Split Picks continues its look into the four American titans of horror. After discussing Tobe Hooper last week, John Carpenter takes his turn in the spotlight. Filmmaker Steve Collins and actor John Merriman join Craig to talk about Carpenter in the '90s. Steve brings In The Mouth of Madness (1994); John brings John Carpenter's Vampires (1998).

They talk about Carpenter's attraction to distilled evil on film, how the lovably average working man powers his films, and how his simplistic soundtracks power his films. John, Steve, and Craig pick their ideal spinoff-films from characters introduced in In The Mouth of Madness on their way into the heart of Hobb's End. On Vampires, they break down the pairing of James Woods and Daniel Baldwin as vampire-hunting stars, they contemplate a few of its miscalculations, and how the film is the closest we have to a Carpenter Western film.

Split picks kicks off a special series devoted to four iconic American horror directors by examining two should-be-classic Hooper films.

Bennett Glace and Jim Hickcox help Craig kick off a special new series for October Horror about the four most iconic American horror directors, or Mount Rushgore, if you will. We begin with Tobe Hooper, best known as the director of The Texas Chain Saw Massacre, and as the director Steven Spielberg replaced on Poltergeist. Jim and Bennett are bringing some of their favorite Hooper films to the Split Picks arena with Lifeforce (1985) and Spontaneous Combustion (1990).

Together they discuss a vampiric melodrama about a naked space lady who wreaks havoc on Earth, and they make the case for Brad Dourif and his explosive performance being among horror's finest. Together, they argue why Tobe Hooper belongs in the pantheon of American horror directors for more than just Texas Chain Saw.

Split Tooth Media's October Horror series returns Monday, Oct. 4. All month we will have essays about some of our favorite horror films all the way from the House of the Devil to the shores of Party Beach.

This year Split Picks will examine the works of four canonical American horror directors — John Carpenter, Wes Craven, Tobe Hooper, and George A. Romero. Tune in every Friday for new episodes about some should-be-classic films.

Let's get spooky, once again.

Ninety-one-year-old Clint Eastwood gets back on the horse in 'Cry Macho.' Bennett Glace and filmmaker/critic/teacher Michael Glover Smith, director of the upcoming film Relative, couldn’t help but commemorate the occasion with a special episode of Split Picks. They discuss Eastwood’s 39th directorial effort, his hit-and-miss critical reputation, and their own relationships with one of American cinema’s greatest artists.

Arthouse Drive-In: 'Son of the White Mare' (1976) by Split Tooth Media

Actor Joshua Burge joins Craig and Bennett for a talk about Buster Keaton's career and legacy, 'Cops' and 'The Cook.'

Following their recent interview together, Split Toother Bennett Glace and actor/musician Joshua Burge join Craig Wright to discuss a mutual favorite actor and director, Buster Keaton. One of the all-time great comedians, Keaton redefined what it means to construct a visual gag. Here they compare The Cook (1918), an early Roscoe "Fatty" Arbuckle collaboration, with Cops (1920), a classic Keaton-directed short film.

They contrast Buster's work as Arbuckle's sidekick with his game-changing style in front of and behind the camera, and put his films in conversation with his rival Charlie Chaplin's. They also venture into Buster's life, career, and evolving legacy and, of course, why spaghetti is such a compelling film prop.

In the second Split Picks devoted to Martin Scorsese, Bennett Glace, Robert Delany, and Craig Wright conclude their talk about the director's career with a deep look at his 2016 film Silence. Based on Shusaku Endo's 1966 novel about Catholic missionaries attempting to spread their religion to Japan, Scorsese's third religious epic follows Fathers Rodrigues (Andrew Garfield) and Garupe (Adam Driver) who enter the country to track down their old teacher, Ferreiro (Liam Neeson), who is rumored to have renounced his religion.

Listen to the concluding episode to find out how Silence relates to their prior talk about The King of Comedy, how Scorsese's adaptation stands up to Masahiro Shinoda's adaptation, and hear who Bennett accuses of Scorsese apostasy.

In the first two-part Split Picks, Robert Delany, Bennett Glace, and host Craig Wright take a deep look at two Martin Scorsese films that share little on the surface. The first, The King of Comedy (1982), features a Scorsese/Robert De Niro pairing that follows a wannabe comedian who takes a chance encounter with his hero to the ultimate extreme. The upcoming second episode focuses on Silence (2016), the third religious epic of Scorsese's career. Though 1980s comedians and 17th Century Christian missionaries in Japan share few similarities, Rob, Bennett, and Craig explore the filmmaker's traits that appear across his body of work and link these films with those of his mob epics.

In the Season One finale, Robert and T tackle one of the defining films of the American Independent Film Movement.

It’s that time of the year! Welcome to the Season One finale of Arthouse Drive-In. Robert and T end their first run of episodes by exploring a masterpiece: John Cassavetes' Faces (1968).

Faces follows a married couple on the rocks who seek comfort and excitement in the arms of other lovers, but they are constantly plagued by the complicated nature of their own emotions. Robert and T discuss the emotional turbulence that Cassavetes creates throughout each scene, and how the film helped usher in a new era of narrative art filmmaking in America.

It's always sad to say goodbye, so instead, Arthouse Drive-In will just say, "See you later." The show will return for Season Two bigger and better than ever. Stay tuned, and thanks for listening!

When Jim Cine and Jason Sthesia aren’t discussing movies, they’re usually exchanging voicemails. They’re now releasing mini episodes from their private vault while on a short hiatus. Sometimes, when it’s been a long day on the farm, the boys are tired and the dogs is worn. They done meant to have a chitter-chatter about the pictures, but it just took too long to get the sheep into Sheepshead Bay and the the old bay into the stable, and everyone feels like they haven’t slept since the blue M&Ms stepped in for the tan ones.

It’s days like these when we throw out all the plans and take a little dip back into the archive. There’s a secret hotline that the boys can call when they want to leave each other messages, and with their permission we can rifle through the thoughts they’ve left there for each other and watch the sausage meat getting ground up to pack into the pig intestines of future installments.