Welcome to Horror

It’s Hammer Time, and we’re looking at some of the more under-appreciated output from The Studio That Dripped Blood”; first up it’s 1966’s “The Witches” (aka “The Devil’s Own”).

A film in which a headmaster cosplaying as a priest is seen as a harmless quirk; the local butcher puts paid to the adage “laugh and the whole world laughs with you.”; and your choice of drinks is gin, gin or more gin.

A box office failure; “The Witches” was not considered a worthy part of Hammer’s horror output, languishing for decades as a mere footnote to both the story of Hammer Films, and the career of star Joan Fontaine. Thankfully, that reputation has shifted with time, as later generations have rediscovered it. The story is a blueprint for folk horror, whilst predating those movies that would come to define the genre and Quatermass creator Nigel Kneale’s subtlety witty script means this feels a lot more fresh and modern than some of the more melodramatic gothic horrors the studio produced, with a set of strong female characters driving the narrative. Whilst some may find the heavily choreographed climatic ceremony comical, if the movie has drawn you in, these sequences can actually be eerily mesmerising.

Watch (or re-watch) to avoid spoilers and join us.

Welcome To Horror Presents: “The We Have Been Watching Invasion of Earth”.

It’s time for our semi-regular round up of all the entertainments we’ve been sticking into our brains for the past few weeks (and no laughing at the word “semi” please, we’re all grown ups).

This time round there’s quite an international flavour as we discuss Soviet masterpiece “Viy” (1967); 2 movies from South Korea in modern classic “Train to Busan” (2016) and the “Tucker & Dale…” reimagining “Handsome Guys” (2024); fantastic Norwegian comedy “Troll Hunter” (2010); and the breathtaking 1922 Danish/Swedish silent documentary “Häxan” (and it’s William Burroughs narrated 1968 version, “Witchcraft Through the Ages”).

We also cover hit podcast “Broken Veil” (2025), 1982’s “The Slumber Party Massacre”; “Hellboy: The Crooked Man” and “The Book of the Witch” (both 2024).

Plus there are honourable mentions for “Battle Beyond the Stars”; and the anthology shows “Tales of Unease” and “Armchair Thriller”.

There should be no need to prep for this ep, but listeners beware, as here be (possible) spoilers and (definite) swearing.

Join us!

We’re back in the deep dark woods for 2010 horror comedy “Tucker & Dale Vs Evil”.

A film in which we learn the pitfalls of a “fixer-upper” for the first-time buyer; observe the dangers of mixing chainsaws with bees; and you can actively hate the clueless teens (even more so than usual).

Based on a simple but hilarious premise; “Tucker & Dale…” manages to sustain it for pretty much the whole of its runtime, with a necessary swing into more familiar horror territory for the last act. The heart of the film lays with its (wonderfully portrayed) titular characters; a refreshingly sweet, honest and hilarious double act, who you cannot help but love and root for as they blunder through an increasingly ludicrous series of coincidences and misunderstandings.

Watch (or re-watch) to avoid spoilers and join us.

It’s time to dig out your 70s glam hits and make weird proclamations in your best falsetto as we try on Osgood Perkin’s “Longlegs”.

A film in which T.Rex are finally released from the tyranny of “Billy Elliot”; the devil is in the details (usually the corner) and nothing says happy Birthday like a shrieking man putting his balls into your head.

Riffing on the 90s idea of the serial killer film - a police procedural dressed up as a horror film - Longlegs takes a horror film and dresses it up a a police procedural, to incredible effect. With a tantalising mythology of its own, which seems to be akin to that in Perkin’s earlier “The Blackcoat’s Daughter”, plus a cast all bringing their A game, this moody and chilling thriller rightly did excellent work at the box office. This success also came through an extremely well-designed promo campaign, and word of mouth that reached far beyond the horror community, meaning this deliberately weird and uncomfortable film is practically mainstream, without any apparent concession to get there.

Watch (or re-watch) to avoid spoilers and join us.

It’s time to get deep, as we are joined by previous guest Dani, for Neil Marshall’s “The Descent”.

A film in which we learn how to give a lemon an orgasm; that spelunking is not an orthodox method of grief counselling; and that there’s always one fucker who won’t stay with the group, even if you tell them to!

Marshall’s superb follow up to his debut “Dog Soldiers”, whilst often mentioned by fans and in lists of lesser-known films to see, really deserves to take its place as an acknowledged classic of the genre. The building claustrophobic dread, vicious injuries and the gradual disintegration of the team’s relationship make for a stunning first half, with the emergence of the monsters almost a relief from these all too real horrors. The cast are simply outstanding; and this still, remarkably, remains an outlier as an almost exclusively female-led horror film, 20 years later.

Watch (or re-watch) to avoid spoilers and join us.

It’s time to unleash some absolute mania, as we experience the multiple derangements of Nobuhiko Ôbayashi’s “Hausu” (aka “House”).

A film in which we learn the best way to store a watermelon; the worst way to store futons; and that your legs can live to fight another day, even if the rest of you has been devoured.

Like a food-colouring fuelled half remembrance of 60s pop group films fused to the most avant-guard of haunted house movies, with disturbing imagery drawn from the director’s young daughter, and nothing but torment and despair for our likeable young protagonists, “Hausu” should not work. However, Ôbayashi’s vision, style and flair make this a joyous dive headlong into a reality that the word surreal barely does justice to. It’s relentless energy and charm make for a real gem, that balances humour with the macabre - the switch halfway through from teen summer break to crazed nightmare barely dents its propulsive fun, meaning that the viewer comes away with a giddy contact high of absurdist joy.

Watch (or re-watch) to avoid spoilers and join us.

With the magnificent Horror-on-Sea film festival just gone, we look back on the day we attended (Saturday 18th) and the delights we saw there.

As well as the usual amazing atmosphere, we experienced 2 features on our flying visit - “Hell Hole” from directors Toby Poser and John Adams, and the world premiere of anthology sequel “Video Shop Tales of Terror 2: Lust and Revenge”!

Full disclosure, Lee and Adam both appear in VSTOT2 (in very blink and you’ll miss ‘em supporting roles), so their view of the film maybe somewhat skewed. We managed to get them out of their star dressing rooms and away from their adoring fans just long enough to also get some insights into the time they spent on set.

We also discuss the short films “The Camping Dead” and “Open Your Eyes”.

We will aim to remain spoiler free as these are fresh new films, but also suggest you check out all of these works as/when you get the opportunity.

No prep needed for this ep - just join us!

Welcome To Horror Presents: “The Casebook of We Have Been Watching”.

To kick off the new year, it’s time for another round up of the team’s recent eye-musings.

This episode we pay close attention to Robert Eggers’ “Nosferatu” (which, at time of recording, Adam and Chris had seen) and the BBC’s latest Ghost Story for Christmas: “Woman of Stone (which, at time of recording, Adam and Lee had seen).

We also touch upon Disney’s “The Black Cauldron” (1985); Shudder’s “To Fire You Come At Last” and “Black Cab” (both 2024); “Dr Terrible’s House of Horrible” (2001); the first episode of “Squid Game” series 2; “The Faculty” (1998); “Boys From County Hell” (2020) and animated anthology series “Red Iron Road”.

No need to prep for this ep, but listeners beware, as here be (possible) spoilers and (definite) swearing.

Join us!

Christmas has been and gone, it’s roast dinner farts lingering like slush on the street as we pitch towards New Year’s Eve, and our extended festive holiday in New York draws to an end with “Ghostbusters II”.

A film in which Nancy Spungen predicts the end of days; Bill Murray seeks psychiatric help from his own brother; and, once more, New York is portrayed as a festering hotbed of aggression, with a toxic sludge running beneath its streets.

Much like the subject of our previous episode - “Ghostbusters II” came too late to ride the seismic wave of popularity the original generated. Unlike “Gremlins 2”, however, it doesn’t particularly offer anything new, with many noting the similar story beats to the first film. Oddly for a tale about negative emotions feeding supernatural events, it’s also softer and less cynical in its outlook, presumably part of efforts to aim it more for the kids who had unexpectedly embraced the original. For those of us young enough, it still holds an affectionate place in our hearts as we finally got more “proper” Ghostbusters, but, as far as the studio was concerned, this failed to catch the lightning a second time, and any further talk of sequels were shelved for nearly thirty years.

Whist not a patch on the original, but with interesting moments, good gags, exemplary effects and great additions to an already perfect cast, “Ghostbusters II” doesn’t deserve the poor reputation it’s had over the years.

Watch (or re-watch) to avoid spoilers and join us.

It’s part 3 of our ‘New York’ marathon and we’re in up in the skyscrapers for “Gremlins 2: The New Batch”.

A film in which John Glover portrays a thinly veiled Donald Trump in a far more sympathetic light than would be possible these days; Hulk Hogan is revealed to be younger than any of our hosts; and Christopher Lee has already got rabies.

The belated sequel to Joe Dante’s original failed to ignite the box office, and seems to have a annoyed many fans of that first film, possibly for the crime of trying to be a bit different, but we find it impossible to not get swept up in the glorious glee with which the titular monsters, and their director, wreak havoc with this movie. Unfettered from the control of his producers, Dante ramps up everything to the point of absurdity, channeling his love of Looney Tunes (including a specially produced Bugs and Daffy intro from the mighty Chuck Jones) with satirical swipes at Corporate culture, the diminishing returns of sequels, and postmodern references to the first film.

Packed with cameos and references, this is a non-stop assault, which manages to be both utterly daft and really smart all at once.

Watch (re-watch) to avoid spoilers and join us.