Horror Business Justin Lore

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys because we’re talking about two absolute bangers from 1983: One Dark Night and The House On Sorority Row.

First and as always thank you to our Patreon subscribers. Your support means the world to us and we are eternally thankful. If you would like to become a Patron, head to patreon.com/cinepunx. Thanks in advance! Also, a huge thank you to the fine folks over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thank you also to Essex Coffee Roasters, purveyors of freshly roasted coffee and doers away with of coffee elitism! Head to www.essexcoffeeroasters.com to check out their fine assortment of coffee and enter CINEPUNX in the promo code for ten percent off your order! Also thank you to Paul Sharkey for his MANY technical contributions to this show and others on the Cinepunx network. Head to www.mechanicalsharkmedia.com for all your miscellaneous production (and mechanized shark!) needs!

We start by talking about some of the things we’ve done involving horror recently. Liam talks about the films Destroy All Neighbors and Where The Devil Roams, as well as the comic series Monstress, and we talk about the recent season finale of True Detective.



Up first is The House On Sorority Row. We give a brief summation of the film and talk about the film’s status in the realm of fandom, in that it’s considered one of the greatest slashers of all time.



Justin talks about how despite this being the film he wasn’t crazy about this episode, he still found it to be and effective and well-paced film that seemed to know what it was doing, even if that was a touch well worn.



We discuss the film’s lack of a male gaze, something that is rare in the realm of slashers, and some of the more interesting visual choices the film makes.



We discuss the film’s clear influence, mostly Hitchcock, and the director’s relationship with Brian de Palma also being an influence. The film’s effective red herring/reveal of the killer is touched upon.



            Up next is One Dark Night. We talk about the near ensemble cast of the film and the strange connections they make to the rest of cinema. We talk about the film’s unconventional but effective opening, and how it leads into a film that seeks to be a zombie movie but does so in an extremely roundabout way.



The film’s unorthodox take on “zombies” is discussed, as is the phenomenon in ‘80s horror films in which practical effects that didn’t quite cross the finish line into the realm of realistic become far more unsettling than what they were meant to depict.



Justin talks about how scary and effective the film is given that it looks like what it’s depicting. The film’s absolute bonkers plot to get to a somewhat simple climax is discussed again, as is the “so nonsensical it makes sense” approach it takes.



We talk about the very visceral cruelty of the human antagonist in comparison to the cruelty of the dead(?) psychic vampire antagonist. Some of the more haunting imagery in the film is discussed. The film’s somewhat troubled production is briefly touched upon.

As always thank you for listening and to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys because we’re talking 1979’s Suspiria and 1988’s Child’s Play, and we’re joined by Greg Polard, Jude Miller, and Ryan Rayburn of early aught’s Philly straight edge outfit One Up!

First and as always thank you to our Patreon subscribers. Your support means the world to us and we are eternally thankful. If you would like to become a Patron, head to patreon.com/cinepunx. Thanks in advance! Also, a huge thank you to the fine folks over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thank you also to Essex Coffee Roasters, purveyors of freshly roasted coffee and doers away with of coffee elitism! Head to www.essexcoffeeroasters.com to check out their fine assortment of coffee and enter CINEPUNX in the promo code for ten percent off your order! Also thank you to Paul Sharkey for his MANY technical contributions to this show and others on the Cinepunx network. Head to www.mechanicalsharkmedia.com for all your miscellaneous production (and mechanized shark!) needs!

We start by talking about our experiences with these two films and how we were first exposed to them, mostly through video store posters. We talk about some of the things we’ve done involving horror recently, including the films It Follows, The Zone Of Interest, Society Of The Snow, There Is A Monster, the new season of True Detective, and an essay on the use of food in the film Possession.



Up first is Suspiria. We talk about our initial exposure to the film and give a very barebones summation of it, as well as the “fairytale logic” of the film in that it is essentially a running justification of a bunch of surreal gorgeous shots. We talk about some of the disjointed but unsettling aspects of the film, and Jude discusses the concept of knowing something is going to happen on screen and still being upset when it happens ala the man behind Winky’s in Mulholland Drive.



We touch upon how the plot of the film is secondary to the images of it, and how the film is quite upsetting when taken in context of the times i.e., the scene where a woman’s exposed heart is repeatedly stabbed. Justin relates an anecdote of watching this film in college and compares it to a Fulci film “but classier” and talks about how the scene in the end where the witch reveals herself is extremely upsetting.



We talk about Dario Argento’s personal opinions on the film and its role in his evolution as a filmmaker. The film’s near inability to be casually consumed is touched upon. We also discuss the other films in Argento’s Three Mother’s trilogy.



            Up next is Child’s Play. Justin opens the discussion by comparing the film to Hellraiser, in that both became mediocre franchises based upon an iconic character, and how this film is so much weirder than simply a killer doll movie. We again touch upon our initial exposure to the film as children.



We talk about Brad Dourif’s role in defining the character and how his intensity really sells the character as truly terrifying instead of simply another dumb horror movie. We talk about the film’s place in the realm of films that feature a child telling a fantastic story, not being believed, and being right in the end, as well as the film’s touch of crime drama and slapstick.



We talk about the film’s restrained and subtle sense of humor in comparison to the rest of the franchise.

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys because we’re talking 1995’s Haunted School and 2009’s Occult.

First and as always thank you to our Patreon subscribers. Your support means the world to us and we are eternally thankful. If you would like to become a Patron, head to patreon.com/cinepunx. Thanks in advance! Also, a huge thank you to the fine folks over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thank you also to Essex Coffee Roasters, purveyors of freshly roasted coffee and doers away with of coffee elitism! Head to www.essexcoffeeroasters.com to check out their fine assortment of coffee and enter CINEPUNX in the promo code for ten percent off your order! Also thank you to Paul Sharkey for his MANY technical contributions to this show and others on the Cinepunx network. Head to www.mechanicalsharkmedia.com for all your miscellaneous production (and mechanized shark!) needs!

We start by talking about what we’ve done involving horror recently. Liam talks about There’s Something In The Barn, Divinity, and Civil Dead, as well as the comic Mortal Terror. Justin talks about the recent Netflix original Society Of The Snow and the series Blue Eye Samurai, as well as watching the premiere of True Detective: Night Country.



Up first is Haunted School. We give a brief plot summary and history of the film spawning a franchise. We talk about the concept of the yokai, as well as the Japanese tradition of having media about children solving some sort of paranormal/extraordinary threat. We discuss the concept of how even though some of the apparitions in the film are superficially silly they become legitimate frightening when taken in the proper context.



We talk about how despite being a kid’s movie it still feels like there was a legit danger to the children, and touch upon how the film resembles a Spielberg film in that it at times becomes genuinely frightening. We again talk about the history of Japanese films that are surreal and over the top in costume design to achieve a fantastic sort of horror, and how the film blends cute children and genuine horror.



Justin talks about the horror of the absurd and cartoonish, as well as concept of schools outside of normal hours feeling scary. The school itself as a character is touched upon, as is the idea of what happens after the credits roll in horror films. We briefly talk about how sometimes in horror films when practical effects fail to be utterly convincing, they become even scarier.



            Up next is Occult. We talk about how the film is at its heart essentially what Lovecraft was writing about (the unknowable nature of reality). Justin talks about the fatalism of the film and how much of the horror comes from the sense of an oncoming doom, as well as the upsetting ending.



Liam talks about how the movie didn’t really appeal to him despite being a fan of some of the directors’ other films, as well as how “found footage” films are hit or miss for him. We talk about another one of the director’s films, Noroi: The Curse and how that film hit harder for Liam than this one did, and dive into why that could be. Justin talks about how the concept of “what if all the unhinged shit a mentally unwell person is saying turns out to be true?” is genuinely unsettling, as well as the intrusion of the eerie and grotesque into the every day.



The way the film relates to extremism is touched up...

Greetings, and welcome back to Horror Business. We have one awesome Christmas episode in store for you guys, because we’re talking 1972’s Silent Night, Bloody Night and 1995’s The Day Of The Beast.

First, and as always, thank you to our Patreon subscribers. Your support means the world to us and we are eternally thankful. If you would like to become a Patron, head to patreon.com/cinepunx. Thanks in advance! Also, a huge thank you to the fine folks over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or koozie. Head on over to www.xlvacx.com to check them out. Thank you also to Essex Coffee Roasters, purveyors of freshly roasted coffee and doers away with of coffee elitism! Head to www.essexcoffeeroasters.com to check out their fine assortment of coffee and enter CINEPUNX in the promo code for ten percent off your order! Also thank you to Paul Sharkey for his MANY technical contributions to this show and others on the Cinepunx network. Head to www.mechanicalsharkmedia.com for all your miscellaneous production (and mechanized shark!) needs!

We start by talking about what we’ve done involving horror recently. Liam talks about re-watching Onyx The Fortuitious, as well as the newest Godzilla jawn, Godzilla Minus One, and the Robert Kirkman comic, Oblivion Song. Justin talks about the films Night of the Hunter, It’s a Wonderful Knife, Baby Blue, A Creature Was Stirring, and The Sacrifice Game.



Up first is Silent Night, Bloody Night. We talk about how heavily the Warhol crew was involved in this film and Justin posits the film functions better as a mood than an actual story. Liam talks about how it reminds him of Shriek Of The Mutilated in that on paper, it sounds great, but the movie itself wasn’t that great; it has some lackluster pacing and odd exposition, despite overall being engaging.



We discuss the film’s place in the timeline of the “slasher” genre and how it’s not considered a slasher despite having all the trappings of one, as well as giallo (the red herring, etc.). We talk about how the institutional violence of the asylum setting is far more upsetting than the actual initial murders in the beginning and how the actual story that unfolds those murders are forgotten. Justin talks about how he’s not usually a fan of blatant exposition, but this movie executed it in an effective and unsettling way.



We discuss how the father’s most monstrous act is regretting the murder of his associates, but not the rape of his daughter. We talk about the possibility of this film influencing later films as it had, despite being somewhat unknown in present times, a relatively decent following while it was on the drive-in circuit.



Up next is The Day Of The Beast. We talk about the very real possibility that the entire movie is happening in the protagonist’s head only. We talk about the social criticism of fascism in the film and how Spanish neo-fascists are the tangible villains.



We briefly talk about the lingering impact of the Spanish civil war and how it affects the film in the way evil is depicted through acts of violence against vulnerable people, instead of committing acts of vice. Justin talks about the concept being as evil as possible to prove a theological point. We talk about the comedy of the film coming from the earnestness of it all.



We briefly talk about the silliness of the film having real heavy metal records displayed in scenes, but the actual music the characters listen to is obviously made for the movie by people who h...

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys, because we’re talking 1983’s Christine and 2023’s Talk To Me.

First, and as always, thank you to our Patreon subscribers. Your support means the world to us and we are eternally thankful. If you would like to become a Patron, head to patreon.com/cinepunx. Thanks in advance! Also, a huge thank you to the fine folks over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or koozie. Head on over to www.xlvacx.com to check them out. Thank you also to Essex Coffee Roasters, purveyors of freshly roasted coffee and doers away with of coffee elitism! Head to www.essexcoffeeroasters.com to check out their fine assortment of coffee and enter CINEPUNX in the promo code for ten percent off your order! Also thank you to Paul Sharkey for his MANY technical contributions to this show and others on the Cinepunx network. Head to www.mechanicalsharkmedia.com for all your miscellaneous production (and mechanized shark!) needs!

We start by talking about what we’ve done involving horror recently. Liam talks about seeing the film A Ghost Story and Justin talks about Onyx the Fortuitous and the Talisman of Souls, Near, Night of the Hunted, Sister Death, Oracle, Appendage, and Night of the Missing.



Up first is Christine. We talk about the history of adaptions of Stephen King works and how this is an exception to the rule. Liam talks about how he supports Carpenter’s decision to make Christine and Arnie’s relationship emotionally erotic. We discuss how the process to Christine becoming animated is far more complex than some of the other King stories.



We talk about the seduction angle of the film, in which Christine actively seduces Arnie to bend him to her will. We talk about how good the movie looks, cinematographically and otherwise. We discuss some of the strange homoerotic power dynamics of the film, especially between Arnie and the bullies.



Justin talks about how the score for this film is his favorite of John Carpenter’s and how effective it is in some of the key scenes of the film, mostly when Christine kills Buddy Repperton. Liam talks about how the film is very period-specific in that it ties masculinity to cars in a way that isn’t as prevalent these days.



We talk about the complex relationship between Arnie and Dennis, in that Arnie was the classic nerd, whereas Dennis is the archetypical popular jock.



Up next is Talk To Me. Justin talks about how despite being upset by the film, he can’t quite pin down any particular scene that really messed with his head.



Liam discusses how despite initially enjoying the film, he didn’t enjoy it as much upon re-watch due to the lack of representation and the subtle idea of a character of color infiltrating and corrupting a white family, as well a hard-to-describe, nebulous dislike of the film.



Justin talks about how the relationship between the one character and her best friends’ little brother was very genuine, as well as the inability to give someone a good death despite knowing they’re suffering.

As always, thank you for listening and to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode,

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys because we’re talking 2011’s Kill List and 2021’s In The Earth, two folk horror-y entries from English filmmaker Ben Wheatley.

First and as always thank you to our Patreon subscribers. Your support means the world to us and we are eternally thankful. If you would like to become a Patron, head to patreon.com/cinepunx. Thanks in advance! Also, a huge thank you to the fine folks over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thank you also to Essex Coffee Roasters, purveyors of freshly roasted coffee and doers away with of coffee elitism! Head to www.essexcoffeeroasters.com to check out their fine assortment of coffee and enter CINEPUNX in the promo code for ten percent off your order! Also thank you to Paul Sharkey for his MANY technical contributions to this show and others on the Cinepunx network. Head www.mechanicalsharkmedia.com for all your miscellaneous production (and mechanized shark!) needs!

We start by talking about what we’ve done involving horror recently. We talk about the new Demian Rugna film When Evil Lurks, Liam’s rewatch of The Haunting Of Hill House and It Follows, and Justin’s recent spooky trip out west including visiting Santa Cruz and a few filming locations of The Lost Boys, as well as the Winchester Mystery House and a night at Universal Studios Halloween Horror Nights. Justin talks about the films Astral Woods, Suitable Flesh, Dear David, and Where The Devil Roams. We briefly touch upon the series finale of the anime series Attack On Titan.



Up first is Kill List. We talk about how the film is extremely effective at gradually switching up tone and genre almost, in that it starts out as one kind of film and transforms into something else entirely that is still welcome.



We talk about the film’s effective but subtle use of classic folk horror imagery, including a connection to a “blood soaked past”, rituals of power to maintain power, and an emphasis on the “common folk” while also including a connection to the aristocracy.



We discuss the film’s “distractions” from the central theme of fatalism and how effective they are at keeping the film’s main goal under wraps until the finale.



We expand on the film’s examination of fate, and the film’s concept of sacrifices within sacrifices for a larger ritual.



Up next is In The Earth. We discuss the role of the COVID-19 pandemic in the film. Justin talks about how his expectations of how the film was going to be scary were kind used in a way to disguise the true horror of the film.



We discuss the theme of ecology as an interpretation of the mystical, and how the folklore of something is merely an explanation for a biological phenomenon. We talk about the concept of scientists seeking to understand something gradually becoming devotees of said something, and how scary such an idea is.



We talk about the film’s theme on the arrogance of science, and the idea that whatever thing is responsible for the phenomenon in this movie might not be an actual thing but instead a collection of reactions on behalf of the scientists that is being called intelligent by said scientists who are unwilling to admit it could simply be biological reactions.



We talk about how the source of horror for the film is the human reaction to the phenomenon and not the phenomenon itself.