Horror Business

Horror Business

By Justin LoreTV & FilmFilm History
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Horror Business episodes

  • HORROR BUSINESS Episode 13: The Exhumed Films Horrorthon Featuring Joe Yanick!
    Greetings creepy people, and welcome back to Horror Business, the podcast that loves you no matter what. As always you are in for a treat!
    This episode we’re joined by the one and only Joe Yanick of the wonderful Small Screen Cinema podcast to help us unpack the annual Exhumed Films Horrorthon, a twenty four hour horror marathon the weekend before Halloween in Philadelphia. In addition to discussing the movies with Joe, we were also lucky enough to talk to some people at the Horrorthon on various things, including but not limited to Alice Cooper and the eternal question of ‘Is Pumpkinhead actually any good?’ (Spoiler: yes. It is). I, Justin, unfortunately had to bow out about halfway through the ‘thon due to some personal issues, so there were some movies that played that I couldn’t offer any input on, but Liam and Joe pick up the slack with the movies I hadn’t seen. We apologize in advance for the rough sound quality and simply ask that you find it in yourselves to bear it out for us because we would do the same for you.
    The theme for this year’s horrorthon was the golden decade of horror: the 1980s. The movies shown were, in chronological order, Motel Hell, The Boogens, Visiting Hours, Cujo, Eyes Of Fire, Night Shadows aka Mutant, Monster Dog, Scream For Help, The Mutilator, The Hitcher, Child’s Play, House, Rawhead Rex, and Society.

     












     
     
    We were lucky enough to talk to some people at the Horrorthon about what they had seen so far and what they were excited to see the rest of the night, and at the end of the episode we have some of those short interviews for you guys.
    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. Massive thanks to the wonderful Joe Yanick for debasing himself enough to appear on this podcast and talk with us about the movies we saw. More of Joe’s delightful insight can be found at the Small Screen Cinema podcast, which is available on iTunes and Stitcher. Thanks to Exhumed Films and everyone involved for putting on the Horrorthon. More information on Exhumed can be found at www.exhumedfilms.com. Thank you to anyone we hung out/shot the shit with there, you are all amazing and it was a blast talking to you. As always thanks to Justin Miller and Doug Tilley for their technical contributions, Mike Smaczylo for the awesome fliers, and always thanks to Josh “El Guapo” Alvarez for the theme song, 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]. Follow us on Twitter at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, if you’re on Letterboxd check out Liam at www.letterboxd.com/liamface, and remember to rate, review, and subscribe to us on ITunes! Thanks!
     
    1 hr 38 min
  • HORROR BUSINESS Episode 12: A Phantasm Retrospective

    Greetings boils and ghouls, and welcome back to Horror Business, the podcast that’s as hot as love. We have jam packed slam bang of an episode for this week and we know you’re gonna love it.

    This episode we did a retrospective of the first three Phantasm films, and were joined by Josh Alvarez of Cinepunx to help us dissect this classic franchise. In addition to Josh being on Horror Business to talk about the first three movies, we’re actually going to carry the conversation over to Cinepunx later this week to discuss the final two films in the Phantasm franchise. I told you we had a treat for you guys.

    We begin by talking about what we’ve seen or done recently in the realm of horror. We talk about the Brooklyn Horror Film Festival, Monster Mania Con, Josh seeing Halloween III for the first time, and Josh having a semi run in with the great Bill Mosely in Texas.

    Naturally we begin with the first Phantasm film. We discuss our first encounter with the film, how we’ve come to appreciate it, the very unique narrative and style of the film, and how it remains unlike anything else to this day. Of note we focus on the performance of Angus Scrimm as the Tall Man and the films inconsistent narrative as virtue to keep the viewer unsettled.

     

    The second film in the franchise is discussed next. Amongst other things we talk about the uneven tone of the movie in that it seems to be back and forth between horror and action, the film suffering from the shortcomings of both late 80s action and late 80s horror, Reggie’s weird libido, and the unnecessary opening sequence.

    Next we tackle the third film in the franchise. We talk about the continuing feeling of ‘is this a dream?’ throughout these movies, Coscarelli’s tendency to be a bit ‘on the nose’ about everything, the unevenness of tone yet again in this film, Reggie’s continuing tendency to push the boundaries between decent and indecent when it comes to sex, and the future of the Phantasm franchise after this film.

     

    For the conclusion of our Phantasm retrospective check out the upcoming episode of Cinepunx at www.cinepunx.com. Follow them on twitter and Instagram at @cinepunx.

    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. Thanks to Josh not only for the theme song but also for being gracious enough to appear on this episode and record it at his house. 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]. Huge thanks to Jeff Thibault for getting us the Robert Englund and Bill Moseley bumpers. Thanks to those two as well for recording the bumpers. Thanks always to Justin Miller and Doug Tilley for their technical contributions, Mike Smaczylo for the awesome fliers, and also once again thanks to Josh “Bad Larry” Alvarez for the theme song, Follow us on Twitter at @thehorrorbiz666, like us on Facebook, and remember to rate, review, and subscribe to us on ITunes! Happy Halloween!

     

     

     

    1 hr 37 min
  • HORROR BUSINESS Episode 12: A Phantasm Retrospective
    Greetings boils and ghouls, and welcome back to Horror Business, the podcast that’s as hot as love. We have jam packed slam bang of an episode for this week and we know you’re gonna love it.
    This episode we did a retrospective of the first three Phantasm films, and were joined by Josh Alvarez of Cinepunx to help us dissect this classic franchise. In addition to Josh being on Horror Business to talk about the first three movies, we’re actually going to carry the conversation over to Cinepunx later this week to discuss the final two films in the Phantasm franchise. I told you we had a treat for you guys.

    We begin by talking about what we’ve seen or done recently in the realm of horror. We talk about the Brooklyn Horror Film Festival, Monster Mania Con, Josh seeing Halloween III for the first time, and Josh having a semi run in with the great Bill Mosely in Texas.
    Naturally we begin with the first Phantasm film. We discuss our first encounter with the film, how we’ve come to appreciate it, the very unique narrative and style of the film, and how it remains unlike anything else to this day. Of note we focus on the performance of Angus Scrimm as the Tall Man and the films inconsistent narrative as virtue to keep the viewer unsettled.

     
    The second film in the franchise is discussed next. Amongst other things we talk about the uneven tone of the movie in that it seems to be back and forth between horror and action, the film suffering from the shortcomings of both late 80s action and late 80s horror, Reggie’s weird libido, and the unnecessary opening sequence.

    Next we tackle the third film in the franchise. We talk about the continuing feeling of ‘is this a dream?’ throughout these movies, Coscarelli’s tendency to be a bit ‘on the nose’ about everything, the unevenness of tone yet again in this film, Reggie’s continuing tendency to push the boundaries between decent and indecent when it comes to sex, and the future of the Phantasm franchise after this film.

     
    For the conclusion of our Phantasm retrospective check out the upcoming episode of Cinepunx at www.cinepunx.com. Follow them on twitter and Instagram at @cinepunx.
    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. Thanks to Josh not only for the theme song but also for being gracious enough to appear on this episode and record it at his house. 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]. Huge thanks to Jeff Thibault for getting us the Robert Englund and Bill Moseley bumpers. Thanks to those two as well for recording the bumpers. Thanks always to Justin Miller and Doug Tilley for their technical contributions, Mike Smaczylo for the awesome fliers, and also once again thanks to Josh “Bad Larry” Alvarez for the theme song, Follow us on Twitter at @thehorrorbiz666, like us on Facebook, and remember to rate, review, and subscribe to us on ITunes! Happy Halloween!
     
     
     
    1 hr 37 min
  • HORROR BUSINESS Episode 11: Honey, Put That Found Footage Back Where You Found It

    Episode XI: Honey, Put That Found Footage Back Where You Found It

     

    Greetings miscreants, and welcome back to Horror Business, the podcast that wants you to keep filming NO MATTER WHAT. We have a powerhouse of an episode in store for you, and as always your inexplicable decision to keep listening to us warms our weird hearts, because without you we are shouting nonsense into the void. Even with you it’s likely we are doing just that!

    This episode we wrestle with the concept of found footage and documentary style horror films, specifically 2013’s Final Prayer (also released under the alternative title The Borderlands) and the 1992 BBC special Ghostwatch. Our goal was to figure out the appeal of “found footage” horror movies and what makes a good found footage film versus a bad one.

    We open up the episode by talking about some films we had seen recently, including the 2014’s Clown, 2016’s Don’t Breathe, and 2016’s I Am Not A Serial Killer. You all get a wonderful little history lesson of the Lehigh Valley’s oldest drive in theatre, the illustrious Becky’s Drive In. We continue by discussing Blair Witch, which we were not one hundred percent (or even fifty percent) crazy about. Sorry, Blair Witch people. Finally, wrapping up the “what we’ve been doing lately” segment is Liam’s brief summary of his experiences at the Bruce Campbell Horror Film Festival and our Wednesday night outing to Brooklyn for the Miskatonic Institute event with Jack Ketchum (more info on that can be found here).

    Our first film of this episode is Final Prayer. We begin the discussion on this film by giving a brief summary of what “found footage” means, and the methods and history behind the genre. We discuss the weaknesses of such a technique and the potential shortcomings of employing such a technique. The way the filmmakers of Final Prayer get around the “why am I watching this?” question is discussed. The use of “documentary” style camera setups in creating tension and fear is discussed, as is the lack of a Cloverfield moment i.e. a dramatic and powerful yet improbable reveal of the monster. As Liam aptly states, “if you have the money for a giant payoff in a found footage movie, just make a movie.” We talk about the British subgenre of horror focusing on some ancient pagan evil re-emerging into modern society, the role of faith and Christian anxiety in this movie, and the way complex philosophical ideas in the church are presented in this movie. We finish up our discussion of Final Prayer by talking about how England and English culture is almost a character in itself in the movie, which exceeds in a way that the “it’s buried on an ancient Indian burial ground!” trope in American horror movie often fails to do.

    The second film in our episode is the 1992 BBC special Ghostwatch. We begin this segment by explaining how Ghostwatch differs from the typical found footage movie in that it doesn’t present itself as footage from a missing party but rather a TV special that bites off more than it can chew. The interactive nature of the original special and how that nature lent it a feel of authenticity is discussed. The similarity to Orson Welles’ famous radio broadcast of War Of The Worlds is discussed, with the opinion given that this production was actually far more realistic than that broadcast. We talk about the context of the special and how it was largely unprecedented in it’s nature and how that made it that much more believable, as well as the “prankish” nature of the special at times.

    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]. Big thanks to new member of the Cinepunx team, Jamie Burchardt who edited all the audio for this episode, our first episode not edited by Liam! Thanks again to Justin Miller and Doug Tilley for their technical contributions, Mike Smaczylo for the awesome fliers, and also thanks to Josh “Foghorn Leghorn” Alvarez for the theme song, and 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! Until next time…thanks!

     

     

    The post HORROR BUSINESS Episode 11: Honey, Put That Found Footage Back Where You Found It appeared first on Cinepunx.

    1 hr 26 min
  • HORROR BUSINESS Episode 11: Honey, Put That Found Footage Back Where You Found It
    Episode XI: Honey, Put That Found Footage Back Where You Found It


     
    Greetings miscreants, and welcome back to Horror Business, the podcast that wants you to keep filming NO MATTER WHAT. We have a powerhouse of an episode in store for you, and as always your inexplicable decision to keep listening to us warms our weird hearts, because without you we are shouting nonsense into the void. Even with you it’s likely we are doing just that!
    This episode we wrestle with the concept of found footage and documentary style horror films, specifically 2013’s Final Prayer (also released under the alternative title The Borderlands) and the 1992 BBC special Ghostwatch. Our goal was to figure out the appeal of “found footage” horror movies and what makes a good found footage film versus a bad one.
    We open up the episode by talking about some films we had seen recently, including the 2014’s Clown, 2016’s Don’t Breathe, and 2016’s I Am Not A Serial Killer. You all get a wonderful little history lesson of the Lehigh Valley’s oldest drive in theatre, the illustrious Becky’s Drive In. We continue by discussing Blair Witch, which we were not one hundred percent (or even fifty percent) crazy about. Sorry, Blair Witch people. Finally, wrapping up the “what we’ve been doing lately” segment is Liam’s brief summary of his experiences at the Bruce Campbell Horror Film Festival and our Wednesday night outing to Brooklyn for the Miskatonic Institute event with Jack Ketchum (more info on that can be found here).


    Our first film of this episode is Final Prayer. We begin the discussion on this film by giving a brief summary of what “found footage” means, and the methods and history behind the genre. We discuss the weaknesses of such a technique and the potential shortcomings of employing such a technique. The way the filmmakers of Final Prayer get around the “why am I watching this?” question is discussed. The use of “documentary” style camera setups in creating tension and fear is discussed, as is the lack of a Cloverfield moment i.e. a dramatic and powerful yet improbable reveal of the monster. As Liam aptly states, “if you have the money for a giant payoff in a found footage movie, just make a movie.” We talk about the British subgenre of horror focusing on some ancient pagan evil re-emerging into modern society, the role of faith and Christian anxiety in this movie, and the way complex philosophical ideas in the church are presented in this movie. We finish up our discussion of Final Prayer by talking about how England and English culture is almost a character in itself in the movie, which exceeds in a way that the “it’s buried on an ancient Indian burial ground!” trope in American horror movie often fails to do.


    The second film in our episode is the 1992 BBC special Ghostwatch. We begin this segment by explaining how Ghostwatch differs from the typical found footage movie in that it doesn’t present itself as footage from a missing party but rather a TV special that bites off more than it can chew. The interactive nature of the original special and how that nature lent it a feel of authenticity is discussed. The similarity to Orson Welles’ famous radio broadcast of War Of The Worlds is discussed, with the opinion given that this production was actually far more realistic than that broadcast. We talk about the context of the special and how it was largely unprecedented in it’s nature and how that made it that much more believable, as well as the “prankish” nature of the special at times.
    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,
    1 hr 26 min
  • Horror Business Episode 10: Are You There God? It’s Us, Horror Business.
    Episode X: Are You There God? It’s Us, Horror Business
    Greetings, goofs, weirdos and creepy crawlers, and welcome back to Horror Business, the podcast that will not be threatened by a walking meatloaf. We have got an amazing episode for you this time, and not only because we’re now in double digits, but because this episode we have our first guest, Lehigh Valley horror aficionado and all around great guy Albert Martin! How awesome is that?! Don’t answer that please. We KNOW how awesome it is.

    This episode, we tackle the concept of religious horror, but not the classical idea of “religious” horror. Instead of the classics like The Exorcist, The Omen, and Rosemary’s Baby, we chose to deal with two films that instead tackle evil as an objective and abstract concept: 2015’s Baskin and 1987’s Prince Of Darkness.
    We start by talking with Albert about his personal background in the horror genre, some of his favorite films, and his personal hobby of collecting horror and other genre merchandise. The appeal of horror films, specifically the sense of comfort and safety, is discussed. We have a side discussion on the value of collecting merchandise, the virtue of being able to find collectible items, and Liam’s woefully small comic book collection. We give a less than enthusiastic review of Lights Out and the Mansfield Cinepolis, and discuss the unique nature of 1997’s Event Horizon as it relates to the topic of this episode of religious horror. We give the Netflix original series Stranger Things a glowing and stellar review. Justin briefly talks about his inability to really invest in the classic religious horror movies due to their using God as a protagonist and his childhood upbringing in a religion that portrayed God as ultimately good and ultimately powerful versus a fallible and not ultimately powerful devil.


    Our discussion of Prince Of Darkness begins with talking about how it is one of the lesser known John Carpenter films. Carpenter’s attempt at taking metaphysical concepts and making them physical concepts by explaining them away with quantum physics as a possible shortcoming is discussed, as is Carpenter’s stereotypical characterization of the protagonists as far too arrogant and faithful to science being a possible shortcoming of the film. Albert points out that a possible failure of the film on an initial viewing is that it lacks a central antagonist, as many great horror movies do, and that Carpenter’s attempt at reaching for abstract concepts might be a strength. He discusses the focal point of Carpenter’s “Apocalypse Trilogy” (The Thing, The Mouth Of Madness, and Prince Of Darkness) being destruction, with each movie focusing on the destruction of a different concept. He argues that Prince Of Darkness is not about the destruction of religion and god but rather the destruction of our concept of the order of reality, as the movie is actually about science failing to explain a concept religion has already explained. The horror of a basic understanding of quantum physics and the uncertainty it promotes is discussed. Liam also argues that the movie is not anti-religion, but rather it deals with the idea of how at a “higher level of science, something vaguely religious happens.” He further goes on to argue that religious fear is more about an inner fear rather a fear of something external, and that this is the point that Carpenter is trying to make: he is using a fear that there might be something sentient behind the chaos of every day life as a protagonist. Liam and Justin both point out that much of the horror in the film come from the film’s refusal to conform, and then proceed to rightfully point out that Donald Pleasance is a jerkoff in this film. Liam then proceeds to blow Justin’s mind by revealing the real purpose of the dream sequence in the movie, and how that dream sequence is focal to the true grimness of the movie in that it reveals that the protagonists are ultimatel...
    2 hr 13 min
  • HORROR BUSINESS Episode 9: C.H.U.D. and THE LAST WINTER

    Episode IX: A Profound Hatred Of (James LeGros And Ron Perl)Man, or: How We Learned To Stop Worrying And Love The C.H.U.D.s
     

     
    Greetings, children of the sun, and welcome back to another deliciously terrifying episode of Horror Business, the podcast that is coming to get you regardless of your being named Barbara or not. We are almost at double digits here, and you know what that means: we’re through the looking glass here, people.
    In this episode we discuss the concept of the ecological as horror, specifically the horrific that is the result of man’s hubris and meddling with what ought not to be meddled with. Our films for this episode were 1984’s C.H.U.D., and 2006’s The Last Winter.
    We begin the episode by talking about several films we have seen since the last recording. We first discuss The Darkness and the two hours neither of us are ever getting back from the garbage heap waste of celluloid that it was. Then Liam talks about the overabundance of butts and underabundance of seagulls in The Shallows. Finally Justin talks about the true evil of The Conjuring 2: Ed and Lorraine Warren and the crocks of shit they’ve served the gullible for the past fifty years. Because only on Horror Business will you find someone who gets upset about stuff like that.


    Up first is C.H.U.D. The film as a metaphor for various issues in the 1980s is discussed, namely the parallels between the plot of this film (marginalized group of people are inflicted with a problem and society as a whole ignores it until it begins to affect the middle/upper class) and the AIDS epidemic. Likewise, the film as the embodiment of American anxiety, mistrust, and suspicion towards the government in the Reagan era is discussed. Included with this is the disdain for lower class urban citizens by the government during this time. The particular aesthetics of New York City and its portrayal during this time as the embodiment of urban decay and the centrality of that portrayal in this film are examined. The various quirks and eccentricities of the film (cops going after the Chuds with flamethrowers in a sewer, the overwhelming incompetence of those in authority in response to the Chuds, government officials deciding that “gas” is the best way to handle the Chuds, John Goodman, etc.) are discussed.
    Next is 2006’s The Last Winter. This segment opens up with Justin’s strange confession that he thought Larry Fessenden was an extra in the remake of Night Of The Living Dead. A brief retrospective of Liam’s familiarity with Fessenden’s work follows. The similarity to C.H.U.D in that there is an external force threatening the characters that is wholly brought on and enabled by the ignorance and inactions of the characters. The parallels between Ron Perlman’s character in the film and the Bush administration are discussed, in that both have an attitude that is skeptical of climate science and the effects carbon emission have on the climate and are instead pushing for policies that would put the climate second and profit first. Likewise, the ignorance several characters have in the face of overwhelming evidence that climate change is a phenomenon caused by human activity is painted as a metaphor for the ignorance many have on the matter in real life. A discussion of Fessenden’s shortcomings as a filmmaker follows, namely the quality of the special effects used in the movie, Fessenden’s method of showing horrific events off screen, some of the clumsy cinematography and the unfortunate way the film seems to unravel towards the end. Finally, the way Fessenden drives home the very real terror of climate change by making a seemingly rational character seem insane by the data he’s receiving is discussed.


    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.
    1 hr 57 min
  • HORROR BUSINESS Episode 8: Welcome To Horror Business, MF’ers, or: This Is What It Sounds Like When Liam And Justin Cry
    Episode VIII: Welcome To Horror Business, MF’ers, or: This Is What It Sounds Like When Liam And Justin Cry
                  Greetings, friends and neighbors, and welcome to another spine chillingly hilarious episode of Horror Business, the podcast that would make you happy if you only believed in it. Thank you again for checking us out, and if you ruined a first date by rambling about this, the newest and hottest horror podcast, we love you. We love you no matter what.


    This episode we delve into the concept of the anthology horror film by as always watching two films and then comparing them. This is the eighth episode, people. You know how we do. The films we chose were 1993’s Necronomicon: Book Of The Dead, and 1995’s Tales From The Hood. For the untutored, an anthology film is one film divided into separate segments that each tells a different story. Some of the classic anthology horror films were Tales From The Darkside, Creepshow, and The Twilight Zone Movie. More recent ones would include the V/H/S films and the ABCs Of Death films.
    Before jumping into the meat and potatoes of this week’s episode and dissecting these two films, we took a moment to reflect upon the life and career of Prince, who unexpectedly passed away on April 21st. Both of us are huge fans of Prince’s music, and we only felt it was appropriate for us to talk about what that music meant to us. It was grimly fitting that we watched Tales From The Hood, in which starred Clarence Williams III who portrayed Prince’s father in the classic Purple Rain. We were lucky enough to catch Purple Rain in a local theatre the Monday after Prince’s untimely passing, and without a doubt it was one of the coolest things we’ve ever been to. Prince’s shadow was a long one and his legacy will continue to be unpacked and talked about for decades to come. He will be missed and his music will forever be a reminder that there is beauty and love and good good things in this world.

    Up first is Brian Yuzna’s Necronomicon: Book Of The Dead. In the beginning of this discussion, our opinion of what makes a good anthology film is laid out: there must be a good wraparound story and there must be some kind of common connective tissue that is present in each of the segments. Again, using an example, a wraparound story is what the little boy telling the stories to the witch in the beginning of Tales From The Darkside: it is literally the story that wraps around the others and binds them together for the sake of the narrative tale.
    We begin the actual discussion on the movie by laying out the plot of the film: three separate stories each loosely based on a different story by H.P. Lovecraft. The look and feel of the film, particularly the visual effects, is discussed, and how that look is typical of horror films from that time period is brought up. The gloomy and tragic nature of the segments is discussed, and how that feels plays into the nature of Lovecraft’s fiction. The simplicity of the wraparound story, which is H.P Lovecraft himself (played by Jeffrey Coombs) reading the tales from the fabled Necronomicon, is discussed as possibly taking away from the movie as a whole. The strengths and weaknesses of each segment are discussed, along with the advantages and disadvantages of having different directors for each segment. How the segments exemplify the “weirdness” of Lovecraftian fiction is briefly discussed as well i.e. the concept of some ancient being coming back into this realm to regain power, a cult worshipping extraterrestrial creatures, science delving into what ought not to be delved into, forbidden knowledge being brought into light, and so on. The style of Stuart Gordon and Brian Yuzna, two filmmakers whose work is often considered “Lovecraftian” in both influence and direct adaption, and how it relates to this film is discussed. Similarly, Liam’s newfound “mixed emotions” on the work of Brian Yuzna comes up and is briefly touch...
    1 hr 41 min

About Horror Business

From the publisher's feed

Horror Business is an ongoing conversation about Horror Films. Lifelong horror fans Justin Lore and Liam O’Donnell gather monthly to discuss and dissect horror films in  a sophisticated yet…

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