Well-Adjusted Horror

The boys cover an instant Holiday classic and the origins of Krampus.

Listen along as the boys celebrate one of the best storytellers in any genre — Stephen King.

Mad scientists?

Check.

Zombies?

Check.

A severed head in a compromising position with a co-ed?

Check.

The boys lose their heads with a celebration of their favorite carnival ride of a movie, H.P. Lovecraft's Re-Animator.

The best holiday of the year is around the corner, so the boys pull up a classic — John Carpenter's Halloween.

The Amityville Horror (1977) has stood the test of time, which is odd given that it really isn't a very good movie. 

Is it a  strait-forward haunting tale punching above its weight because of the based-on-true-story angle?

Or is it a more subtle allegory about economic anxiety?

This week the boys are abuzz with a look at the not-quite-remake of Candyman (2021)

Your favorite podcasters return from their accidental month off just in time for Shark Week, with a somewhat grumpy look at Jaws 2.

It may not be the best sequel ever made, but what an electrifying ending!

Also, what does it take to lose a mayoral election in Amity?

This week Johnathon once again drags Levi back to the 80s to consider a classic of the werewolf genre — Stephen King's Silver Bullet (1985). 

This one has all the ingredients of a great King adaption — rabble-rousing yokels, nostalgic voice overs, and a severed head in the first 5 minutes.

Also, dad hats.

There is no better reason to watch a movie than Kevin Bacon, but Tremors (1990) includes several other reasons anyway.

It's been called "the perfect bad" movie, and the boys agree with that, except for the "bad" part.

Press play and join the love fest for one of the best genre movies ever made.

There are two kinds of people in the world — those who think that The Exorcist (1973) is the greatest horror movie ever made, and those who refuse to flush the toilet in a public restroom.

Levi kicks it off with a look at the generational divide that made this movie such a bombshell upon its release, while Johnathon sheds light on the process of becoming a cranky old man. From there the boys quickly get into the deep water of the movie's theology. What does it mean to depict supernatural evil but no supernatural good? Does the God invoked in this movie save his servants, or are our two hero priests left alone in their sacrifice? 

Give it a listen.