Episode 327 - Wyrmwood

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Joe swears allegience to the almighty Cod...


Say what you will, the Final Destination franchise has definitely made an impression on audiences over its run. The conceit is so simple that all it needs is a few tweaks here and there to make it bankable each time out. The slasher genre is crowded to be sure, but Final Destination was able to carve itself a niche in that market that kept people coming to the theater to see a new batch of pretty people offed in elaborate, sometimes hilarious ways.

In the current state of things, it seems that horror films have started to shift their focus less on the aftermath of devastation in post apocalyptic scenarios and more towards the very tangible and gripping terror of the road that leads there. Set in a fictional representation of Detroit, Lost River revolves around the struggle of one lower class, single parent family and their fight for survival against very real and dangerous adversaries.

Love it or hate it, Scream was a movie that made waves. It has been referred to as the film that revived the horror genre during its release in the 90's. Horror veteran director Wes Craven teamed with the then unknown screenwriter Kevin Williamson to bring a postmodern view to the horror genre and, more specifically, the slasher subgenre. At the time of Scream's release, Jason was hopping bodies via mutated fetus, Michael was chasing babies with bloody runes, and Freddy was dead.

Car accidents are nothing new in horror films. They serve as a quick and (relatively) easy way to get a your audience to jump out of their seats and can be used as a plot device to create dramatic change quickly (though not always well), as in the opening of Jessabelle. What is less common, and perhaps unheard of up to this point, are car accidents caused by an alligator. Regrettably, that may be just about the only truly original idea that Monkey’s Paw has going for it.

Miriam (Catherine Deneuve) and John (David Bowie) have been enjoying eternity in love together ever since Miriam turned John into a vampire. Now it is becoming apparent to John that eternity isn't all he thought it was cracked up to be, as he's begun to age at a rapid pace. In an effort to find answers, he turns to Dr. Sarah Roberts (Susan Sarandon), but Miriam has her own designs on the doctor.

Here we go again. I'll be 100% honest, I watched this trailer while on a conference call so I had it muted and I wasn't 100% paying attention, but I'm going to go out on a limb here and say this doesn't look that awful. I'd go as far as to say it looks somewhat silly. Maybe silly isn't the right word because there's a prison full of inmates being lined up ATM but still, you get my point. Oh and Eric Roberts is in there for some reason. Anyway, look at the trailer for Tom Six's final chapter in the trilogy and look for the full thing in selected theaters and VOD on May 22nd.


Jason Voorhees is and will probably forever be one of the most recognizable foes in horror history. There isn’t a horror fan out there that doesn’t get giddy when they hear the iconic, “Ch-Ch-Ch-Ah-Ah-Ah,” echoing as horny teens are stalked and killed. Therefore it’s only natural for Hollywood to take the things we love most and drown it in mediocrity.  Apparently Hell just wasn’t punishment enough, so studio execs decided to turn Jason into...an astronaut.

Disenfranchised and precocious youths were a popular character study of horror films in the 90s. When done right – they were fun little jaunts through the horrors of high school and adolescence. Unfortunately, there were a lot of films that thought that following that formula would always produce a winner, and Disturbing Behavior is a perfect example of that kind of failure.

In just about every monster movie, the monster has a weakness; some imperfection or flaw in the creature that the heroes must exploit in order to survive. Sometimes, this could be something as benign and ordinary as an explosion (or gravity), in the case of Tremors, or something specific like Zeke’s mystery drug supply in the case of The Faculty. In Grabbers, the weakness could not be more stereotypically Irish.

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