Motel Hell

We reflect on how much he meant to us across roles like Rocky Horror, Clue, Pennywise, and extensive voice work, including how his stroke affected his career and why his memoir is worth reading (even if it’s brief and private). In celebrating his legacy, we discuss Ridley Scott’s Legend (1985), including its troubled production, stunning practical sets, and Curry’s iconic, physically demanding Darkness makeup. We compare the director’s cut and theatrical cut, focusing on how Jerry Goldsmith’s score versus Tangerine Dream radically changes tone, pacing, and character complexity, and we break down key scenes like Meg Mucklebones, Lily’s seduction/dance sequence, and the differing endings. Check out both cuts, as well as more of Curry's work over his many decades in the business!

We talk about the film’s charm, likable buddy dynamic, romantic-comedy “meet cute,” and its role-reversal premise where men are the ones being hunted by a vengeful spirit during a village festival. We break down the lore, the standout musical number and credits sequence, and the cast—Rajkummar Rao’s committed tailor performance, Shraddha Kapoor’s perfectly mysterious presence, and Pankaj Tripathi’s scene-stealing exposition. We also unpack the ending twist, sequel setup, and why this feels more spooky campfire tale than graphic horror.

For this tribute to Sam Neill, we dive into John Carpenter’s In the Mouth of Madness (1994), the final entry in Carpenter’s “Apocalypse Trilogy,” and a Lovecraft-inspired, reality-bending horror film built around books, belief, and cosmic dread. We break down Sam Neill’s performance as skeptic insurance investigator John Trent, the film’s surreal structure, meta ending, and plot-heavy descent into Hobbs End, where fiction bleeds into real life. We also highlight Carpenter’s signature direction and score, the stacked supporting cast (including Charlton Heston and David Warner), and the standout practical creature effects that make this one a must-watch.

We break down the movie’s hyper-stylized, Tarantino/Raimi/Rodriguez vibe, martial-arts-heavy set pieces, and throwback gore—plus how much we admired the practical effects and cinematography. We discuss Zazie Beetz carrying the film, the thin sister-family drama setup, and the central premise: a satanic, ultra-wealthy cult in The Virgil building whose members can regenerate after being “killed.” From the samurai-sword bloodbath to the sentient eyeball gag, the fire-axe cafeteria fight, and the pig-headed devil ritual, we debate whether it’s fun homage or too derivative, and who we’d recommend it to for a movie night.

We talk Renny Harlin, writer’s-strike, collaborative production, how the film cemented Freddy’s mainstream, quippier icon status, and why it became a massive independent hit despite critics like Roger Ebert. We break down the thin-but-fun vignette structure, the recasting of Kristen (and our near-miss getting Harlin on the show), Alice’s “power” progression, and standout sequences like Joey’s waterbed “wet dream,” Sheila’s classroom death, Rick’s dojo showdown, the surreal movie-theater nightmare, and Debbie’s unforgettable roach-motel kill. We also reflect on franchise highs/lows, Freddy’s future. Thanks for sticking with us all these years!.

We talk about its odd production history (including star Christopher Stryker’s tragic death before release), the bizarrely charming opening trauma, and how the film mashes together slasher tropes with “teens cause a death” and light Last House/I Spit On Your Grave vibes. From Dickens and his outcast crew to the incoherent football-game detours, swamp “slime” gathering, and a prank that turns into an unsettling assault, we break down the movie’s tonal whiplash and why the inciting incident arrives way too late. We also cover the rushed revenge ending, the goofy cover-up plan, and the final twist, plus call out Christopher Cousins (Breaking Bad) and Daniel Beer (Creepshow 2).

This week, we discuss Craig’s pick, A24’s 2024 horror film Heretic, noting its strong reviews, the writers’ long theology research, and how it rewards rewatching. We praise the film’s claustrophobic, dimly lit first half as Hugh Grant’s Reed lures Mormon missionaries Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) into a polite but escalating philosophical trap, using arguments against religion while the women prove smart and resourceful. We debate plot contrivances, Reed’s improvised psychopathy, and the intentionally ambiguous ending that raises existential questions without taking a firm stance.

Despite an “insane” cast packed with recognizable comedians and performers, we talk about why the movie tanked, why it feels plotless, and how its nonstop juvenile gags, dated stereotypes, and heavy improvisation don’t land for us. We dig into behind-the-scenes factors—director Alfred Sole admitting he didn’t know how to direct comedy, mismatched performance styles, and the title change from Thursday the 12th to Pandemonium—and we walk through key bits like the opening javelin kill, the cheer-camp setup, and the final reveal.

We talk about the film’s odd tone, slow pacing, and the Texas Chain Saw Massacre-style setup of Farmer Vincent’s famous smoked meats, plus the bizarre “garden” reveal where victims are buried up to their necks.

We discuss how the sequel goes meta by treating the first movie as a film-within-the-film, allowing recasts and retcons, and how the movie leans into extreme, Terrifier-style gore with a huge rave massacre and creative kills. We break down the updated creature designs—especially Owl as a mastermind and Tigger’s Freddy-inspired vibe—plus Christopher Robin’s added backstory involving a mad scientist, kidnapped children, and Pooh revealed as his brother Billy. We also cover the ending, mid-credits tease of Pooh and Piglet returning, and the franchise’s planned crossover “cinematic universe.”