Corporations Are Just the Worst

Ep. 46 - The Texas Chain Saw Massacre & The Texas Chainsaw Massacre 2 This week, we are heading down to the Lone Star State to examine Tobe Hooper’s horrific double feature: The Texas Chain Saw Massacre (1974) and The Texas Chainsaw Massacre 2 (1986). These two films present a fascinating study in contrast. The 1974 original stands as a raw, sweat slicked signpost marking the rot of the post-Vietnam American dream, utilizing documentary style realism and oppressive texture to build unrelenting dread. Twelve years later, Hooper steered the concept into total madness with the 1986 sequel, turning the cannibalistic Sawyer family into a grotesque caricature of 1980s neoliberal consumerism, complete with neon lights, radio DJs, and a subterranean chainsaw battle. We discuss how an artist handles their own legacy, shifting from raw visceral horror to satirical, slapstick splatter without losing the core thematic thread. Whether you prefer the sun-drenched nightmare of the original or the hyperactive, gore drenched spectacle of the sequel, both entries demonstrate what happens when a director refuses to repeat himself. 🎬 Movies Discussed The Texas Chain Saw Massacre (1974, Dir. Tobe Hooper) The Texas Chainsaw Massacre 2 (1986, Dir. Tobe Hooper) 🕰️ Chapters 0:00 TCM Intro 1:10 Double Feature Pairing 8:50 The Texas Chainsaw Massacre (1974) 47:31 The Texas Chainsaw Massacre Part 2 (1986) 1:21:37 “What do you know about… TMNT?” (and other TCM movies) 🔗 Find & Follow PhantasmaCast YouTube: https://youtube.com/@2certifiedbangers Instagram: https://instagram.com/2certifiedbangers TikTok: https://tiktok.com/@2certifiedbangers Apple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694 Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp 💬 Join the Conversation Do you prefer the gritty horror of the 1974 original, or the wildly satirical 1986 sequel? Let us know in the comments ☝️ Hosted on Acast. See acast.com/privacy for more information.

This week, we are going mad over Stuart Gordon's Re-Animator (1985) and From Beyond (1986).These aren't your typical cosmic horror stories; they are trashy, neon-soaked adaptations that dragged H.P. Lovecraft kicking and screaming into the zenith of '80s practical effects gore. We analyze how Lovecraft's deeply paranoid, insular worldview, coupled with his fear of the modern world and puritanical hang-ups, inadvertently created the template for cosmic terror. Then, we look at how Stuart Gordon took that unspeakable, abstract cosmic dread and dragged it onto the stage, soaking it in outrageous sexuality, body horror, and theatrical energy.It is a double feature about the madness of scientific obsession, the horror of primal desire, and the low-budget ingenuity of mid-'80s horror filmmaking. Both films prove that '80s schlock and cosmic terror make the ultimate nightmare pairing.🎬 Movies DiscussedRe-Animator (1985, Dir. Stuart Gordon)From Beyond (1986, Dir. Stuart Gordon)🕰️ Chapters0:00 Intro0:41 Welcome to PhantasmaCast OR H.P. Lovecraft was certainly...special13:59 Today's Double Feature: Re-Animator & From Beyond14:23 Re-Animator52:06 From Beyond1:19:43 Final Thoughts OR The Guys Gush Over Barbara Crampton🔗 Find & Follow PhantasmaCastYouTube: https://youtube.com/@2certifiedbangersInstagram: https://instagram.com/2certifiedbangersTikTok: https://tiktok.com/@2certifiedbangersApple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp💬 Join the ConversationDo you prefer the mad scientist comedy of Re-Animator or the perverted body horror of From Beyond? Let us know in the comments. Hosted on Acast. See acast.com/privacy for more information.

"The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown." - H.P. LovecraftThis week, we board two late nineties sci-fi thrillers that dare to ask: what happens when human curiosity reaches beyond the edge of the known universe? We're watching Paul W. S. Anderson's Event Horizon (1997) and Barry Levinson's Sphere (1998), two films that take cosmic horror to its most claustrophobic extremes.We look at how Event Horizon transforms a deep space rescue mission into a gory, hellish nightmare, while Sphere plunges deep beneath the Pacific Ocean to confront an entity that feeds on human paranoia. It is a double feature about the terror of isolated environments, the limits of human comprehension, and the madness waiting for us in the abyss.🎬 Movies DiscussedEvent Horizon (1997, Dir. Paul W. S. Anderson)Sphere (1998, Dir. Barry Levinson)🕰️ Chapters0:00 Intro0:58 Welcome back to PhantasmaCast 🎶2:04 Cosmic Horror 10116:00 Event Horizon53:49 Sphere1:19:48 Outro🔗 Find & Follow PhantasmaCastYouTube: https://youtube.com/@2certifiedbangers Instagram: https://instagram.com/2certifiedbangers TikTok: https://tiktok.com/@2certifiedbangers Apple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694 Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp 💬 Join the ConversationAre you taking the hell bound spaceship or diving to the bottom of the Pacific? Let us know in the comments. Hosted on Acast. See acast.com/privacy for more information.

Ep. 43 - The Signal & PontypoolThis week, we are tuning in to the end of the world with David Bruckner, Dan Bush, and Jacob Gentry’s The Signal (2007) and Bruce McDonald’s Pontypool (2008). Forget flesh-eating ghouls, late 2000s indie horror realized that our obsession with mass communication was the real threat. In The Signal, airwaves hijack human minds and spark immediate, bloody paranoia. In Pontypool, an isolated radio station becomes ground zero for a virus carried entirely through spoken language. We look at how both films ditch standard outbreak tropes to expose our terror of technological overload, proving that the scariest contagion isn't physical, it's the media we absorb every day. 🎬 Movies DiscussedThe Signal (2007, Dir. David Bruckner, Dan Bush, Jacob Gentry)Pontypool (2008, Dir. Bruce McDonald) 🕰️ Chapters0:00 Intro0:59 ...Zombies...6:54 Double Feature Reveal7:00 The Signal49:45 Pontypool1:27:28 Outro🔗 Find & Follow PhantasmaCast YouTube: https://youtube.com/@2certifiedbangers Instagram: https://instagram.com/2certifiedbangers TikTok: https://tiktok.com/@2certifiedbangers Apple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694 Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp 💬 Join the ConversationDo you prefer the multi-chapter, airwave-driven chaos of The Signal or the sound-booth claustrophobia of Pontypool? Let us know in the comments ☝️ #Pontypool #TheSignal #IndieHorror #ZombieCinema #FilmAnalysis Hosted on Acast. See acast.com/privacy for more information.

Ep. 42 - The Great Escape & Escape from New YorkThis week, we are escaping into the worlds of two films video game auteur Hideo Kojima considers massive inspirations: John Sturges' The Great Escape (1963) and John Carpenter's Escape from New York (1981). These classic escape thrillers provided the structural blueprint and antihero swagger for Kojima's gaming masterpiece Metal Gear Solid. We look at how The Great Escape defined high stakes stealth mechanics and tension on screen, while Snake Plissken's dystopian, punk rock cynicism birthed Solid Snake himself. It is a double feature about cinematic cross-pollination, the evolution of antiheroes, and how obsession turns beloved media into groundbreaking art. Whether it is Steve McQueen jumping fences or Kurt Russell sneering at the government, both films prove that great video games owe everything to classic action cinema.🎬 Movies DiscussedThe Great Escape (1963, Dir. John Sturges)Escape from New York (1981, Dir. John Carpenter)🕰️ Chapters0:00 Intro0:40 So what KIND of double feature IS it???1:40 Gamer Lore Dump aka "Why these movies for this month"17:48 "The Great Escape" (1963)40:23 "Escape from New York" (1981)1:16:07 OutroFinal Thoughts🔗 Find & Follow PhantasmaCastYouTube: https://youtube.com/@2certifiedbangersInstagram: https://instagram.com/2certifiedbangersTikTok: https://tiktok.com/@2certifiedbangersApple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp💬 Join the ConversationWhich cinematic escape artist defined your childhood: Steve McQueen's Hilts or Kurt Russell's Snake Plissken? Let us know in the comments.#MetalGearSolid #EscapeFromNewYork #TheGreatEscape #HideoKojima #PhantasmaCast Hosted on Acast. See acast.com/privacy for more information.

Ep. 32 - Ghost in the Shell & The MatrixThis week, we are plugging into the digital void with Mamoru Oshii’s Ghost in the Shell (1995) and the Wachowskis’ The Matrix (1999). These prophetic cyberpunk cornerstones take radically different approaches to artificial intelligence and human identity. We look at how Ghost in the Shell questions the boundaries of the soul when humanity and technology converge, and how The Matrix flips that dynamic entirely. Instead of merging with machine intelligence, humanity created something that destroyed its world, leaving a future that might ultimately belong to the machines. It is a double feature about digital existentialism, cybernetic anxiety, and the terrifying line between simulated realities and authentic selfhood. Whether it is Motoko Kusanagi questioning her own consciousness or Neo waking up in a pod, both films forced sci-fi cinema into a bold new era. 🎬 Movies DiscussedGhost in the Shell (1995, Dir. Mamoru Oshii)The Matrix (1999, Dir. Lana Wachowski, Lilly Wachowski)🕰️ Chapters0:00 Intro2:15 The 90s Cyberpunk Boom14:30 "Ghost in the Shell" (1995)48:10 "The Matrix" (1999)1:21:05 Final Thoughts🔗 Find & Follow PhantasmaCastYouTube: https://youtube.com/@2certifiedbangersInstagram: https://instagram.com/2certifiedbangersTikTok: https://tiktok.com/@2certifiedbangersApple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp💬 Join the ConversationDo you lean toward the cold, philosophical anime poetry of Ghost in the Shell or the high-octane simulated revolution of The Matrix? Let us know in the comments. Hosted on Acast. See acast.com/privacy for more information.

Ep. 40 - Commando & CobraThis week, we step onto the front lines of the legendary Stallone vs. Schwarzenegger arms race with Mark L. Lester’s Commando (1985) and George P. Cosmatos’s Cobra (1986). The mid-1980s saw two mega-stars constantly trying to out-gun, out-muscle, and out-body-count each other, giving birth to a wildly specific archetype: the benevolent rogue. We trace how Reagan-era anxieties funneled straight into stories about one-man armies stepping up because the justice system lacks the nerve to finish the job. It is a double feature about complete disregard for institutional authority, ridiculous firepower, and total narrative escalation. Whether John Matrix is delivering ice-cold one-liners while ripping apart an island army or Marion Cobretti is single-handedly taking down a fascist killer cult, both films prove that in 80s action cinema, subtlety was left at the door. 🎬 Movies DiscussedCommando (1985, Dir. Mark L. Lester)Cobra (1986, Dir. George P. Cosmatos)🕰️ Chapters0:00 Intro2:15 Stallone vs. Schwarzenegger Arms Race11:19 "Commando" (1985)40:24 "Cobra" (1986)1:07:14 Final Thoughts💿 Physical Media Shoutout ⁨@Arrow_Video⁩  🔗 Find & Follow PhantasmaCastYouTube: https://youtube.com/@2certifiedbangersInstagram: https://instagram.com/2certifiedbangersTikTok: https://tiktok.com/@2certifiedbangersApple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp💬 Join the ConversationDo you prefer Arnold's relentless, log-carrying absurdity in Commando, or Sly's match-chewing, laser-sighted vigilante in Cobra? Let us know in the comments☝️ Hosted on Acast. See acast.com/privacy for more information.

Ep. 39 - RoboCop & Sorry to Bother YouThis week, we are clocking in, selling out, and celebrating two masterpieces of cinematic satire: Paul Verhoeven’s RoboCop (1987) and Boots Riley’s Sorry to Bother You (2018). These brilliant films weaponize pure, hilarious absurdity to attack corporate greed from opposite ends of the economic spectrum. We look at how RoboCop targets top-down privatization by turning public safety into a corporate playground, while Sorry to Bother You exposes bottom-up labor exploitation through forced identity shifts and surreal workplace horrors. It is a devastating, brilliant double feature about how the modern economic machine attempts to claim total monopoly over our public infrastructure, our voices, and our literal bodies. 🎬 Movies DiscussedRoboCop (1987, Dir. Paul Verhoeven) Sorry to Bother You (2018, Dir. Boots Riley) 0:00 Intro1:26 Robocop35:46 Sorry to Bother You1:08:24 Outro, aka "C U Next Time..."Original "Robo Wants an Oreo" clip via RoboCop Archive: https://youtu.be/BEhXAtFgNrk?si=sp51qptLLBg_ufC9📀 Physical Media ShoutoutsArrow Video🔗 Find & Follow PhantasmaCastYouTube: https://youtube.com/@2certifiedbangers Instagram: https://instagram.com/2certifiedbangers TikTok: https://tiktok.com/@2certifiedbangers Apple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694 Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp 💬 Join the ConversationDo you prefer the corporate, top-down satire of RoboCop or the surreal, worker-perspective madness of Sorry to Bother You? Let us know in the comments. #RoboCop #SorryToBotherYou #BootsRiley #PaulVerhoeven #Satire Hosted on Acast. See acast.com/privacy for more information.

Ep. 38 - Fade In & CatchfireThis week, we're facing our past regrets and disowned creations with Jud Taylor’s Fade In (1973) and Dennis Hopper’s Catchfire (1990). These films represent the absolute limit of corporate interference, operating as flawed, compromised monuments to the nightmare of the studio system. We look at how Jud Taylor's western romance gets completely lost in translation, and how Dennis Hopper legally scrubs his identity from a star-studded thriller. It is a double feature about the high cost of creative compromise, the fragility of structural conventions, and the remnants of pure authorship that persist under duress. Whether it is a studio executive altering a film beyond recognition or a director completely abandoning their own project, both films suggest that when commerce wins, the true story gets buried. 🎬 Movies DiscussedFade In (1973, Dir. Alan Smithee / Jud Taylor)Catchfire (1990, Dir. Alan Smithee / Dennis Hopper) 🕰️ Chapters0:00 Intro1:03 Who is "Alan Smithee"?3:11 Fade In24:45 Backtrack57:33 Are these movies worth watching???📀 Physical Media Shoutouts @kinolorber  🔗 Find & Follow PhantasmaCast YouTube: https://youtube.com/@2certifiedbangers Instagram: https://instagram.com/2certifiedbangers TikTok: https://tiktok.com/@2certifiedbangers Apple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694 Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp 💬 Join the ConversationDo you think a studio-compromised film is still worth watching for the director's surviving ideas, or should Alan Smithee movies be left entirely in the vault? Let us know in the comments.#AlanSmithee #FilmHistory #CinephileCulture #DennisHopper #PhysicalMedia Hosted on Acast. See acast.com/privacy for more information.

This week, we are celebrating Pride by hitting the highway with a double showing of drag queen road movies: Stephan Elliott’s The Adventures of Priscilla, Queen of the Desert (1994) and Beeban Kidron’s To Wong Foo, Thanks for Everything! Julie Newmar (1995). These films show that a road movie is about much more than getting from point A to point B. We look at how Tick’s journey in Priscilla allows him to shed the fear of being himself in front of his estranged son, anchoring the comedy with beautiful, independent vulnerability. On the flip side, we watch how the trio in To Wong Foo confront and dismantle their own preconceived notions about small-town communities as they embed themselves in middle America. It is a double feature about identity, community, and self-discovery. Whether it is navigating the harsh Australian outback or transforming a forgotten town, both films suggest that the ultimate destination on a drag journey is finding the confidence within yourself to be yourself completely. 🎬 Movies DiscussedThe Adventures of Priscilla, Queen of the Desert (1994, Dir. Stephan Elliott)To Wong Foo, Thanks for Everything! Julie Newmar (1995, Dir. Beeban Kidron) 🕰️ Chapters0:00 Intro0:45 Favorite Road Movies11:50 The Adventures of Priscilla, Queen of the Desert (1994)47:31 To Wong Foo, Thanks for Everything! Julie Newmar (1995)🔗 Find & Follow PhantasmaCastYouTube: https://youtube.com/@2certifiedbangers Instagram: https://instagram.com/2certifiedbangers TikTok: https://tiktok.com/@2certifiedbangers Apple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694 Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp 💬 Join the ConversationDo you prefer the grounded, indie storytelling of Priscilla or the light-hearted studio energy of To Wong Foo? Let us know in the comments. #PriscillaQueenOfTheDesert #ToWongFoo #DragCinema #RoadMovies #PhantasmaCast Hosted on Acast. See acast.com/privacy for more information.