Discover the Horror Podcast

Fear No Evil (1981) & Lady in White (1988)

Halloween season is the perfect time to bust out some classic horror, and we're especially fond of a good ghost story—one that delivers chills and thrills alongside a compelling story and endearing characters. Frank LaLoggia's Lady in White is a perfect example. With both that film and his debut, Fear No Evil (1981), recently released on 4K by Vinegar Syndrome, it's an ideal time to revisit these two LaLoggia films for the holiday.

Joining us is friend of the show Ben Scrivens of Fright Rags. Ben is a huge fan of Lady in White and played a small part in helping bring its 4K release to fruition, making him a great guest for this Halloween double feature.

Films Mentioned in this episode:

Blood Simple (1984), Duel (1971), Evil Dead (1981), Fear No Evil (1981), Jaws (1975), Lady in White (1988), The Omen (1976), Something Wicked This Way Comes (1983), Stand by Me (1986), The Twight Zone: The Movie (1983)

It Conquered the World (1956), The She-Creature (1956), and It! The Terror from Beyond Space (1958)

For fans of the classic Universal monsters, Jack Pierce is a familiar name. But the artists who directly followed him don't always get the same recognition. A couple of decades after Universal's iconic monsters first appeared on screen, Paul Blaisdell was creating some of the 1950s' most distinctive creatures on a fraction of those budgets. His monsters became familiar sights to fans, even when his name didn't.

We're here to help change that.

In this episode, we're covering three films Blaisdell worked on and exploring his place in the history of movie monsters. Working in his garage, often with budgets of just a few hundred dollars and help from his wife, Jackie, and later his friend Bob Burns, Blaisdell brought some wonderfully strange creatures to the screen. What he lacked in resources, he made up for in imagination and ingenuity.

That's one of the reasons we started this podcast: to help people discover not just the films, but the talent behind the camera. So settle in as we celebrate Paul Blaisdell and the remarkable monsters he gave us.

Movies mentioned int his episode:

Alien (1979), Attack of the 50-Foot Woman (1958), Attack of the Crab Monsters (1957), Attack of the Puppet People (1958), The Beast with a Million Eyes (1955), Bog (1979), Creature from the Black Lagoon (1954), Creature of Destruction (1968), Cruise into Terror (1978), Cult of the Cobra (1955), Day the World Ended (1955), Dracula (1931), Fiend Without a Face (1958), First Man Into Space (1959), Ghost of Dragstrip Hollow (1959), The Green Mile (1999), House of Wax (1953), How to Make a Monster (1958), Invasion of the Saucer Men (1957), Invisible Invaders (1959), It Came from Hollywood (1982), It Conquered the World (1956), It! The Terror from Beyond Space (1958), I Walked with a Zombie (1943), I Was a Teenage Frankenstein (1957), I Was a Teenage Werewolf (1957), King Dinosaur (1955), The Little Shop of Horrors (1960), Old Yeller (1957), The She-Creature (1956), Up from the Depths (1979), Voodoo Woman (1957), Wizard of Gore (1970), Zontar: The Thing from Venus (1967)

From 1897 until 1962, the Grand Guignol Theatre in Paris staged scenes of violence—decapitations, slashings, rape, eye-gouging, and plenty of bloodletting—all in full view of audiences who paid to witness such acts of depravity. The crowds attending the small theatre ranged from ordinary people to royalty from around the world. The film world soon followed, bringing the blood-soaked theatre's themes and images of violence to the silver screen. It reminds us that there has long been an audience for this type of "entertainment."

Now, Severin Films is releasing a new box set called Morbid Pleasures: A Compendium Of Grand Guignol & The Grand Guignolesque, featuring 12 discs with more than 80 hours of content, including 60 films dating from 1895 to 2025. This is truly a history lesson for horror fans, offering an opportunity to see just how far back these twisted tales reached audiences!

To help us explore this new set, Severin's own David Gregory joins us to get into the blood and guts of the collection, discuss the Grand Guignol, and dig into a few other fun topics along the way!

Films mentioned in this episode:

Africa addio (1966), Antropophagus (1981), The Autopsy of Jane Doe (2016), The Beyond (1981), Beyond the Darkness (1979), Bloody Moon (1981), Burial Ground (1981), Dead Time (2007), Eerie Tales (1919), Eyes Without a Face (1960), The Girl with the Needle (2024), Goodbye Uncle Tom (1971), Frankenstein's Bloody Terror (1968), Impetigore (2019), Island of Lost Souls (1932), Li Hang le cruel (1920), Horror of Dracula (1958), Maniac (2012), Metamorphosis (1990), Mondo Cane (1962), Mondo Cane 2 (1963), The Most Dangerous Game (1932), Murders in the Zoo (1933), Mystery of the Wax Museum (1933), Overboard (1987), The Perils of Gwendoline in the Land of the Yik Yak (1984), The Phantom of the Opera (1925), Plague Town (2008), The Priest (1978), Reservoir Dogs (1992), Satan's Slaves (2017), Satan's Slaves 2: Communion (2022), Sheila and the Brainstem (1989), Silence of the Lambs (1991), Strangler's Morgue (1946), Suspense (1913), Theatre of Death (1966), Theatre of Horrors: The Sordid Story of Paris' Grand Guignol (2025), The Ugly Stepsister (2025), What Have You Done to Solange? (1972), Wizard of Gore (1970), Wizard of Gore (2007), Women of the World (1963)

For our second episode in this series, we move into the 1930s. Beyond Universal's horror boom—and, honestly, the emergence of the horror genre as we know it—there was a lot going on during this decade. With the Great Depression, the introduction of the Hays Code, and another World War on the horizon, audiences continued to escape into the world of monsters. But while these films are considered "old classics" today, they still contain some pretty dark subject matter.

So join us as we explore this decade, discussing some of the major events and titles that shaped the horror genre almost 100 years ago!

Titles mentioned in this episode:

Black Cat (1934), Bride of Frankenstein (1935), Curse of Frankenstein (1957), Dark Eyes of London (1939), Dracula (1931), Dracula's Daughter (1936), Dr. Jekyll and Mr. Hyde (1931), Dr. X (1932), The Ghoul (1933), Ghost Cast and the Mysterious Shamisen (1938), Gone with the Wind (1939), Frankenstein (1931), Freaks (1932), The Hound of the Baskervilles (1959), Island of Lost Souls (1932), The Jazz Singer (1927), King Kong (1933), London After Midnight (1927), La Llorna (1933), M (1931), Mad Love (1935), Mark of the Vampire (1935), The Mummy (1932), Murders in the Rue Morgue (1932), Murders in the Zoo (1933), Mystery of the Wax Museum (1933), Old Dark House (1932), Son of Frankenstein (1939), Son of Kong (1933), Song at Midnight (1937), The Unholy Three (1930), The Vampire Bat (1933), Vampyr (1932), Werewolf of London (1935), White Zombie (1932), The Wizard of Oz (1939)

Don't Be Afraid of the Dark (1973 & 2010)

We know we've covered our share of made-for-TV movies, especially from the 70s, but this time out we're looking at a staple from the 70s that was later remade in 2010, with none other than Guillermo del Toro producing. The story is about an old house that has something living in the sealed up fireplace. And when you're warned not to open it, maybe you should listen. For those that grew up in the '70s, the original was one that gave that generation a lot of nightmares. Even if you didn't see it upon the original airing, it was one that was sought out by horror fans because of its reputation. Then over 35 years later, since del Toro was one of those kids affected by it, he wanted to do his version.

While these two versions are similar in some ways, they area also very different. How effective is the original, and then compared to the updated remake? Tune in to find out!

Movies mentioned in this episode:

Don't Be Afraid of the Dark (1973), Don't Be Afraid of the Dark (2010), The Fly (1986), Halloween: The Curse of Michael Myers (1995), The Lord of the Rings (2001-03), Ju-On: The Grudge (2002), Nekromantik (1988), The Night Stalker (1972), Planet of the Apes (1968), Psychic Killer (1975), The Thing (1982), True Grit (1969)

We know this isn't the first time we've preached the wonders of silent films, but there are so many amazing movies from that era. As the horror historians that we all are, it's always fascinating to look back at where it all began. Fans often point to the 1930s and the Universal Studios classics as "the beginning," but horror was already there long before then—even if no one was necessarily calling these movies horror films yet.

In this episode, we're going to dig into the 1910s and 1920s to look not only at the films being made, but also at what was happening in the world around them and how those events may have influenced and changed what audiences were seeing on screen. Even if silent films aren't necessarily your favorites, maybe hearing some of this horror history will make you want to give them another try. Who knows? Maybe this time around you'll see something different—or, at the very least, learn a little more about the genre we all love.

Movies Mentioned in this Episode:

Cabinet of Dr. Caligari (1920), The Cat and the Canary (1927), Un chien andalou (1929), Dante's Inferno (1911), Dracula (1931), Dr. Jekyll and Mr. Hyde (1908), Dr. Jekyll and Mr. Hyde (1920), Frankenstein (1931), The Golem (1920), Häxan (1922), House of the Devil (1896), The Hunchback of the Morgue (1973), The Hunchback of Notre Dame (1923), The Hunchback of Notre Dame (1939), Frankenstein (1910), King Kong (1933), Life Without a Soul (1915), London After Midnight (1927), The Man Who Laughs (1928), The Mummy (1932), Nosferatu (1922), The Penalty (1920), The Phantom Carriage (1921), The Phantom of the Opera (1925), The Student of Prague (1926), A Trip to the Moon (1902), The Unholy Three (1925 & 1930), The Unknown (1927), West of Zanzibar (1928)

The Hallow (2015), The Ritual (2017), and Antlers (2021)

Cryptids occupy a couple of different categories in modern life. One of them is fun, if a bit kitschy and silly: think concrete bigfoot statues sitting in whimsical gardens or funny little Mothman plaques hanging on the wall. But another is truly terrifying, buried down deep below the surface of our culture and our geography, a place where most people refuse to even touch the soil, much less dig. On this episode, we are going to dig deeply into those terrifying cryptid myths and uncover some wonderful horror films. Because in the last decade or so, a handful of filmmakers have chosen to put spade to soil and go deeply into that taboo territory and yielded some wonderfully horrific results.

Films mentioned in this episode:

Antlers (2021), The Blair Witch Project (1999), Bugonia (2025), Cocaine Bear (2023), District 9 (2009), Frankenstein (2025), The Hallow (2015), Hellraiser (2022), The Irishman (2019), The Mothman Prophecies (2002), The Nun (2018), The Omen (1976), The Ritual (2017), Scars of Dracula (1970), Shaun of the Dead (2004), The Signal (2007), Southbound (2015), Texas Chain Saw Massacre (1974), Weapons (2025), Whistle (2025)

Believe it or not, there was a time when instant access to hundreds of horror movies didn't exist. Scary thought, huh?

Before the late 1950s, unless you caught a movie in the theater, you probably weren't going to see it again, especially when it came to the classic monster films like Dracula and Frankenstein. But in October 1957, Universal released 52 of its horror films to television in what became known as the Shock Theater package. To help promote the broadcasts, television stations were encouraged to create "horror hosts" to introduce the films.

Simply put, it exploded, and helped give birth to the Monster Kid generation. Then, the following year, Famous Monsters of Filmland magazine debuted, and there was really no turning back.

Now you could watch these monsters in the safety of your own home. It was a far cry from today's world, where you can hop on a computer or streaming service and have thousands of horror titles at your fingertips. But this was the beginning of modern horror fandom: getting your weekly fix of classic monsters on television, reading Famous Monsters, building Aurora monster model kits... life was pretty great.

In this episode, we discuss the importance of this moment in horror history and why it was such a game changer for horror fans.

Films mentioned in this episode:

Abbott & Costello Meet Frankenstein (1948), The Addams Family (1964-66), The Black Cat (1934), Blood of Dracula (1957), The Curse of Frankenstein (1957), Dark Shadows (1966-71), Dawn of the Dead (1978), Day of the Dead (1985), Dracula (1931), The Exorcist (1973), Frankenstein (1931), The Gorgon (1964), Invasion of the Body Snatchers (1956), The Invisible Man (1933), I Was a Teenage Frankenstein (1957), I Was a Teenage Werewolf (1957), Jaws (1975), The Jungle Captive (1945), King Kong (1933), The Last Warning (1938), The Mummy (1932), The Munsters (1964-66), The Mystery of Edwin Drood (1935), Night of the Living Dead (1968), Return of Dracula (1958), Rosemary's Baby (1968), Smokey and the Bandit (1977), Son of Kong (1933), The Spy Ring (1938), Star Wars (1977), Texas Chain Saw Massacre (1974), Them (1954), The Wolf Man (1941)

The Toolbox Murders (1978) and Toolbox Murders (2004)

In this Twice Told Tales episode, we examine a film and its "remake," though few pairs could be more different. Some would argue that the 2004 film is a remake in name only. Even so, in addition to the name, the two share enough connections, both on screen and behind the scenes, to make for an interesting comparison.

On one side is an unflinching exploitation film; on the other, a more modern story infused with supernatural elements—or is it? Both films are unmistakably products of their respective eras, reflecting the cultural anxieties, filmmaking styles, and audience expectations of their time. What they choose to show us, and what they feel compelled to say, reveals as much about the decades that produced them as the stories themselves.

The most obvious connection between the two is their inventive use of tools as murder weapons. Whether those kills are clever, outrageous, or simply exploitative is for you to decide. The same goes for whether the 2004 film deserves to be called a true remake or is merely a title borrowed for recognition. But if both films succeed on their own terms as entertaining horror, perhaps that distinction matters less than we think.

Films mentioned in this episode:

The Blob (1958), Curse of Frankenstein (1957), Five Nights at Freddys (2023), The Fly (1958), The Fly (1986), Frankenstein (1931), Frankenstein (2025), Freddy vs Jason (2003), Friday the 13th (1980), The Funhouse (1981), Goodnight Mommy (2014), Goodnight Mommy (2020), The Grudge (2004), Halloween Kills (2021), Hostel (2005), Inside (2007), Ju-on: The Grudge (2002), Let Me In (2010), Let the Right One In (2008), Maniac (1980), Mother of Tears (2007), Mrs. 45 (1981), Nosferatu (1922), Nosferatu (1979), Poltergeist (1982), Psycho (1960), Psycho (1998), Quarantine (2008), [REC] (2007), The Ring (2002), Ringu (1998), The Thing (1982), The Thing from Another World (1951), Texas Chain Saw Massacre (1974), The Texas Chainsaw Massacre (2004), The Toolbox Murders (1978), Toolbox Murders (2004), Toolbox Murders 2: Coffin Baby (2013)

Rigor Mortis (2013), When Evil Lurks (2023), and Vicious (2025)

Pretty much from the very beginning of horror cinema—or cinema in general—supernatural horror has been part of the storytelling tradition. Granted, many of those early films were adaptations of famous works of literature dealing with ghosts, vampires, and other unworldly creatures, but more than a century later, the supernatural remains a huge gateway for creative filmmakers to walk through in order to create something interesting, and sometimes something genuinely new.

Many modern supernatural horror films deal with grief and how we cope with it. Some might call it cathartic, while in other films, it's just downright mean! In the three movies we discuss in this episode, you'll get a taste of all of that—and more. A couple of these films hit especially hard and will leave an impact on you days after the credits roll. You'll either be running to tell your closest friends that they absolutely need to watch them, or you won't say a word for fear that someone might ask, "Is everything okay at home?" But we think that films that can hit that hard deserve to be applauded. So, if you're game, take that next step- and hit play.

Movies mentioned in this episode:

The Blackcoat's Daughter (2015), The Boxer's Omen (1983), A Chinese Ghost Story (1987), The Dark and the Wicked (2020), Dream Home (2010), Errementari (2017), Exhuma (2024), The Exorcist (1973), Friday the 13th (1980), Ghostbusters (1984), The Golem (1915-1920), The Grudge (2002), Halloween (1978), Häxan (1922), Hellraiser (1987), Henry Portrait of a Serial Killer (1986), Hereditary (2018), Hostel (2005), House of the Devil (1897), Last House on the Left (1972), Killer Party (1986), Maniac (1980), Midsommar (2019), Mockingbird (2016), The Monster (2016), Mr. Vampire (1985), My Bloody Valentine (1981), A Nightmare on Elm Street (1984), Nosferatu (1922), The Prowler (1981), Psycho (1960), Rigor Mortis (2013), Scream 7 (2026), The Strangers (2008), The Strangers: Prey at Night (2018), Terrified (2017), Texas Chain Saw Massacre (1974), The Uninvited (1944), Vicious (2025), When Evil Lurks (2023)

The Fly (1958), Return of the Fly (1959), and Curse of the Fly (1965)

Among the many films in which deviant mad scientists pay the price for meddling with forces beyond human understanding, The Fly stands apart. Released in 1958, it presents a scientist whose intentions are genuinely noble: someone striving to create something that could benefit humanity. Unfortunately, an unforeseen accident turns his dream into a nightmare, and tragedy soon follows. While the film ultimately becomes a monster story, it offers far more than a typical 1950s creature feature.

And, of course, when a film succeeds at the box office, sequels are inevitable. In this case, two followed, even if the third took six years to arrive. Across all three films, the Delambre family's experiments—and mistakes—continue, once again exacting a terrible toll in life, sanity, and suffering.

Fans often disagree about which entry is the strongest, which is underrated, and which falls short, so we decided to take a deep dive into the entire trilogy. Along the way, we may give you a few new things to think about the next time you watch these films. And if you hear any buzzing while listening to the show, I'm sure it's nothing.

Films mentioned in this episode:

The Black Cat (1989), The Black Room (1935), Blood Feast (1963), The Blues Brothers (1980), Bride of Frankenstein (1935), Curse of the Fly (1965), The Death Dealers aka Psychomania (1973), Demonia (1990), The Devil's Honey (1986), The Exorcist (1973), The Face of Fu Manchu (1965), The Fly (1958), The Fly (1986), Frankenstein (1931), The Ghost of Frankenstein (1942), Kiss of the Vampire (1963), Mark of the Vampire (1935), Murders in the Rue Morgue (1932), The Phantom of the Opera (1925), Psycho (1960), Rasputin the Mad Monk (1966), Return of the Fly (1959), Space Master X-7 (1958), Touch of Death (1988), To the Devil a Daughter (1976), The Vampire (1957), Witchcraft (1964)

The Shiver of the Vampire (1972), Lips of Blood (1975), and The Living Dead Girl (1982)

The films created by director Jean Rollin are unlike anything else in the history of cinema. If you make your way into his incredible filmic world, you will be entranced by its beauty, cinematic landscapes, and unique horrors. And the more you venture down this path, the more you'll start to pick up on repeating themes and motifs. Like Rollin, liminality, memory and nostalgia, families, surrealism and expressionism, might become your obsessions- they were certainly his.

If it is carefully constructed plots, realistic storylines, and deeply developed characters that you are searching for, then Rollin probably isn't for you. But if you want the unique, the obsessive, the utterly gorgeous? Then you must dive into Rollin's work if you've never stepped into that sea. And if you've been here before? Well, then there is no time like the present to walk slowly through the surf, exploring the past and finding landmarks jutting up just past the beach like forlorn teeth in a skull being beaten by the waves of memory.

Films mentioned in this episode:

Beyond the Black Rainbow (2010), Un chien andalou (1929), Demoniacs (1974), Fascination (1979), The Grapes of Death (1978), Lips of Blood (1975), The Living Dead Girl (1982), Mandy (2018), The Night of the Hunted (1980), The Nude Vampire (1970), The Rape of the Vampire (1968), Requiem for a Vampire (1972), The Shiver of the Vampires (1971), Zombie Lake (1981)

Suspiria (1977), Inferno (1980), and Mother of Tears (2007)

There are very few horror fans out there who don't know the work of Dario Argento, especially the giallo films he's most famous for. While he only occasionally ventured into supernatural horror, whenever he did, he approached it with the same unmistakable style that defines all of his work. After helping define the giallo genre with Deep Red, Argento shifted gears and gave us Suspiria, a film that presented violence through a blinding explosion of color and an intense soundtrack that pounds through the speakers. It looked unlike anything audiences had really seen before.

Three years later, Argento continued the saga of the dreaded Three Mothers with Inferno, expanding the mythology surrounding these wicked witches even further. Then, after a 27-year wait, he completed the trilogy with Mother of Tears. Say what you will about any or all of these films, but they are all unmistakably Dario Argento.

In this episode, we're taking a look at all three entries in the Three Mothers trilogy, exploring both the mythology behind the Three Mothers and the unique qualities that set each film apart. We all have our favorite of the trilogy, but hopefully you'll come away with a new appreciation for moments or ideas you may have overlooked in previous viewings. So join us for our little study group as we dive into the worlds of Mater Suspiriorum, Mater Tenebrarum, and Mater Lachrymarum. But a word of caution… they don't like people knowing about them, so be warned.

Films mentioned in this episode:

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The Beyond (1981), The Bird with the Crystal Plumage (1970), The Black Cat (1989), Cannibal Ferox (1981), The Cat o' Nine Tails (1971), The Church (1989), Deep Red (1975), Demons 2 (1986), The Exorcist (1973), Eyes Without a Face (1960), The Five Days (1973), Four Flies on Grey Velvet (1971), Häxan (1922), The House by the Cemetery (1981), Inferno (1980), Mother of Tears (2007), Night of the Eagle aka Burn Witch Burn (1962), Opera (1987), Phantom of the Paradise (1974), Suspiria (1977), Tenebrae (1982)

The Night Stalker (1972), Dracula (1973), and Trilogy of Terror (1975)

Horror fans from the 1970s may not have known the name Dan Curtis, but they certainly knew his work. From his early gothic soap opera Dark Shadows, where one of the main characters just happened to be a vampire, to the countless adaptations of classic novels, such as Dracula, Frankenstein, and Jekyll and Hyde, to even more throughout the '70s. Curtis continued to give TV viewing audiences plenty of nightmares during that time, blending classic monsters with new and unique ones and delivering all of them to the small screen in ways that really resonated with audiences at the time.

Modern audiences might be even less familiar with Curtis' work than those who grew up with his films, but his influence has never gone away, and his body of work is more than worth revisiting, or if you've never experienced it yet, then now is the perfect time to start down that journey.

Films Mentioned in this episode:

Bram Stoker's Dracula (1992), Burnt Offerings (1976), The Changeling (1980), City Slickers (1991), Curse of the Black Widow (1977), The Dark Crystal (1982), Dark Shadows (1966-71), Demons of the Mind (1972), Doctor Jekyll and Sister Hyde (1971), Dracula (1931), Dracula (1973), Fiddler on the Roof (1971), Frankenstein (1973), Frankenstein Must Be Destroyed (1969), The Great Muppet Caper (1981), In My Skin (2002), Kolchak: The Night Stalker (1973-74), The Night Stalker (1972), The Night Strangler (1973), The Norliss Tapes (1973), Nosferatu (1922), The Rocky Horror Picture Show (1975), The Strange Case of Dr. Jekyll and Mr. Hyde (1968), Superman (1978), Superman II (1980), Trilogy of Terror (1975), Vampyres (1974), War and Remembrance (1988), The X-Files (1993-2018)

StageFright (1987), The Church (1989), and Dellamorte Dellamore (1994)

Most horror fans are at least familiar with the Italian horror tradition, even if they aren't deeply immersed in it. Directors like Mario Bava, Lucio Fulci, Dario Argento, and Joe D'Amato helped define one of the most prolific and influential horror movements in cinema history, producing a remarkable run of classic films over more than three decades.

By the mid-1990s, however, that wave had largely collapsed. Yet, in the final stretch of that "era of terror," horror fans were given something special: four films from a young director named Michele Soavi.

Soavi's path into directing was a gradual ascent through the industry. He began as an actor, which got him onto sets, then worked his way up through roles as a crew member and assistant director before eventually stepping behind the camera himself. Along the way, he trained under filmmakers like Joe D'Amato, Lucio Fulci, Lamberto Bava, and Dario Argento, experiences that helped him develop a distinctive voice of his own.

In this episode, we're covering three of those four films, more than enough to make the case for seeking them out if you've never seen them, or revisiting them if it's been a while. Because sometimes, it's easy to forget just how damn good they really are.

Films mentioned in this episode:

Absurd (1981), Amok Train aka Beyond the Door III (1989), Body Count (1986), Children Shouldn't Play with Dead Things (1972), The Church (1989), City of the Living Dead (1980), Dario Argento's World of Horror (1985), Dellamorte Dellamore (1994), Demons (1985), Fatal Frames (1996), Ghosthouse (1988), I, Vampir (1957), Nightbreed (1990), Opera (1987), The Sect (1991), StageFright (1987), Suspiria (1977), Tombs of the Blind Dead (1972), Zombi 3 (1988), Zombie 5: Killing Birds (1988)

Even the Wind is Afraid (1968), Darker Than Night (1975), and Poison for the Fairies (1986)

Mexican Director Carlos Enrique Taboada may not be the best known name to American horror fans, but he has made some films which are considered classics of the Mexican horror world. Which is why we decided to tackle 3 of this films in this episode. These films are fascinating as they are modern stories but wrapped in a gothic blanket.

This episode is a little different for us, as we didn't pick films that we necessarily loved. In fact, many of these films were first time watches for us. When on your path of Discovering the Horror, you might stumble across a new name or film that you've never heard of. And as we always preach, even if you don't put them into any personal top ten lists, there is usually something in there worthy of your attention. That's the fun part of the journey, to always be seeking out new things.

Join us as we discuss 3 titles that may not get much attention in the United State, that we feel are worth your attention, and as we into films from a country not especially know for horror in the 70s and 80s.

Films mentioned in this episode:

Alucarda (1977), The Blood of Nostradamus (1962), Cronos (1992), The Curse of Nostradamus (1961), Darker Than Night (1975), Destroyer of Monsters (1962), Even the Wind is Afraid (1968), Genii of Darkness (1962), The Hell of Frankenstein (1960), Poison for the Fairies (1986), Rapini (1975), El Vampiro (1957), The Witch's Mirror (1962)

Horror films are a unique genre because they can have a profound effect on the viewer. They can literally change lives, leaving such a strong impression that something shifts in the psyche. Whether it makes someone afraid to go in the water, uneasy around bugs, frightened by Frankenstein's creature, or just generally on edge, these films can have a lasting impact.

They are meant to scare us, but for some, they remain harmless entertainment. For others, certain films reach much deeper, lingering in the mind long after the credits roll. And yet, we keep coming back for more.

Do these films help us confront our fears? Do they help us overcome them? Can they serve as a way to process real-world trauma, something made easier to face when it exists within the safe boundaries of a movie?

Join us for this episode as we explore the films that have had a lasting impact on us, along with others that have left a powerful mark on audiences.

Movies mentioned in this episode:

The Blob (1958), Bring Her Back (2025), Cannibal Ferox (1981), Cannibal Holocaust (1980), Day of the Dead (1985), The Deep House (2021), The Exorcist (1973), Faces of Death (1978), Frankenstein (1931), Friday the 13th (1980), Guinea Pig (1981), Gravity (2013), Halloween (1978), Henry: Portrait of a Serial Killer (1986), Hereditary (2018), Infested (2023), Irreversible (2002), Jaws (1977), King Kong (2005), Last House on the Left (1972), Marathon Man (1976), Mondo Magic (1975), Nekromantik (1988), Night of the Lepus (1972), Night of the Living Dead (1968), Old Boy (2003), The Omen (1976), Open Water (2003), The Orphanage (2007), Paranormal Activity (2007), Pet Sematary 91989), Piranha (1978), Psycho (1960), Relic (2020), Requiem for a Dream (2000), Ringu (1998), Scream (1996), A Serbian Film (2010), Texas Chain Saw Massacre (1974), Trouble Every Day (2001)

It Came from Beneath the Sea (1955), The Monster that Challenged the World (1957), and The Giant Gila Monster (1959)

There is something special about this decade, one that gave us so many sci-fi / horror films, with plenty of incredible monsters, whether they came from outer space, or right here from our backyard. And thanks to atomic energy, those monsters tended to be big ones! In fact... GIANT ONES! Just imagine a creature, from bugs to animals, and I'm sure someone in the 1950s made a movie about them- one where they were bigger and angrier!

In this episode, we take a look at three different examples, each using a different method to bring its humongous beast to life, from stop-motion animation, to practical mechanical effects, to the good old-fashioned approach of using a real creature with undersized sets. No matter how they did it, all of these films deliver some damn fine entertainment. So grab the popcorn, crank up your rock 'n' roll, and sit back for some fun!

Movies mentioned in this episode:

13 Ghosts (1960), Aliens (1986), The Amazing Colossal Man (1957), Attack of the Puppet People (1958), The Beast from 20,000 Fathoms (1953), Clash of the Titans (1981), Conquest of Space (1955), Creature with the Atom Brain (1955), Cult of the Cobra (1955), Curse of the Undead (1959), Dazed and Confused (1993), Dirty Mary Crazy Larry (1974), Earth vs. the Flying Saucers (1956), The Giant Claw (1957), The Giant Gila Monster (1959), Gila! (2012), The Green Berets (1968), Gremlins 2 (1984), Fantastic Voyage (1966), The Fly (1958), Frankenstein 1970 (1958), Horror at Party Beach (1964), The Howling (1981), It Came from Beneath the Sea (1955), Jason and the Argonauts (1963), The Killer Shrews (1959), The Monster of Piedras Blancas (1959), The Monster that Challenged the World (1957), Monty Python and the Holy Grail (1975), Mr. Sardonicus (1961), The Spider (1958), Tarantula (1955), Teenage Zombies (1959), Them! (1954), Thing from Another World (1951), This Island Earth (1955), This Stuff'll Kill Ya! (1971), The Time Machine (1960), To Kill a Mockingbird (1962), Tormented (1960), The Vampire (1957), War of the Colossal Beast (1958), The Werewolf (1956), Zombies of Mora Tau (1957)

House of Usher (1960), The Pit and the Pendulum (1961), and The Masque of the Red Death (1964)

In the beginning of his career as a producer / director Roger Corman was known for cranking out cheap and fast black and white pictures that always made money. He worked in all genres, but it was mainly the horror and sci-fi pictures in the mid to late '60s he was known for. All that changed in 1960, when he convinced AIP to let him adapt a story from Edgar Allan Poe, but in color, with a bigger budget, and longer shooting schedule. That started a new phase of Corman's career, which also made an even bigger star of Vincent Price.

In this episode, we take a deep dive into three of these Poe adaptations, and not necessarily looking in the faithfulness of them, but in their production, the incredible casts, the look, the style, as well as the feel of them. They really do get better each and every time you watch them. Hopefully after listening to this episode, you'll decide to either venture down this dark path for the first time, or take a revisit to admire the doom and gloom they all have.

Films mentioned in this episode:

The Big Bird Cage (1972), Black Sunday (1960), Chinatown (1974), City of the Dead (1960), Countess Dracula (1971), Corman's World: Exploits of a Hollywood Rebel (2011), Death Race 2000 (1975), Don't Look Now (1973), Duel (1971), Five Guns West (1955), The Fly (1958), Gunslinger (1956), The Haunted Palace (1963), Horror Hospital (1973), House on Haunted Hill (1959), House of Usher (1960), House of Wax (1953), Humanoids from the Deep (1980), Intruder (1962), It Conquered the World (1956), The Legend of Hell House (1973), Little Shop of Horrors (1960), Masque of the Red Death (1964), Monster from the Ocean Floor (1954), Naked Paradise (1957), Not of this Earth (1957), Pit Stop (1969), Piranha (1978), The Pit and the Pendulum (1961), Premature Burial (1962), Psycho (1960), The Raven (1963), Return of the Fly (1959), Rock 'n' Roll High School (1979), The Seventh Seal (1957), Swamp Women (1956), Tales of Terror (1962), The Terror (1963), The Tingler (1959), Trilogy of Terror (1975), The Wasp Women (1959)

In My Skin (2002), Inside (2007), and Martyrs (2008)

While the French aren't widely known for their horror films, when they do enter the genre, it's often something special. A perfect example is Georges Franju's Eyes Without a Face (1960). With its stark realism and dark themes, it established a tone of discomfort and unease that still feels powerful today.

In the early 2000s, a new wave of younger filmmakers took that sense of unease and pushed it much further, deliberately testing the limits of what audiences could tolerate. These films were often graphic, sometimes over-the-top, and frequently dealt with disturbing subject matter that lingered even when the violence or gore wasn't shown onscreen. Often, it wasn't what you saw that was hardest to watch, but the subject itself and the way it was presented.

In this episode, we take on three titles that demonstrate the range of this movement, from deeply subversive and uncomfortable subject matter to films that push gore to extreme levels, while still challenging the viewer intellectually and emotionally. These are films that don't just shock in the moment, they can leave you unsettled for days after they end. That's powerful filmmaking.

Films mentioned in this episode:

Brotherhood of the Wolf (2001), Calvaire (2004), Dark Touch (2013), Diabolique (1955), Eyes Without A Face (1960), Frontier(s) (2007), Get Out (2017), High Tension (2003), The Horde (2009), I Know What You Did Last Summer (1997), In My Skin (2002), Inside (2007), Irreversible (2002), I Stand Alone (1998), Martyrs (2008), The Phantom of Liberty (1974), Raw (2016), Salo, or 120 Days of Sodom (1975), Scream (1996), The Shining (1980), The Tall Man (2012), Texas Chainsaw Massacre (2003), Them (2006), Trouble Every Day (2001)