed. By some unexplainable power, Dar can speak to animals and forms a party of two ferrets, a tiger, and a hawk to have his revenge. Starring Marc Singer, Tanya Roberts, and Rip Torn, The Beastmaster lands heavily in the middle of the 1982 surge of fantasy movies that brought us Conan The Barbarian and managed to carve out a sweet cult of fans in spite of its tepid box office performance.

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We close out our Halloween Hootenanny series of all Bring Me The Axe episodes all October with an episode dedicated to a listener who really made our year. This year's series caps off with a look at the gloriously frantic, unfocused shit show that is Dario Argento's Phenomena. Falling very early in the acting career of American movie star, Jennifer Connelly, it's kind of amazing that she finished this production and continued to act given that her finger was literally separated from her body thanks to an angry monkey that also actually slashed up the face of Argento's soon-to-be ex-wife, Daria Nicolodi. You have Donald Pleasance putting on a clinic for phoning it in and yet the entire movie manages to be charming and extremely enjoyable, one of Argento's most Freudian movies, for good or for bad.

When Jennifer, the daughter of an American movie star is shipped off to a Swiss school for girls she lands there at the worst possible time as a murderer is on the loose killing young women. Lucky for her, she has the incredible power to speak to and command insects and she uses this marvelous ability to crack the case since the cops are doing fuck-all to solve it, themselves. Along the way she teams up with a wheelchair-bound entomologist and his helper monkey to get to the bottom of things.

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This week we're looking at 1987's A Nightmare on Elm Street 3: Dream Warriors. It took three movies to make Freddy Krueger Freddy as we know him today. An empire of horror was launched off the back of this movie: toys, comic books, video games, masks, everything. Dream Warriors dropped at a critical moment for A Nightmare On Elm Street, after the critical failure of Freddy's Revenge the IP ended up on the chopping block at New Line. If this movie didn't perform the studio planned on shelving future sequels. Boy did it, perform! This is our favorite entry in the series and this episode of Bring Me The Axe really makes it clear.

Ignoring the events of Freddy's Revenge entirely, Dream Warriors picks up where the original left off. Nancy Thompson is back to assist the teenage patients at a psychiatric hospital who find themselves hunted in their dreams once again by Freddy Krueger. Utilizing the special psychic talent of one patient, Nancy gathers the patients together where they reveal their special dream-world talents, talents that will come in awfully handy when the time comes to face their fears and take Freddy on once and for all, or at least until the following year when the next Nightmare on Elm Street sequel dropped.

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