Mary Shelley’s Frankenstein is one of the most influential works of horror, science fiction, and gothic literature, but does Guillermo del Toro’s long-awaited 2025 adaptation succeed in its representation of the novel? In this episode of Four Play, MonteCristo, Thorin, and Richard Lewis dig into why this debate the merits of the films visuals, story, and faithfulness to the original themes.

While our hosts may not enjoy the source material, the ideas behind the story could be compelling on film if interpreted properly. However, considering the narrative inconsistencies and the surprising lack of tension, the hosts explore how Frankenstein ends up being a film that has all the pieces but none of the spark that makes the story immortal.

Along the way, they talk about the legacy of gothic horror, the challenges of adapting philosophical novels for modern audiences, how del Toro’s filmmaking strengths and weaknesses show through, and why this version feels more like a visual poem than a fully realized narrative.

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Before Black Mirror, before Love, Death & Robots, there was The Twilight Zone: television’s original nightmare machine.

For this special Four Play: One Night Stand episode, MonteCristo, Thorin, and Richard Lewis step into another dimension to revisit four of the most terrifying Twilight Zone stories ever made: tales of paranoia, existential dread, and cosmic irony that still haunt audiences more than sixty years later.

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Suspiria is one of the most beautiful and unsettling horror films ever made. Dario Argento’s 1977 masterpiece drenches witchcraft in light and color, turning a simple story about a dance academy into a surreal nightmare of sound, architecture, and occult energy.

In this episode, MonteCristo, Thorin, and Richard Lewis close out Four Play’s Occult Horror Arc by examining how Suspiria reshaped the language of horror cinema. From Goblin’s legendary score to Argento’s impossible lighting, they explore why this film’s dreamlike atmosphere endures nearly fifty years later and whether its magic still holds up in 2025.

They also discuss the legacy of Italian auteur Dario Argento, the power of color as horror, and how Suspiria’s female hierarchy and dream logic differ from modern horror storytelling. Finally, the hosts announce their next series: the Robert Redford Arc, celebrating the career of one of cinema’s most charismatic and influential figures.

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When a wealthy family hires shamans to exhume a cursed grave, they awaken something far older and far more dangerous than they imagined. Exhuma (파묘) blends Korean shamanism, feng shui geomancy, and postwar trauma into one of the most striking horror hits of the decade.

In this episode of Four Play, MonteCristo, Thorin, and Richard Lewis explore how Exhuma became Korea’s highest-grossing film of 2024, unpack the collision of modern faith and ancient ritual, and break down how the movie’s haunting finale exorcises not just spirits but centuries of buried history.

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Hereditary marks the rebirth of modern horror with a story where fate, family, and madness collide under the control of unseen forces. Ari Aster’s directorial debut turns grief into tragedy and domestic life into ritual, where every characters fate is inescapable and preordained. With Toni Collette’s raw, unforgettable performance at its center, this film doesn’t ask if evil exists, it simply shows what happens when it wins.

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Roman Polanski’s Rosemary’s Baby (1968) didn’t just invent occult horror: it cursed Hollywood itself. A young couple moves into New York’s Dakota building, only to find their new neighbors are part of an ancient Satanic conspiracy. What begins as domestic paranoia becomes a slow descent into psychological terror and a film that redefined horror forever.

Richard Lewis, MonteCristo, and Thorin open the Four Play: Occult Horror Arc with the movie that birthed the genre, discussing Polanski’s eerie direction, Mia Farrow’s haunting performance, and how Rosemary’s Baby set the stage for everything from Hereditary to Suspiria.

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What happens when journalism isn’t about uncovering corruption in boardrooms, but surviving on the front lines of a civil war? Oliver Stone’s Salvador (1986) throws James Woods into the chaos of Central America’s brutal conflict, where photojournalism becomes both a weapon and a death sentence. The hosts dissect how Salvador critiques America’s political interests abroad, captures the moral decay of wartime journalism, and showcases one of Woods’ greatest performances.

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Michael Mann’s The Insider (1999) is one of the great modern journalism films: Al Pacino and Russell Crowe bring the true story of CBS, 60 Minutes, and the tobacco whistleblower Jeffrey Wigand to the screen. Thorin, Richard, and MonteCristo break down how the film depicts whistleblowing, corporate malfeasance, and the brutal costs of telling the truth, while also examining Mann’s visual style, Al Pacino’s late-career brilliance, and Russell Crowe’s transformation

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Is NETWORK (1976) the most prophetic film ever made about television and journalism?

Directed by Sidney Lumet and written by Paddy Chayefsky, Network follows news anchor Howard Beale (Peter Finch) as he unravels live on air and creates one of cinema’s most famous speeches: “I’m as mad as hell, and I’m not gonna take this anymore!” This satirical black comedy, starring Faye Dunaway, William Holden, and Robert Duvall, predicted the rise of infotainment, corporate control of news, and the modern media circus decades before it happened.

MonteCristo, Richard Lewis, and Thorin debate whether Network is satire or documentary, why the film feels even more relevant in 2025 than it did in the 1970s, and how it compares to other great journalism movies like All the President’s Men and The Insider.

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Watergate, the scandal that toppled Nixon. All the President’s Men (1976) tells the story of Woodward and Bernstein, the two Washington Post journalists who “followed the money” and uncovered corruption at the highest level. But does the film hold up today or has it become a mythologized version of journalism that no longer exists?

Richard, Thorin, and MonteCristo dig into Robert Redford & Dustin Hoffman’s iconic roles, the slow-burn procedural style, the myth of journalism as a heroic truth-to-power force, and why this movie may feel like historical fiction in today’s cynical political world.

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