Legion Podcasts

When Mike Flanagan drops a new series, we’re on it like a Catholic on a Communion wafer. And to join me for this Midnight Mass review is the Horror House of Sammons, Brian and Jamie! You can check out a spoiler-free mini review on the front end. Starting at 11:10, we get into spoilers. We talk plot, characters, themes, and our final thoughts.

I hope you enjoy listening as much as we loved talking about this challenging and undeniably big piece of horror filmmaking.

You can find more of the Horror House of Sammons here and subscribe here, and check out the Call of Cthulu module Brian mentioned right here.

You can hear more like this exclusively on Legion Podcasts, so be sure to subscribe on Apple Podcasts, Google, Spotify, Android, Pandora, iHeartRadio, Stitcher, Podchaser, or wherever podcasts are found.

Cinema_PSYOPS_EP319:  The Attic Expeditions 2001 (Main Feed)

Trevor Blackburn (Andras Jones) is accused of murdering his girlfriend, Faith (Beth Bates), in a brutal ritual. He’s sentenced to live in an experimental rehabilitation community and falls into a coma. When he wakes up, he meets the mysterious Dr. Elk (Jeffrey Combs), who tortures Trevor in an attempt to learn the whereabouts of a powerful occult book. As other patients (Seth Green, Alice Cooper) start to disappear, Trevor begins to wonder who and where he really is.

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Cinema PSYOPS Main page: http://www.legionpodcasts.com/cinema-psyops/

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Email feedback to 

Matt: [email protected]  Cort : [email protected] 

Find on twitter Cort:  @Cort_PSYOP Matt: @psyopmatt

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What happens when the saddest priest in the world takes on the Devil himself, who has taken the form of a king cobra? Join your High Priest and Priestess of Satanic Cinema, X and Cootie, as they sink their fangs into the 1981 movie Jaws of Satan! This movie happened! Hear Mark Ball pick up the Landline of the Damned! Hear Chef Al reveal the identity of one of his first celebrity crushes! Hear Cootie and X get drunk and spoil this movie from Hell to breakfast! All your favorite segments are here, and so are the ones you don’t like! [Sorry, kids. We’ve got a format and we’re sticking to it.] Let Kiss the Goat slither into your earholes and make monkey noises! Your hashtag for this episode: #PrettyPrettySnakeCave

Hello everyone and welcome to another patreon episode from The Friday Nightmares Podcast. Heather and Smokeshow are joined by Derek Bourgeois from Cinema Attack and They’re Here podcasts. On this episode we go through our top five favorite monsters in film. So sit back, relax, and we hope you enjoy!

PhantomX Youtube Channel

https://www.youtube.com/channel/UCBY1ZpiwR8IzIrKRVeGQeZg

Join Suzanne, Derek and Gary to celebrate the tiny dynamo known as Darla who recently has made her trip to the great beyond. We do that by sometimes talking about and watching The Pack from 1977 starring Joe Don Baker. There are some strange occurances around a small island town and all points are leading to a pack of angry dogs that were abandoned. Nobody is safe from these abused pups. Let’s see who’s side you’re on in The Pack!

Rest easy, baby girl.

Alright, boppers. The Torchy’s crew are equipped for violence and survival with Walter Hill’s third effort being the action, gang infused The Warriors from 1979. After an effort to unite the major gangs of the five boroughs, that live bunch from Coney Island are blamed for the murder of the ringleader. They are on the run dodging trouble while busting heads with their goal of making it home alive.

W/ Lee Russell, Cameron Scott and Gary Hill

Links

They Must Be Destroyed On Sight

https://tmbdos.podbean.com/

Cinema Degeneration

https://cinemadegeneration.podbean.com/

The Projection Booth Warriors Episode

https://www.projectionboothpodcast.com/2011/06/episode-17-warriors-1979.html?m=1

Welcome to a new episode of Whatcha Watching? with Jamie and Bo! We dive into some new movies, some old movies, and why you should never demand cornbread from guests.

Here’s some timecodes so you don’t get spoiled:

Leatherface :30 – 17:43Malignant – 17:43 – 41:27The Night House – 41:27 – 42:28Nightbooks – 42:28 – 47:43Superhost – 47:43 – 50:20Case 347 – 50:20 – 1:00:34

You can hear the show exclusively on Legion Podcasts, so be sure to subscribe on Apple Podcasts, Google, Spotify, Android, Pandora, iHeartRadio, Stitcher, Podchaser, or wherever podcasts are found.

Thank you so much for listening and talk to you all in a month!

Simon and Richard turn their inner eyeholes upside down with a heady little film called Beyond the Black Rainbow (2010). Then they reveal their innermost fantasies about sensual candy bars and the taste of friendship. It’s quite a catalog of forbidden desires and clearance notebooks.

Simon’s Blog

Richard’s Blog

Doomed Moviethon

Cinema_PSYOPS_EP318:  Hitcher in the Dark 1989 (Main Feed)

A disturbed young man with sexual desire for his dead mother gives a ride to a hitchhiker who bears a striking resemblance to her.

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Cinema PSYOPS Main page: http://www.legionpodcasts.com/cinema-psyops/

RSS: https://www.legionpodcasts.com/category/cinema-psyops/feed/

Email feedback to 

Matt: [email protected]  Cort : [email protected] 

Find on twitter Cort:  @Cort_PSYOP Matt: @psyopmatt

Join the FaceBook group: https://www.facebook.com/groups/1616282625298374/  

Instagram: cinema_psyops

Candyman is one of the most revered horror films of the ’90s. Can this belated sequel maintain the chills? Read on for the Candyman 2021 review!

I enter every film knowing as little as I can about it. I don’t care for trailers much, preferring a film to unfold, to have no expectations loaded before the first frames roll, and so that’s how I approached Nia DaCosta’s Candyman. And, in the interest of preserving as much mystery as possible, I will endeavor to reveal as little as I can in this review. That said, if you want to go in as blind as I did, and I think the movie benefitted from that, I’ll do the mirror’s reflection of my normal reviews to say that Candyman is a terrific film, one that shows that a movie’s theme can evolve beyond original intent to be even more meaningful than the original work. There, that’s out of the way. Let’s talk about this thing.

First, Candyman is not a remake or reboot. It’s a sequel to the 1992 film, set in modern-day Chicago. Our story revolves around an artist, Anthony McCoy (Yahya Abdul-Mateen II), creatively stifled while his partner, Brianna (Teyonah Parris), supports him in his efforts to prepare a new piece for a show. Anthony has talent, but lately his work has gotten stale. When Brianna’s brother Troy, who has some great comedic moments delivered by Nathan Stewart-Jarrett, and his partner are over for dinner, Troy tells the story of Helen Lyle, the woman from the original film who wound up dying in a fire after presumably stealing a baby. The tale intrigues Anthony, who follows the story to its location – Cabrini-Green.

The former housing project and surrounding neighborhood is in the midst of gentrification, and DaCosta arranges an old laundry right beside a new Pilates Center to help sell the truth of this. As someone who lived in a gentrified neighborhood for many years, her eye for the look is spot-on. Here, Anthony meets the owner of that laundry, a man named Burke, played by the always-reliable Colman Domingo. It’s here he learns the tale of the Candyman, and Anthony finds a new muse for his art in this story. Here, the Candyman was a strange resident of Cabrini-Green, a middle-aged man in a battered coat with a prosthetic hook on his hand. He liked giving out candy to the local kids, but when razors started showing up in kids’ candy, the so-called Candyman was born. Only it wasn’t this precisely that created the legend. It was only after police killed their suspect that Candyman became known to Burke as a child.

Yes, yes, I know that’s not the Candyman you know, but I assure you that DaCosta, along with co-writers Jordan Peele and Win Rosenfeld, are up to more than straight sequelization. They are exploring two interwoven themes in Candyman, one of which being the aforementioned gentrification, and the other being the need for myth and its utility in making sense of injustice. I assure you that the first film is revered properly here, and the events of that film are merely recontextualized. All the things you loved about the original are intact, but it is impossible to tell the story of this inner-city villain without recognizing the time in which the film is released.

This new Candyman is a monster to be sure, and there are some great creeping scares in the movie. And more than the original, DaCosta plays with the notions of reflection and the two sides of a mirror in ways that are visually captivating and often chilling. And the movie is bloody, no denying that. The body count is substantial, but as I said, this isn’t some mindless sequel intent on raising the stakes in gore alone.

What DaCosta has done is to expand the lore of the first film and give it a weight that speaks to our times. Some might call this overt politicization of Candyman, but then,