Hello again, friends, and welcome to our special Noirvember episode! We’ve got a double-header for you, starting with Otto Preminger’s 1944 film noir staple starring Vincent Price, Laura.

If you haven’t seen Laura, you should really remedy that right now. It’s a classic, a timeless mystery tale: the lovely Laura (Gene Tierney), a woman bewitching to every man she meets, is presumed murdered, and our hero detective (Dana Andrews) is tasked with solving the crime. We meet an array of suspects, including Price and the actual standout of the film, Clifton Webb as the eccentric newspaper columnist Waldo Lydecker. Without giving anything away, it’s an engrossing story with an unexpected twist, and Preminger provides us with a mise en cine that begs us to watch it again and again. In the episode, we discuss our feelings on film noir and some of the troubled production of this great example of the genre.

And then, there’s Singapore Sling. At first glance, this may seem like an odd pairing, but once you’ve seen both of them, you’ll for sure understand why we put these two films together. Singapore Sling comes to us from Greece, and director Nikos Nikolaidis. Now, Nikolaidis isn’t exactly a household name in America, but he achieved moderate success in his native country, winning a few different awards, even. The themes he generally works with are sex, death, power manipulation, and just most subjects a layperson might find uncomfortable. Let’s be honest, his oeuvre takes a little getting used to. And one of his most controversial films is 1990’s Singapore Sling. In the episode, we talk about how Laura and Singapore Sling relate to one another, and then we dive into the alluring madness of Nikolaidis’s film. Trust us, it’s a real hum-dinger.

We hope you enjoy this Noirvember episode! And, as always, thanks for listening! If you would like to support us, please take a quick moment to like us on our social media sites (Facebook, Twitter), and remember to rate and review us on iTunes. You can also become a patreon patron here, or buy some cool merch designed by our very own Andrew Gimetzco at places like these: RedBubble, Society 6, Tee Public, Threadless.

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In the early 1980s, Disney produced a string of both animated and live-action films that pushed the boundaries of the macabre in family entertainment. Movies like Return to Oz, The Black Cauldron, The Black Hole, and The Watcher in the Woods scared their young audiences alongside entertaining them, and we here at VPL like to not only reminisce about those types of kids’ films, but analyze what makes them so wonderful and important. So for this episode, we are turning to one of the most perfect Halloween movies ever made: 1983’s Something Wicked This Way Comes.

But not only is Something Wicked This Way Comes dark and disturbing, it also has a great deal of fantasy and awe – no doubt infused into the film from its source material. Renowned science fiction/horror novelist Ray Bradbury penned this tale, and his brand of timeless and universal storytelling is really what sets this movie apart from the pack. In the episode, we get into what certain themes and elements make this story so compelling, like the eternal warning, “Be careful what you wish for.”

So, this Halloween, join us as we head over to the original “dark carnival” with Mr. Bradbury and this under-seen, yet very influential film. And as always, thanks for listening! If you would like to support us, please take a quick moment to like us on our social media sites (Facebook, Twitter), and remember to rate and review us on iTunes. You can also become a patreon patron here, or buy some cool merch designed by our very own Andrew Gimetzco at places like these: RedBubble, Society 6, Tee Public, Threadless.

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Greetings, friends! As you know, we here at VPL have taken a short summer hiatus, but now we’re back with a film that…well, we criticize a lot. So, on this very special episode, Andrew is bowing out, but we’ve enlisted our pal Monica Torres to help us sort out our feelings. It’s a bit tricky, a bit hexing, or maybe even a bit vexing, but let us present to you our interpretation of 1996’s The Craft.

In this episode, we tackle the nostalgia surrounding the film, discussing how it made us feel as teenagers. We talk about girlish sleepovers, and pretending to be witches ourselves, and how we miss those kinds of bonding experiences. But, on the flipside, we talk about how this movie addresses a more regrettable way girls interact with each other – how friendship sometimes ends up being second chair to selfishness and cattiness.

So, go grab your familiars, and hunker down with your spellbooks, and click below to hear the episode! And as always, thanks for listening! If you would like to support us, please take a quick moment to like us on our social media sites (Facebook, Twitter), and remember to rate and review us on iTunes. You can also become a patreon patron here, or buy some cool merch designed by our very own Andrew Gimetzco at places like these: RedBubble, Society 6, Tee Public, Threadless.

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Hello again, monster kids! On this episode of VPL, we’re turning back the clock a bit to 2007, the year that Robert Rodriguez and Quentin Tarantino released their cult classic-informed double feature, Grindhouse.Nostalgia is kind of a weird beast, sometimes making us remember things a bit more fondly than they may deserve. It’s also tricky when a modern director makes a film that so clearly references other works – that director has to have a very firm grip on what he or she is doing, otherwise the film could come across as too derivative or out of focus. This is what Andrew and I think hurts films like The Void, when references take the place of actual substance. But the genuine affection Rodriguez and Tarantino have for 1970s grindhouse-style exploitation films (coupled with their already-established chops as master filmmakers) really gives this double feature of Planet Terror and Death Proof an edge even to this day.

Please, sit back, buckle up and join us as we celebrate ten years of Grindhouse! We talk about nostalgia, how our “favorites” have changed over the years, and what exploitation really means to both of us. And, as always, thanks for listening! If you would like to support us, please take a quick moment to like us on our social media sites (Facebook, Twitter), and remember to rate and review us on iTunes. You can also become a patreon patron here, or buy some cool merch designed by our very own Andrew Gimetzco at places like these: RedBubble, Society 6, Tee Public, Threadless.

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Greetings and salutations! Today we are delving into the mind of the prolific-yet-classically underrated director, M. Night Shyamalan. In this episode, we’re discussing his most impressive work-to-date, Split.

M. Night gets a lot of grief for his “twist ending” trope, with most of the complaints saying that his movies rely heavily on that twist without providing much other substance. The prime example of this is 2008’s comically confusing The Happening, which lacks both in story structure and depth (and, well, the performances by its lead actors are just weird). Couple that with outright dismissal of Shyamalan’s work by critics and fans who think they know better than the rest of us (“he’s a one-trick pony!”), and the man ends up with a reputation that precedes him. But the reception of Split has been warm, with Mashable saying critics’ praise of the film is “the most shocking M. Night Shyamalan twist in 18 years.”

Aside from the intrigue surrounding the phenomenon of multiple personalities (the disorder is something that most of us – including some psychologists – actually don’t know too much about, and therefore the idea of it can be romanticized in a way), the success of this film is in large part due to Shyamalan’s examination of the human condition. He explores things that are hard for us to look at and talk about, and poses questions about those things that are worth asking. Does human suffering lead to a more enriched life? What does it really mean to be pure? Shyamalan believes strongly in non-conformity, which is something that Split addresses as well. He told Den of Geek, “cultivating a specific, honest, new point of view is [important]. If you’re walking, talking and acting like everybody else, and you have a general point of view, you have no value to the world.” Now, how about that?

Please join us as we discuss this interesting film. But, beware – this episode is spoiler-heavy. As always, thanks for listening! If you would like to support us, please take a quick moment to like us on our social media sites (Facebook, Twitter), and remember to rate and review us on iTunes. You can also become a patreon patron here, or buy some cool merch designed by our very own Andrew Gimetzco at places like these: RedBubble, Society 6, Tee Public, Threadless.

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Ahoy all ye buccaneers and scalawags! Grab yer grog an’ get yer sealegs on because we’re ’bout to set sail on the haunted high seas!

Ahem.

I mean, hey guys! On this episode of VPL we are bringing you two ghastly, ghostly maritime tales: 2002’s trip to a haunted oceanliner, Ghost Ship, and 2002’s WWII submarine adventure, Below.

At first glance, Ghost Ship doesn’t seem like much of a movie. But, it’s a little bit of the Saturday-afternoon-throwaway variety, a studio horror film with not too much substance. Nevertheless, it does have a smidge to dive into, and in this episode, we discuss its hits and misses – including its disappointing use of character stereotypes (especially as that pertains to black men). And although there’s a succession of story beats that are seemingly taken right out of Event Horizon, it’s still not a wholly terrible film.

We also discuss some “what if” scenarios posed by production notes that may or may not make Ghost Ship a better movie. Can you imagine Brian Cox in Gabriel Byrne’s role?

If you really had to compare these two films, Below emerges as the one that is most thoughtful and interesting in concept. That’s due in large part to the fact that Darren Aronofsky wrote the script. He was actually set to direct the film as well, but ultimately passed when given the opportunity to start work on his infamously disturbing art-house flick, Requiem For A Dream. We discuss what kind of film Aronofsky would have made in this episode, along with broader topics such as women in the military, how submarines work, and superstition.

As always, thanks for listening! If you would like to support us, please take a quick moment to like us on our social media sites (Facebook, Twitter), and remember to rate and review us on iTunes. You can also become a patreon patron here, or buy some cool merch designed by our very own Andrew Gimetzco at places like these: RedBubble, Society 6, Tee Public, Threadless.

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This episode is a long time coming. Over a year ago, we set out to do a show on 2015’s Poltergeist by itself. However, as we discuss in this show, it’s not exactly possible to examine a remake without the original film entering into the conversation. So we decided to put the idea of the episode on the back burner for a while, and regroup our thoughts.

You know, years ago, if you asked me what my favorite horror film was, my answer would undoubtedly have been the first Poltergeist. It’s the first scary movie I can remember watching, and it did have a substantial effect on me. The film helped shape what I’m interested in (as far as the paranormal goes), and what I am afraid of (In this episode, you’ll hear a little more about that – and it may not be what you expect!). But after many repeat viewings through the years, I began to see some problems with the film – just minor annoyances – and, although I still have a particular fondness for it, I’m not totally sure I can muster as much passion for it as I once did.

So, when the announcement was made that Poltergeist was getting a new treatment, I didn’t have too much of a problem with it. After all, remakes weren’t so out of hand at the time, and I had enjoyed the last couple incarnations of Texas Chainsaw Massacre, The Hills Have Eyes, and Fright Night, so I was pretty interested in seeing what could be done with a modern update of my childhood favorite film. But then the studio released the trailer, and it didn’t seem like anything to write home about, so I thought why even bother going to see this thing in the theater. After some lackluster reviews coupled with the remake stigma, I don’t think this film really found any kind of audience. And, although I wasn’t one of the group who refused to see it on principle, I just…didn’t make it a top priority.

But, whoa! Call me crazy, I really enjoyed it! After watching the 2015 Poltergeist, I started asking questions about the original that I hadn’t thought before; I was able to think clearly about it, and realized there are holes in it that have to do with character development and plotlines – holes that are covered oh-so-skillfully with a Spielberg-shaped bandage. And, as much as the purists may not want to admit it, these holes are addressed (and some even improved upon) in the remake. We go into more detail of that in this episode, touching on topics like representations of masculinity/femininity and the family unit.

So please sit in with us as we discuss 1982’s Poltergeist and 2015’s Poltergeist (Please note we refer to the 2015 film’s extended cut). We do address the public backlash and general negativity surrounding the remake, because, when you give it a real chance, it’s not a bad film whatsoever. Actually, it’s a good film.

As always, thanks for listening! If you would like to support us, please take a quick moment to like us on our social media sites (Facebook, Twitter), and remember to rate and review us on iTunes. You can also become a patreon patron here, or buy some cool merch designed by our very own Andrew Gimetzco at places like these: RedBubble, Society 6, Tee Public, Threadless.

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Hello again, friends! On this episode of VPL we are discussing one of Vincent Price’s most notable works, Witchfinder General. This 1968 film is infamous for being relentlessly graphic and gory, dealing with the dark subject matter of 17th Century witch hunts in England. Most critics shunned the film because of its violent depictions of witch hunting interrogations, but there is no mistaking this film for throwaway nonsense.

Vincent Price plays Matthew Hopkins, the self-proclaimed Witchfinder General from real British history. In this episode, you’ll find out why Hopkins was a loathsome fellow, and how Price portrayed him perfectly.

In America, this film was released under the title The Conqueror Worm, the name seemingly picked out of a hat containing Edgar Allan Poe references. “The Conqueror Worm” is a poem written by Poe that really has nothing to do with witches or war or anything else that this film contains. Andrew gets into why the studio felt the need to change the title, so be sure to listen. And, just for fun, check out Vincent reading the poem here:

Witchfinder General is an unique film that’s definitely worth checking out. And, not to mention the dreaded “R” word, but it’s worth noting that Nicolas Winding Refn (Drive, The Neon Demon) has recently acquired the rights from Tigon to remake this film. Nothing has gone into production yet, but we’re interested to see how a director with such a vision as Refn would spin this torturous tale.

Click below to hear the show! And as always, thanks for listening! If you would like to support us, please take a quick moment to like us on our social media sites (Facebook, Twitter), and remember to rate and review us on iTunes. You can also become a patreon patron here, or buy some cool merch designed by our very own Andrew Gimetzco at places like these: RedBubble, Society 6, Tee Public, Threadless.

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Hello again, friends and monster kids! After a short hiatus, Andrew and I have returned to once again bring you our silly little horror movie podcast. We took some much-needed time off, but we’re eager to get the ball rolling again. And so, we begin again with one of our most-anticipated film releases of 2017, Gore Verbinski’s A Cure For Wellness.

This is a classic “dump month” film – studios like to release films that they don’t have too much faith in during the slower, non-summer blockbuster season, dumping them out in January and February. You’ll notice that a lot of the more creative or interesting films come out at this time, and that goes for the horror genre especially.

The story centers around Lockhart (Dane DeHaan), a young rising star in his firm. After a Wall Street crisis, he is sent to the Swiss Alps to retrieve the company’s CEO, who has taken the last two weeks to refresh himself in a world renowned “wellness center” and spa. Suspicion arises as Lockhart survives an auto accident and is exposed to the spa’s strange healing practices. Things in this remote part of the Alps just aren’t what they seem.

What’s notable about A Cure For Wellness is its originality. Verbinski is always careful to craft an unconventional story, be it in The Ring or the Pirates of the Caribbean series. In Cure, the director doesn’t pull any punches in blending realism and fantasy. The story we follow feels very true to our world; however, Verbinski creates an atmosphere that is very outside our realm. Surrealism aside, the story eventually morphs into a gothic fairy tale of sorts, with Verbinski completely succeeding in immersing his audience in his dour vision.

Tune in to our podcast to find out what we really thought about this smart and darkly beautiful film. And as always, thanks for listening! If you would like to support us, please take a quick moment to like us on our social media sites (Facebook, Twitter), and remember to rate and review us on iTunes. You can also become a patron here, or buy some cool merch designed by our very own Andrew Gimetzco at places like these: RedBubble, Society 6, Tee Public, Threadless.

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Set during the Mexican-American War, the film recounts the story of an American soldier named Boyd (Guy Pearce) who is promoted to Captain; however, he’s exiled to a remote fort in the Sierra Nevada Mountains after his heroic story of Mexican defeat is found to be suspect. There he joins a ragtag group of officers, soldiers, and Native American scouts – it’s snowy and cold, Robert Carlyle shows up, and strange things happen….

Within this macabre western (yes, it’s technically a western) is a deep character study surrounded by rich American lore, and inspired by true, harrowing legends from the Donner Party and Alfred Packer to the Native American myth of the Wendigo. It’s a darkly humorous horror tale in the Sierra Nevadas that pits a reluctant hero against a possible supernatural evil. But really, I won’t get into it because you should really watch this film if you haven’t already.

Please enjoy our discussion of Ravenous, complete with cannibalism, Wendigos, westward expansion, folk music, and so much more.

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