I’m living the fantasy of some rich American home wife.
With these words Evan (Lou Taylor Pucci) sums up his Italian vacation. He recently lost his mom and as a way of coping he took off on an impromptu Italian vacation. He found a room at a charming farm run by an eclectic elderly man and has somehow gotten in the good graces of a beautiful and mysterious woman named Louise (Nadia Hilker).
Spring plays like Before Sunrise met An American Werewolf in London and spawned something like Species but totally different. It is an earthy film that plays with romance, love, loss and lots of squishy things. The critics have rallied around it (89% RT) and despite some shortcomings it is part of a recent low-budget horror revival. Backcountry, It Follows and Spring have proven to be genre lifters that take old ideas and make them original.
A neat example of where Spring veers from the horror path is in the meet cute. The two lock eyes, she is obviously out of his league and when he approaches she immediately invites him back to her apartment (think Species). He is caught off guard and begins to wonder whether she is trying to rob, kill or trick him. He declines the offer and instead tries to set up a coffee date. It is a neat moment that plays against type.
I don’t want to spoil anything about the film because it goes down very interesting avenues. I did wonder how an earnest guy like Evan wooed a woman like Louise. Spring veers into the land of the “male dream” and as the finale occurs you are skeptical instead of absorbed. In an interview with Variety co-director Justin Benson talked about his characters and had this to say:
When you watch ‘Jaws,’ if those dudes on the boat aren’t really interesting guys that you actually care about, then that shark doesn’t have as much impact.
The biggest problem is the “jaws” in Spring is Louise. She has a lived in backstory and is wonderfully performed by Nadia Hilker. She is sophisticated, beautiful and really cool. You don’t want her to be “caught” by Evan because his character is a blank slate. Evan is a good dude but is in no way an equal to Louise. If it had been Ethan Hawke in Before mode I could totally see his word trickery working on her.
The point may be moot as you sit and realize how sweet and hopeful Spring is. It may play like a male fantasy but at least it tries to be different. In an interview with the AV Club Benson and co-director Aaron Moorhead had this to say.
It felt like there was something sort of rebellious in the act of creating a new monster. Because for some reason it was something that so few people attempt to do now. Usually, when people want to tell a monster story, it’s a vampire, it’s a werewolf, or it’s an alien. It’s always got to be one of those things. That’s pretty much it, conceptually.
A lot can be ignored when young directors go out on a limb to tell a new story. I dug the walking and talking and the Italian vistas speak for themselves.
Spring is an ambitious and inventive horror hybrid that is deservedly making waves. I am stoked to see what the directors do next and I hope they can fine tune their talents and make the genre world a better place.
We have another long weekend coming up (well I do, so yay for me!) around the 4th of July…so I thought this might be a fine time to follow up on my April Binge TV watching post (go, check it out now!).
As always, check out the lists and let me know what you think. What are your favorite shows on streaming? Leave you comments and suggestions! I’ll catch ya I the comments section.
- Daredevil (Netflix) – 13 Episodes – It’s dark, it’s bloody and action filled… and it’s Marvel? Yes, so much yes. Marvel’s direct to Netflix TV series is just delightful, from the newest British import superhero to the many layered villain, Vincent D’onofrio’s Wilson Fiske. I could gush for days, just go watch it now before someone (like me) spoils it. Mark reviewed the full series, check it out for full details.
- The Inbetweeners – (Netflix) – 3 Seasons, 18 (25 min) Episodes – Not for the easily offended. A raunchy little British comedy about 4 friends navigating high school in all of its awkward glory. So awkward, so vulgar…they had to make 2 movies to follow it up.
- Strike Back – (Amazon Instant Video) – 2 Seasons, 20 Episodes – A former American soldier and a British agent team up to fight terrorists. Lots of violence and just as much sex. Not for everyone, but you have to appreciate how this show just goes for ‘it’.
- Vikings – (Amazon Instant Video) – 2 Seasons, 19 Episodes – This TV show from the History channel is not watered down for primetime viewing. Pillaging, sorcery, murder, wives with fleeting alliances…watch and be captivated by Ragnar Lothbrok, the legend.
- You’re the Worst – (Amazon Instant Video, not on Prime yet) – 10 episodes –Relationships in their ugliest form, between selfish people, surrounded by uncomfortable comedy. So wrong, but so right. Season 2 will be out this Fall! Ummm… has anyone noticed that I love awkward TV?
Streaming Wish List
All of the previous list with a few additions. We started watching Peaky Blinders, and it is just as amazing as I’d hoped…just haven’t finished yet.
- The Wire – (Amazon Instant Video) – I have started watching this, but I’m only halfway into Season. 1. Interesting story, can’t wait to see what happens next.
- Sense 8 – (Netflix) – Looks weird, right up my TV binging alley.
- Agents of S.H.I.E.L.D. – (Netflix) – Let’s face it, with Marvel everywhere, this was inevitable.
- Catastrophe – (Amazon Instant Video) – I’ve heard rave reviews, and I need some more funny TV in my life.
Happy Long Weekend All!
MY CALL: Perhaps my favorite zombie movie of all time, this is gory, often funny, occasionally brutal film features credibly flawed characters that we can get behind and a believable story of a zombie apocalypse. MOVIES LIKE Dawn of the Dead: Try Romero’s other early zombie movies (Night of the Living Dead, Day of the Dead). They’re amazing. Want to see some other films that paved the way for horror as we know it today? Try Poltergeist (1982; discussed at length in our podcast #16), The Texas Chainsaw Massacre (1974) and A Nightmare on Elm Street (1984).
Back in 1978, gore like this wasn’t so common.
In the spirit of our recent podcast, The MFF Podcast #15: The George A. Romero Zombie Special, I must also credit my fellow podcasters John Lasavath and Mark Hofmeyer as co-writers of the content in this review since I am including some of their insights herein…
In 1968 George Romero revolutionized the “movie zombie” concept by delivering the contagious, flesh-eating zombie (in lieu of risen corpses of vengeance via Voodoo). Zombies “eating people” was a notion that had not before been realized on film. Needless to say, in the next 10 years flesh-eating zombies became a celebrated theme in horror. After numerous copycats followed Night of the Living Dead (1968), Romero finally made his highly anticipated sequel. After various delays, eventually Dario Argento flew Romero to Italy, where Romero penned the script. Romero had complete creative freedom and, in exchange, Argento got to make his own cut however he wished—and he did so with none of the humor. I am quite curious to see this cut, but I doubt it would be as entertaining.
In Dawn of the Dead (1978), we find ourselves looking at the world now that the zombie apocalypse is well under way and a fact of life. In equal doses of satire and realism, hunting and gun enthusiasts (i.e., proud rednecks) rally together and form base camps to “hunt” the zombies, draining beer coolers as they heckle each other’s marksmanship over lunch. Very funny, yet very believably delivered with perhaps a somewhat straight face.
We focus on four survivors who find their way to a shopping mall (back when malls were a relatively new thing) in the spirit of consumerism. Shortly after their arrival, they observe waves of zombies being drawn to the mall…as if it was their instinct to go there to find what they need—flesh, in this case. National Guardsmen Peter (Ken Foree; The Lords of Salem, Death Spa) and Roger join Stephen and Francine in realizing that their residence in this mall may last longer than they anticipated.
Romero is more a prophet than filmmaker. Just look at his Nostradamus-like foretelling of society’s degeneration on Black Friday.
This was definitely the most fun movie in Romero’s initial zombie trilogy. There’s a playfulness to it. And why not? A lone zombie poses little threat to an able-bodied, wary person like a National Guardsman. We see Roger and Peter running around the mall having fun, like two bros playfully running football drills, as they collect groceries and equipment. Roger slides down the escalator rails, they taunt and herd zombies where they want them or knock off their zombie hats, they sprint through department stores—all the things we would get yelled at for doing when we were kids.
Stephen can’t shoot, so Roger teaches him the now common knowledge that zombies are killed with headshots; Peter and Roger being chummy.
We get some great zombie kills in this film, my favorite of which being when the helicopter chops off the zombie’s head—the top of it anyway. Just watching the zombies wander the mall offers its own form of entertainment. Romero never gave clear direction to the zombie actors. He wanted them to do whatever they wanted and some of their facial expressions are priceless. That gave us today’s zombies. My favorite zombie had to be the Hare-Krishna.
We see a lot of this Krishna-zombie.
Of course, the tedium of their mall-inhabiting lifestyle wears on our protagonists. There’s a strong sense of irony when we find Peter playing racquetball on the roof as the zombie apocalypse presses on. Eventually they develop a desire to move elsewhere and find other survivors. This is where some tension builds.
Despite being so gorily loaded with rubber guts and torn flesh, this film has a good sense of humor to it until the end, which closes on a dark note when a paramilitary biker gang overtake the mall and all chaos breaks out. This long segment of the movie is a tolling dose of reality and human nature.
Some may criticize the “inconsistency” of Romero’s zombies, sometimes moving fast and sometimes slow. But here’s something to consider: Zombies, like any movie antagonist, are a dangerous as they need to be in any given scene. They’re as fast or dangerous or scary as the scene merits. That’s the difference between reality and filmmaking, life and drama. Whenever a protagonist martial artist character faces a single bad guy, you get one fight that endures exchanging countless blows lasting 5-10 minutes of screen time. However, when that same martial artist encounters 20 bad guys, each bad guy is dispatched with one or two quick, easily delivered techniques.
Now a staple in zombie movies, our protagonists face the fear and reality of seeing one of their own succumb and contract zombiism. This is handled well, with early dashes of pragmatism and ultimate pessimistic reality, denial and inner conflict.
Another curiosity is why a bite (however minor it may be) will cause a victim to die within days and become a zombie, whereas getting zombie blood splattered in Roger’s face (e.g., the truck recon scene) is no worry at all for contracting zombiism—consider what happens to Brendan Gleeson in 28 Days Later. To this end, I say chill out. This was Romero’s second movie and he “invented” the zombie you have come to know and love. The “zombie rules” were still being written right in front of us and, in Romero’s zombiverse, this was the first time it happened. He was just making a movie, people. Blood splatters are exciting and manifest urgency. Don’t overthink it. Romero hadn’t even identified the zombiism definitively as a curse, virus or anything…we just get hints.
Speaking of those hints, a news clip from Night of the Living Dead (1968) suggested the possible cause of zombiism was radioactive contamination from a space probe from Venus crash-landing on Earth. Perhaps there were radioactive bacteria on the probe that were ingested by patient zero, and the reason only a bite will cause zombiism is because the affliction lies in the intestinal bacteriofauna (or gut flora) in the infected zombies. Why might a scratch infect you? Because the zombies sloppily eat with their hands, which are now covered with this alien bacteria. There! Blood splatter controversy solved. LOL.
Another hypothesis of the zombie outbreak origin…
We embark on a rollercoaster of emotion as this gory film was loads of fun and managed to make us wince in the utterly brutal opening scenes, laugh in the middle, and grow tense at the end. The characters expressed various credible human responses to pressure and danger, bravery and cowardice, control and chaos. The story was solid and the dilemmas faced made sense. Night of the Living Dead will remain Romero’s most important film and the most significant zombie film perhaps ever to be made. But I find Dawn of the Dead to be his best film.
Want a second opinion on the film? Try this review from Rivers of Grue.
Rick Ford: You really think you’re ready for the field? I once used defibrillators on myself. I put shards of glass in my eye. I’ve jumped from a high-rise building using only a raincoat as a parachute and broke both legs upon landing; I still had to pretend I was in a Cirque du Soleil show! I’ve swallowed enough microchips and shit them back out again to make a computer. This arm has been ripped off completely and re-attached with arm.
Susan Cooper: I don’t know that that’s possible… I mean medically…
Rick Ford: During the threat of an assassination attempt, I appeared convincingly in front of congress as Barack Obama.
Susan Cooper: In black-face? That’s not appropriate.
Rick Ford: I watched the woman I love get tossed from a plane and hit by another plane mid-air. I drove a car off a freeway on top of a train while it was on fire. Not the car, *I* was on fire.
Susan Cooper: Jesus, you’re intense.
Spy is so funny you will need to watch it several times to catch all the jokes. While you are laughing at one joke another three go by and you end up missing some gems.For instance, I have no clue what happened after this dialogue exchange between Melissa McCarthy and Rose Byrne because I was laughing so hard.
Rayna Boyanov: My father used to bring people like you here.
Susan Cooper: Did he also make you dress like a slutty dolphin trainer?
I’m not sure if that line was improv’d or if they made that dress because somebody wrote that joke.
There are so many funny characters and moments you wonder how director Paul Feig (Bridesmaids, The Heat) was able to pull it all off. In one film Melissa McCarthy, Rose Byrne, Jason Statham, Allison Janney, Jude Law, Jessica Chaffin, Miranda Hart, Curtis Jackson, Will Yun Lee, Bobby Cannavale, Julian Miller, Peter Sarafinowicz, Michael McDonald and Bjorn Gustafsson all have their moments and practically steal the show.
I love seeing Melissa McCarthy back from the land of Identity Thief and Tammy. Those two films turned her volume up to 11 and ditched all semblance of character. She was loud, lewd, mean and seemingly had no telling her it was a bad idea. She is a very funny person who is at her best when playing capable, smart and foul-mouthed. In Spy she is a badass agent who happens to look like Melissa McCarthy. Her looks get her set up with various cheeky aliases (I look like someone’s homophobic aunt!) but they all fit the mission and are not jokes aimed at her. Much like in Bridesmaids her character has three-dimensions and keeps surprising us at every corner. The clip below is a perfect example of McCarthy’s character and her surprises NSFW
Spy tells the story of Agent Susan Cooper (McCarthy) going undercover to infiltrate a nuclear arms deal. She gets the job because all of the other agents identities have been compromised and she is the only person that cannot be recognized. After some initial annoyance (Statham wants to use fake face/off machine) she is finally able to break free from the CIA surveillance basement that was loaded with rats, bats and cake with rat poop on it and get some actual field work. The mission takes her all over the world, gets her groped repeatedly and puts her in the insult crossfires of a woman named Rayna Boyanov (Byrne) NSFW
It is all fodder for funny people to come in and make you laugh. The film shoots around from Paris to Budapest and plays like a spy film on redbull. There are double crosses, triple crosses, lots of death, copious profanity and Jason Statham saying this:
Nothing kills me. I’m immune to 179 different types of poison. I know because I ingested them all at once when I was deep undercover in an underground poison-ingesting crime ring.
I never thought I’d see the day where Jason Statham plays a bumbling dork. In Spy he is angry that McCarthy got the mission so he goes rogue and basically makes more work for her. He is oblivious to the fact that all the bad guys know his face and he keeps showing up at the worst times with the worst wigs and somehow fails his way out of each situation. It is a blast to watch Statham have fun and his back and forth with McCarthy is pure gold.
Rick Ford: You’re going to ruin this mission.
Susan Cooper: No, you’re going to ruin this mission.
Rick Ford: No, you are.
Susan Cooper: No, you’re going to!
Rick Ford: You… times infinity!
The action in Spy is pretty fantastic as well. It keeps the surprises coming and establishes McCarthy as a resourceful badass in the vein of Jason Bourne. Planes are crashed, cars are wrecked and there is a excellently choreographed kitchen fight that is better than it has any right to be. Also, as the action builds so does the humor. No character is safe from a one-liner (your hair broke your fall) and just when they seem to have the day won they accidentally shoot somebody in the face because of allergies.
Spy is another win for Paul Feig and I can’t wait to see what he does next. I’d love to see a Spy sequel if Feig directs again because I want to spend more time with the characters. I could sit for hours watching Jason Statham get tricked by his coworkers while McCarthy is somewhere kicking butt.
John’s Horror Corner: A Nightmare on Elm Street (1984), Wes Craven’s creation of Freddy Krueger remains creepy even today
MY CALL: Not as scary as it used to be but every bit as fun, Wes Craven’s original Nightmare is a creation that no horror fan should be without. A little hokey by today’s standards, but also still creepy. MOVIES LIKE A Nightmare on Elm Street: Other classics everyone should see include Poltergeist (1982; discussed at length in our podcast #16) and The Texas Chainsaw Massacre (1974), The Hills Have Eyes series (1977). For more recent horror with a similar sense of humor try Wishmaster (1997) and Hatchet (2006).
Now over 30 years old, I think it’s safe to say this is a horror classic…and it’s a classic I still enjoy and revere. However, like many “classics,” there are aspects of this film that will disappoint horror fans reared by films of the last 10-20 years. The effects are dated (although I love these practical effects still much as I do those in The Thing and The Fly), the plot and characters are a bit hokey at times (but that’s forgivable in the horror genre), and it feels more campy by today’s standards when it felt drop dead serious at the time of its release. So I contend that it is my duty to defend the importance of the classics to our younger readers and assign some homework to those who have not yet seen the pre-remake/reboot Freddy Krueger.
This film opens with a nightmare, and an inherently creepy one at that. We are taken to a shadowy, steam-spewing boiler room where a mysterious stalker rakes his “claws” across old pipes as he slowly advances upon his prey, his dreaming victim Tina. The evil assailant swipes his claws at her and she awakens with her nightgown shredded four-fold. Rattled by the experience, Tina shares her horrible dream with her friends Rod, Nancy (Heather Langenkamp; Star Trek Into Darkness) and Glen (Johnny Depp; Tusk, Dark Shadows), who have all eerily had similar dreams about the same “clawed” killer.
Written and directed by Wes Craven (Cursed, Deadly Friend, Deadly Blessing), we are introduced to the terrifying notion that someone (or something) can hunt and kill us in our dreams…and you really die! Our killer is Fred Krueger (Robert Englund; Wishmaster, Hatchet), a demonic power with an ugly red and green sweater, a single clawed glove, and a face still-moistly burned beyond recognition. As a villain, Freddy is iconic and has graced the screen for 9 films!
This film may not have the emotional power of Poltergeist (1982; discussed at length in our podcast #16) or the blunt-force trauma holy shit factor of The Texas Chainsaw Massacre (1974), but is instead its own entirely different animal. Freddy gives us hints of a twisted sense of humor as he cuts off his fingers and slices open his own maggot and pus-filled chest or licks Nancy and laughs through a possessed phone, but (unlike many of the sequels) there is nothing slapstick or comedic about it really. He is a twisted and pure evil. It’s intended to be sick and disturbing, not funny (to anyone but Freddy, that is)—although fans laugh at it today. We find these kinds of scenes delivered with a deliberate humor in Hatchet (2006), Wishmaster (1997) and so many more releases of the past 20 years…and also blatantly more deliberate in later installments of the Nightmare on Elm Street or Leprechaun franchises.
Simply meant to be terrifying back in 1984, Freddy looks a little hokey today—in a fun way. He runs down alleys like a crab with a limp waving his glove hand in the air, he jumps atop Nancy and rolls around instead of wisely slicing at her, laughs after mutilating himself. My movie companion actually said the movie, at times, felt a little dorky. And I couldn’t agree more.
Starkly contrasting these “dorky” scenes are dream sequences with a bodybagged Tina calling for help and being dragged away through the school hallway, the boiler room scenes, the harrowingly weird death scene of Nancy’s mother towards the end, Tina’s gravity defying death scene, and Freddy’s twisted laughter in the boiler room. These scenes remain “effective” to me, but they lack the right kind of production to remain sufficiently creepy or scary today (even with all the lights off as I watch). Of course, I’m a bit numbed by the hundreds of horror films I’ve seen. Perhaps these scenes will make you all quiver a bit. If not those, then at least the little girls jumping rope while reciting Freddy’s dark nursery rhyme.
Whoa! A cool death scene in any decade.
Look for John Saxon (Blood Beach, Enter the Dragon) and Lin Shaye (Insidious Chapter 3, The Signal) as we watch Nancy and her friends discover what drives Fred Krueger, learn his origin, and figure out how to defeat him through a combination of booby traps and bringing Freddy from the dream world into reality. Just try to ignore the lamely written controlling nature, denial and alcoholism of Nancy’s mother. It should also be noted that as Nancy, Langenkamp (not Robert Englund) carries the film. Freddy is done well with creepy execution, but he has almost no lines and little screen presence until the end. It’s Nancy who validates our fears, rallies awareness despite her parents’ disbelief, and battles Freddy.
Without going into detail, I should add that I still enjoy ALL of the practical effects in this film. Sometimes the simplicity makes it more gross, weird, off-putting, or even a bit funny.
The ending is deliberately sort of silly and illogical. But that was and remains a fun staple of horror—twists, even if stupid, that make us smile. If there was a deliberately funny moment, it had to be the last scene with the car and Nancy’s mother being cartoon-yanked through a tiny window on the front door.
Is that prop a blow-up doll?
This is a truly fun movie experience and worth the ride, even if you laugh today in 2015 whereas others screamed back in 1984.
If you need another trusted opinion, check out this review from Rivers of Grue.
Sometime science stinks. That’s the game we play baby.
Everybody has a film they’ve watched dozens of times. For some reason a particular movie will connect and prove to be perfect background fodder or comfort food. Most of these movies are not on the AFI top 100 or considered classics. However, they have tons of personality (think Big Trouble in Little China) and get better with each viewing. I’ve probably watched 2001’s Evolution more than any other film. It ranks alongside Ernest Scared Stupid, Hot Fuzz, Hot Tub Time Machine, The Replacements, Goon, Star Wars, Shawshank Redemption, Knight’s Tale and Indiana Jones as my most watched movies of all time.
Come on, come on, my widdle red lobster. Come on, my sexy little crustracean. Come on…
The creature design from Phil Tippett (Star Wars, Willow, Starship Troopers, Dragonheart, Robocop) is wonderfully varied and each beast has a distinct personality that ranges from deadly to squishy.
Ivan Reitman’s (Stripes, Ghostbusters, Dave) Evolution is a perfect HBO/TBS/TNT film because it is a breezy little thing that features relationships that hold up. I love the little moments when David Duchovny throws a hat thirty feet into a trash can or Orlando Jones is solid gold dancing in an elevator. Evolution is packed with fantastic dialogue, funny moments and likable characters. It has its faults and Reitman even admitted that he “mucked up the ending a little bit.” However, I love the bumps and bruises and think they give the movie more personality. I love that it was Julianne Moore’s idea to be a klutz. I love Sean William Scott singing “you are so beautiful” to trap a flying creature. I love that Orlando Jones gets a fly in his leg, they threaten amputation and Duchovny says “Isn’t there anything else you can do? He thinks he’s an athlete.”
The stand outs of Evolution are David Duchovny and Orlando Jones. They come across as intelligent frat boy professors who have no problem rescuing one another from giant alien sphincters and saying “liar, liar, pants on fire.” They have a lived in relationship that feels organic and enjoyable. Whether they are hitting on students, harassing ex-girlfriends about stolen shirts or dealing with Sean William Scott they are relaxed and cool. I love how they keep a straight face throughout the proceedings and there is genuine hurt when Jones learns that Duchovny lied to him about his military work. Roger Ebert summed them up nicely with this quote:
Kane (Duchovny) and Block (Jones) have a nice double-act together; like the characters in “Ghostbusters,” they talk intelligently, possess wit and irony, and are not locked into one-liners. Jones even gets a laugh out of a significant nod, which is not easy in a film at this decibel level.
I would love it if Jones was cast as a character in the X-Files remake. It annoys me that he hasn’t gotten better roles. He is funny, smooth, intelligent, immensely likable and can keep a straight face when saying “Great Googa Mooga!”
Evolution revolves around a meteor falling to earth and spawning a cornucopia of attacking aliens. Their evolution is unprecedented as they grow from cells to slugs to cute/deadly creatures in days. The government gets involved and screws everything up (No! No government. I know those people) and it is up to two adjunct professors, a pool boy and Julianne Moore to defeat the creatures. I loved the odd couple pairings and all four have wonderful chemistry. Even when the comedy revolves around butt exploration you can’t help but smile as the actors fully commit.
I think the reason I like this movie so much is because it is an unpredictable hybrid that wears its niceness on its sleeve. I love that it builds to Orlando Jones getting sucked into an alien’s butt while Duchovny yells “Give me back my friend, you big sphincter!” It features good people who are willing to be sucked into big sphincters because they know their friends will bail them out. It is a big budget film that actually features an original idea. It may not be Shakespeare but it is more fun that it has any right to be.
Evolution is a re-watchable delight that doesn’t come around often enough. If you haven’t watched it check it out and let me know what you think!
Proudly sponsored by the audiobook company Audible, your new MFF podcast episode is here!
We hope you enjoyed our previous episodes on: Mad Max Fury Road and Poltergeist 1982 vs. 2015 (Ep 16) and Kung Fury, WolfCop, Zombeavers and Three Toed Sleuths (Ep 17).
SUMMARY: This week the MFF crew discusses Jurassic World (2015) and the latest chapter of the Insidious franchise (2010-2015), reflect on the history of their prequels, and bicker over nonsensical fights between Kurt Russell’s and Dwayne Johnson’s movie characters. This episode is pretty much nothing but spoilers and loads of smarmy comments. You have been warned. ;)
We also answer such important questions as…
“Who would win in a fight between Kurt Russell from Soldier and The Rock from The Scorpion King?”
“What makes Elise the most courageous character in the Insidious franchise?”
“How did life turn out for Tommy Boy?”
“In Jurassic World, why didn’t they just text when the cell service worsened?”
“Just how many of Dr. Grant’s warnings were ignored in Jurassic Park?”
And how did Elise end up with that handy lantern in The Further?
This week’s podcast is based on the following articles:
John’s Horror Corner: Insidious: Chapter 3 (2015), another exceedingly creepy chapter in this franchise.
Insidious 3: A Fantastic New Chapter To Further the Insidious World.
Sit back, relax and learn about everything you missed.
If you haven’t seen some of these movies, be comforted that we will geekily inform you as to why you should watch them.