Horror Business

Greetings, and welcome back to Horror Business! We have got one WILD episode in store you guys. As always thank you for listening and we hope you enjoy the episode!

First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screenprinting company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a tshirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thanks!

This episode we are continuing our series on the concept of animal horror, with two films from 1972: Night Of 1000 Cats and Pigs.

We begin by talking about what horror related things we had done lately. Liam talks about the recent 3-D film festival 3D DEMENTIA by Exhumed Films he went to, and Justin talks about seeing Annabelle: Origin, seeing Jaws at the Frank Banko Ale House in Bethlehem, and viewing The Devil’s Candy and Green Inferno.

Up first we talk about 1972’s Night Of 1000 Cats. We begin by pointing out that unlike the other films we’ve covered for this series, both films in this episode do not feature the titular animals as the main antagonists, but are instead titled as such for ease of marketing.

We then briefly discuss Hugo Stiglitz’s career, and how his character in this film is an extension of the character he often plays. We talk about the varying cuts of the film and how those different cuts affect the perception of the film.

The basic plot of the film is given, and criticism of the poor cutting of the film is discussed. The treatment of the animals in the film is discussed, as is Hugo’s relationship with his sidekick Gorgo.

How the film treats pathological disorders related to compulsive killing is discussed. Finally, we talk about that while the cats are not heavily featured as antagonists, they are used to portray the mental state of the character of Hugo in that he is often times on the verge of frenzy, and his psychosis is something struggling to get out.

Next is 1972’s Pigs. We talk about the film’s numerous titles, and how each title was done in an attempt to cash in on some cinematic trend or another by adding or deleting scenes after the film had been initially released.

We give a basic plot outline of the version we saw, and discuss the surprising quality of the film given the production value. We talk about how the film could actually be two separate films, given the two main plotlines actually being whole in and of themselves. The acting, cinematography, and soundtrack are briefly touched upon.

We talk about the main characters remaining largely sympathetic throughout the film, while the murder victims being surprisingly unsympathetic.

As with the first film, we talk about how the state of the titular animals is used to portray an internal mental state of the characters.

As always thanks to everyone and anyone who checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to [email protected]. We would love to hear from you! Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the awesome fliers, and also thanks to Josh “877 Cash Now” Alvarez for the theme song, Chris and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Fa...

Greetings, and welcome back to Horror Business! We have got one WILD episode in store you guys. As always thank you for listening and we hope you enjoy the episode!

First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screenprinting company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a tshirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thanks!

This episode we are continuing our multi-episode series on the concept of animal horror, also known as eco horror, and we are discussing 1977’s Orca and 1978’s Piranha.

We begin by talking about what we’ve seen recently, which in the realm of horror was unfortunately nothing. We swear we’ll be better in the future about this and that we are not posers.

First up is Orca, directed by Michael Anderson. We give a basic plot outline of the film, paying attention to the particularly brutal death of Orca’s mate and child, and the resulting rampage Orca goes on to avenge his loss.

We discuss the ludicrous nature of the plot (a killer whale waging war upon a village in order to draw one man out to the sea to kill him), the weak character development, the shaky explanation of the motivations of the characters, poor set design, and racist film tropes (the “wise and mystical Native American”).

We also discuss how this film is not, as many believe it to be, a reversal of the plot of Moby Dick and how plotwise it’s closer to Death Wish than Melville’s novel.

Up next is Piranha, directed by Joe Dante. We give a basic outline of the plot and discuss some of the sillier aspects of it but ultimately agree that for a ‘70s horror film it works.

We discuss the special effects used and how the simple nature of those effects are the strength of the movie. The linear nature of the piranha school’s progression is discussed, as is the film’s decision to put dozens of children in danger.

The obvious similarities to Jaws is touched upon, and the ultimately unsatisfying ending of the film is discussed. We also

As always thanks to everyone and anyone who checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to [email protected]. We would love to hear from you!. Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the awesome fliers, and also thanks to Josh “Boondock Saint” Alvarez for the theme song, Chris and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out www.cinepunx.com for more info on some of our other podcasts and how you can donate to our Patreon! Until next time…thanks!

Greetings, and welcome back to Horror Business! We have got one WILD episode in store you guys. As always thank you for listening and we hope you enjoy the episode!

First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screenprinting company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a tshirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thanks!

This episode we are continuing our multi-episode series on the concept of animal horror, also known as eco horror, and we are discussing 1977’s Orca and 1978’s Piranha.

We begin by talking about what we’ve seen recently, which in the realm of horror was unfortunately nothing. We swear we’ll be better in the future about this and that we are not posers.

First up is Orca, directed by Michael Anderson. We give a basic plot outline of the film, paying attention to the particularly brutal death of Orca’s mate and child, and the resulting rampage Orca goes on to avenge his loss.

We discuss the ludicrous nature of the plot (a killer whale waging war upon a village in order to draw one man out to the sea to kill him), the weak character development, the shaky explanation of the motivations of the characters, poor set design, and racist film tropes (the “wise and mystical Native American”).

We also discuss how this film is not, as many believe it to be, a reversal of the plot of Moby Dick and how plotwise it’s closer to Death Wish than Melville’s novel.

Up next is Piranha, directed by Joe Dante. We give a basic outline of the plot and discuss some of the sillier aspects of it but ultimately agree that for a ‘70s horror film it works.

We discuss the special effects used and how the simple nature of those effects are the strength of the movie. The linear nature of the piranha school’s progression is discussed, as is the film’s decision to put dozens of children in danger.

The obvious similarities to Jaws is touched upon, and the ultimately unsatisfying ending of the film is discussed. We also

As always thanks to everyone and anyone who checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to [email protected]. We would love to hear from you!. Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the awesome fliers, and also thanks to Josh “Boondock Saint” Alvarez for the theme song, Chris and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out www.cinepunx.com for more info on some of our other podcasts and how you can donate to our Patreon! Until next time…thanks!

 

Greetings, and welcome back to Horror Business! We have got one WILD episode in store you guys. As always thank you for listening and we hope you enjoy the episode!

First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screenprinting company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a tshirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thanks!

This episode we are opening up our multi-episode series on the concept of animal horror, also known as eco horror, and we are discussing 1980’s Alligator and 1984’s Razorback.

We begin by talking about what we’ve seen recently. On Saturday, July 8th we were fortunate enough to catch the second night of the Mahoning Drive In’s first (hopefully annual) VHS FEST, which was two nights of films that were shot on VHS and also were projected from VHS. The event was a joint effort between the Mahoning crowd and Lunchmeat VHS, and ended up being a lot of fun. Liam talks about his recent viewing of the all female helmed anthology film XX, and Justin discusses his viewing of Chuck Russell’s 1988 remake of The Blob which he caught at Frank Banko Alehouse Cinema.

First up is 1980’s Alligator, written by John Sayles and directed by Lewis Teague. We give a basic plot outline of the movie, and briefly discuss how despite the movie taking place in Chicago the filmmakers didn’t bother covering up the fact that it was film in L.A.

We discuss how the film was surprisingly well received by critics and how that puts it above most other animal horror movies released during this time period. We talk about the effectiveness of the scenes involving the titular alligator and how they’re actually quite fearful, and how the effects are surprisingly effective (no pun intended).

We examine the concept of animal horror and how the release of Jaws inspired many films involving monstrous animals to be released in the next decade, and how many of these films follow the basic outline of Jaws. We briefly discuss the nature of horror fandom, the concept of Alligator as a metaphor of class warfare, Robert Forster in general, the way women are depicted in this film, and the shortcoming of many animal horror movies in that it’s difficult to ascribe malice and villainy to animal antagonists.

Up next is 1984’s Razorback, written by Everett DeRoche and directed by Russell Mulcahy. We discuss Mulcahy’s background in directing and how that background effects the look and feel of this film, and we briefly discuss the ludicrous nature of the opening scene in which a boar the size of a tank wrecks a house to eat a child.

We talk about the phenomenon of “Ozploitation” films. The depiction of Australia and how Americans perceive Australians is discussed.

We discuss how the film goes a little of the rails at halfway point and barely brings it all back together with the conclusion, and how while it’s not necessary to show the titular monster all the time, it’s a disappointment when it’s barely seen.

As always thanks to everyone and anyone who checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to [email protected]. We would love to hear from you!. Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the awesome fliers, and also thanks to Josh “700 Bands” Alvarez for the theme song, Chris and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out www.cinepunx.com for more info on some of our other podcasts and how you can donate to our Patreon! Until next time…thanks!

Greetings, and welcome back to Horror Business! We have got one WILD episode in store you guys. As always thank you for listening and we hope you enjoy the episode!

First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screenprinting company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a tshirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thanks!

This episode we are opening up our multi-episode series on the concept of animal horror, also known as eco horror, and we are discussing 1980’s Alligator and 1984’s Razorback.

We begin by talking about what we’ve seen recently. On Saturday, July 8th we were fortunate enough to catch the second night of the Mahoning Drive In’s first (hopefully annual) VHS FEST, which was two nights of films that were shot on VHS and also were projected from VHS. The event was a joint effort between the Mahoning crowd and Lunchmeat VHS, and ended up being a lot of fun. Liam talks about his recent viewing of the all female helmed anthology film XX, and Justin discusses his viewing of Chuck Russell’s 1988 remake of The Blob which he caught at Frank Banko Alehouse Cinema.

First up is 1980’s Alligator, written by John Sayles and directed by Lewis Teague. We give a basic plot outline of the movie, and briefly discuss how despite the movie taking place in Chicago the filmmakers didn’t bother covering up the fact that it was film in L.A.

We discuss how the film was surprisingly well received by critics and how that puts it above most other animal horror movies released during this time period. We talk about the effectiveness of the scenes involving the titular alligator and how they’re actually quite fearful, and how the effects are surprisingly effective (no pun intended).

We examine the concept of animal horror and how the release of Jaws inspired many films involving monstrous animals to be released in the next decade, and how many of these films follow the basic outline of Jaws. We briefly discuss the nature of horror fandom, the concept of Alligator as a metaphor of class warfare, Robert Forster in general, the way women are depicted in this film, and the shortcoming of many animal horror movies in that it’s difficult to ascribe malice and villainy to animal antagonists.

Up next is 1984’s Razorback, written by Everett DeRoche and directed by Russell Mulcahy. We discuss Mulcahy’s background in directing and how that background effects the look and feel of this film, and we briefly discuss the ludicrous nature of the opening scene in which a boar the size of a tank wrecks a house to eat a child.

We talk about the phenomenon of “Ozploitation” films. The depiction of Australia and how Americans perceive Australians is discussed.

We discuss how the film goes a little of the rails at halfway point and barely brings it all back together with the conclusion, and how while it’s not necessary to show the titular monster all the time, it’s a disappointment when it’s barely seen.

As always thanks to everyone and anyone who checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to [email protected]. We would love to hear from you!. Thanks always to Justin Miller and Doug Tilley for their technical contributio...

Greetings fiends, and welcome back to Horror Business! Thanks as always for listening, and we have a great episode for you!

First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screenprinting company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a tshirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thanks!

This episode we are talking about the work of Canadian filmmaker David Cronenberg, specifically his earlier period of filmmaking in which he defined the subgenre of “body horror”.

 

The films we’re discussing are 1975’s Shivers and 1977’s Rabid. We were lucky enough to be joined by fellow Cinepunk Sean Bennis-Sine to help us wade through the weirdness of these films.

We begin by talking about what we’ve seen recently. Sean opens up the discussion by talking about his recent viewings of The Babadook and Burnt Offerings, and we briefly talk about viewing The Babadook through the lens of parenthood as opposed to seeing it as someone without children. Justin discusses his recent trip to LA and the horror related things he did out there, as well as his recent viewing of 47 Meters Down. Liam then discusses, amongst other things, Night Of The Demon, American Gods, and The Bad Batch.

 

First up is 1975’s Shivers. We discuss the plot of the film and how it sets the stage for much of Cronenberg’s career onward, as well as a brief discussion on the concept of “body horror”.

 

We then discuss, amongst other things, the social message the film carries, how it relates Cronenberg’s commentary on the sexual revolution of the 60s, Cronenberg’s commentary on modern living, how the film compares to similar “zombie” style horror films both of that time period and in modern times, and the idea of Cronenberg as an “apocalyptic” filmmaker in that he seeks to show the possibility of a different social order than the one that currently exists.

 

We compare the film visually and tonally to some of Cronenberg’s later works, and also how the films aesthetics perfectly capture the late 70s/early 80s look that we remember as children.

Up next is 1977’s Rabid.

 

We talk about how Rabid is arguably the first definitive “Cronenberg” film in that it takes the imagery and ideas he first explored in Shivers into truly new territory, as well as it again revisits themes from Shivers (infection, the body/flesh transforming/rebelling against itself, the collapse of an old social order to make way for a new one, sexuality as an alien concept, people becoming less than human by subverting the mind to the will of the body, etc).

 

We talk about accusations of Cronenberg harboring misogynistic/sexist views and expressing those views in his work, and we talk about Rabid as a commentary on the competency of the government in times of crisis.

As always thanks to everyone and anyone who checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to [email protected]. We would love to hear from you! Special thanks to Sean for joining us this episode. Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the awesome fliers, and also thanks to Josh “Pats And Ginos Is For Tourists” Alvarez for the theme song, Chris and LVAC for the support and buttons (check them out at

Greetings beautiful ones and welcome back to Horror Business, the podcast that knows that what’ s inside is what really counts. Thanks as always for listening, and we have a great episode for you!

First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screenprinting company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a tshirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thanks!

This episode we are talking about two films that take place within the entertainment industry of Los Angeles: 2014’s Starry Eyes and 2016 The Neon Demon.

We begin by talking about what we’ve seen recently. We were fortunate enough to catch a screening of A Nightmare On Elm St 3: Dream Warriors in Philadelphia as part of the Wizard World/Bloody Disgusting horror festival. What made the screening extra special was that there was live commentary by director Chuck Russell and the one and only Heather Langenkampf. To make it even MORE extra special was that the event was MC’d by Ryan Lamber and Andre Gower of the classic ‘80s horror movie The Monster Squad. We briefly discuss Justin seeing The Mummy and The Bye Bye Man, and then we spend a goodish amount of time talking about a film we both loved called It Comes At Night.

First up is 2014’s Starry Eyes. We begin by giving a brief summation of the plot and discuss the film’s influences from some other classic horror films, including the works of David Lynch, as well as Rosemary’s Baby and Possession.

The film as a metaphor for what it’s like to struggle in the film industry of Los Angeles is discussed at length.

The performances of the actors, the special effects, and some of the imagery of the film is also examined, as is the concept of willing sacrifice in traditional witchcraft and how that relates to the film.

Up next is 2016’s The Neon Demon. We briefly talk about Nicholas Refn Winding’s prior work, as well as his inspiration for this film.

The ‘on the nose’ tendency of the film in portraying various metaphors is discussed. The performances of the actors, the motivations of the characters, and the films rather stunning visuals are discussed at length.

We briefly touch upon Winding’s earnest attempt to create a feminist film that falls just short of actually succeeding as a work of feminist cinema but still critiques masculinity and patriarchy successfully.

As always thanks to everyone and anyone who checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to [email protected]. We would love to hear from you! Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the awesome fliers, and also thanks to Josh “Money In The Bank” Alvarez for the theme song, Chris and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out www.cinepunx.com for more info on some of our other podcasts and how you can donate to our Patreon! Until next time…thanks!

Greetings beautiful ones and welcome back to Horror Business, the podcast that knows that what’ s inside is what really counts. Thanks as always for listening, and we have a great episode for you!

First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screenprinting company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a tshirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thanks!

This episode we are talking about two films that take place within the entertainment industry of Los Angeles: 2014’s Starry Eyes and 2016 The Neon Demon.

We begin by talking about what we’ve seen recently. We were fortunate enough to catch a screening of A Nightmare On Elm St 3: Dream Warriors in Philadelphia as part of the Wizard World/Bloody Disgusting horror festival. What made the screening extra special was that there was live commentary by director Chuck Russell and the one and only Heather Langenkampf. To make it even MORE extra special was that the event was MC’d by Ryan Lamber and Andre Gower of the classic ‘80s horror movie The Monster Squad. We briefly discuss Justin seeing The Mummy and The Bye Bye Man, and then we spend a goodish amount of time talking about a film we both loved called It Comes At Night.

First up is 2014’s Starry Eyes. We begin by giving a brief summation of the plot and discuss the film’s influences from some other classic horror films, including the works of David Lynch, as well as Rosemary’s Baby and Possession.

The film as a metaphor for what it’s like to struggle in the film industry of Los Angeles is discussed at length.

The performances of the actors, the special effects, and some of the imagery of the film is also examined, as is the concept of willing sacrifice in traditional witchcraft and how that relates to the film.

Up next is 2016’s The Neon Demon. We briefly talk about Nicholas Refn Winding’s prior work, as well as his inspiration for this film.

The ‘on the nose’ tendency of the film in portraying various metaphors is discussed. The performances of the actors, the motivations of the characters, and the films rather stunning visuals are discussed at length.

We briefly touch upon Winding’s earnest attempt to create a feminist film that falls just short of actually succeeding as a work of feminist cinema but still critiques masculinity and patriarchy successfully.

As always thanks to everyone and anyone who checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to [email protected]. We would love to hear from you! Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the awesome fliers, and also thanks to Josh “Money In The Bank” Alvarez for the theme song, Chris and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out

Greetings pinheads, butterballs, and all things in betwixt, and welcome back to Horror Business, the podcast that has such sights to show you. Thanks as always for listening, and we have a great episode for you! First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screenprinting company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a tshirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thanks!

This episode we are talking about works of English horror maestro Clive Barker, specifically Nightbreed and Hellraiser. 

We begin by talking about what we’ve seen recently. We were fortunate enough to catch the ‘80s classic Night Of The Comet at the Mahoning Drive In’s third annual Zombiefest, (more info on the drive in and upcoming events can be found here) and we discuss the social messages of the film and how it was much better than either of us remember it. We discuss Alien: Covenant, and then discuss the concept of personal taste and aesthetic preferences when it comes to film and how differences in such taste is handled oftentimes. We then talk about the recent film Colossal and how the actual film differs drastically from how it was marketed.

First up is 1990’s Nightbreed. We open up by talking about how each of us got into the work of Clive Barker, his particular style of writing, and the impact he’s had on the genre of horror and fantasy.

We talk about the symbolism present in Nightbreed (anti-colonialism, LGBTQ issues) and Justin discusses how growing up the movie resonated with him as a symbol for getting into punk. We talk about the difference between the theatrical cut and the directors cut, in particular the ending, Boone's hallucinations, and the increased screen time for the monsters in the directors cut.

The performances of the actors in the movie and the theme of small towns embracing a fascist attitude towards anything remotely different is briefly examined.

The concept of ones “true face”, i.e. our inner selves versus the self we project outwards to society is discussed.

Up next is arguably Clive Barker’s most famous film, 1987’s Hellraiser. We discuss the various themes of this movie, including Frank’s hedonism as a metaphor for addiction, the interchangeability of pleasure and pain, and the concept of morality under duress.

The aesthetic choices of the film are examined, including the look of the Cenobites, the way the house seems ominous and illogical, the ‘uniquely gross’ look of the film overall.

The performances of the actors, particularly Sean Chapman, Ashley Laurence, and Andrew Robertson, are discussed, and finally the cultural impact of the original film and how unorthodox it was and indeed continues to be are discussed.

Justin closes out the discussion with two humorous (or so he thinks) anecdotes involving Hellraiser.

 

As always thanks to everyone and anyone who checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to [email protected]. We would love to hear from you! Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the awesome fliers, and also thanks to Josh “Downtown Larry Brown” Alvarez for the theme song, Chris and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Check out www.cinepunx.com for more info on some of our other podcasts and how you can donate to our Patreon! Until next time…thanks!