The Blind Rage Podcast explores the darkness of SINISTER 2 (2015), where twin brothers Dylan and Zach discover cursed home movies that pull them into a deadly ritual. Their mother, Courtney, struggles to protect them, while a former deputy haunted by past trauma races against time to stop a malevolent force .

PET SEMATARY II (1992) haunts The Blind Rage Podcast this second week of Sequels Month, bringing a story where the past refuses to stay buried, and the living discover that some things are better left alone. With moments that are unsettling, absurd, and darkly funny, it’s a ride that keeps your nerves on edge and your eyebrows raised.

It’s Sequels Month on The Blind Rage Podcast, and we’re starting with a sinister chapter of magical mischief in THE BROTHERHOOD II: YOUNG WARLOCKS (2001).

The final week of Shitty Remake Month arrives with THE STEPFATHER (2009), a remake that takes the razor sharp menace of the original and sands it down until all that is left is a bland, overlit parade of Lifetime level thrills. The tension evaporates scene by scene, replaced with dialogue so flavorless it could have been generated by a malfunctioning appliance, and a villain who feels less like a cunning chameleon and more like someone rehearsing menace in a bathroom mirror. The movie tries to convince you it is building suspense, but mostly it is just wandering in circles hoping no one notices how little is happening.

It's the third week of Shitty Remake Month on The Blind Rage Podcast and we're dragging our nails across the chalkboard of horror history with CARRIE (2013), a remake so limp it feels like it was assembled from the rejected scraps of half a dozen teen dramas. Somehow the filmmakers took the volcanic fury of the 1976 original and turned it into a mopey after school special with telekinesis sprinkled on top like sad glitter. The performances drift between robotic and melodramatic, the script stumbles through every beat with the grace of a dropped cafeteria tray, and the so called modernization lands with all the impact of a damp sponge. Even the infamous finale, once a towering moment of terror, fizzles into a CGI laden shrug.

The second week of Shitty Remake Month on The Blind Rage Podcast barrels ahead with the cinematic equivalent of a dial tone, otherwise known as WHEN A STRANGER CALLS (2006). This glossy misfire takes the nerve shattering opener of the 1979 original and stretches it into a full length slog, trading tension for endless filler. What was once a tight burst of terror becomes an overinflated parade of wooden line deliveries, meandering scenes that go nowhere, and a script that treats pacing like an optional accessory. Even the central threat loses steam as the movie strains to turn a handful of minutes of genuine suspense into a feature that feels twice as long as it actually is.

The Blind Rage Podcast kicks off Shitty Remakes Month with A NIGHTMARE ON ELM STREET (2010), a lifeless reboot that somehow manages to make dreams boring. Gone is the dark humor, the surreal energy, and the iconic menace of Robert Englund. In their place: a washed-out color palette, joyless exposition, and a Freddy who sounds like he needs a throat lozenge more than revenge. It’s not scary, it’s not clever—it’s just tired.

The Blind Rage Podcast is celebrating Australia Day with one of the worst horror movies the Land Down Under ever produced: HOUSEBOAT HORROR (1989). Shot on video and seemingly edited with a butter knife, this sun-soaked slasher follows a group of “musicians” and their entourage as they head to a remote lake to film a music video. What they find instead is an off-camera killer who makes quick work of the cast, the crew, and any shred of production value. With performances that redefine the word “wooden” and dialogue so flat it could double as a cutting board, HOUSEBOAT HORROR has been called everything from “the worst Australian film ever made” to “a masterpiece of accidental comedy.” And honestly, both might be true.

Are you ready to be scared?

The Blind Rage Podcast tackles SLEEPWALKERS (1992), Stephen King’s twisted suburban horror about a mother and son who feed on life force and hide their true, monstrous forms behind polite smiles and a spotless facade.