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Movie Oubliette
Retreat & Honey Bunch (TIFF 2025 bonus reviews)
Joe Lipsett of Horror Queers joins Conrad again for another couple of advance previews of films at the Toronto International Film Festival (TIFF), and it's another case of spotting a couple of movies with a similar premise. In this case, it's women going to an isolated manor house for some form of wellness/recuperation exercise... only to discover things are not what they seem!
Retreat is Ted Evans' feature debut, and stars Anne Zander as a young woman who visits an isolated retreat for deaf people in the English countryside, run by the imperious Mia (Sophie Stone). There she discovers a community that may have more in mind than providing a safe space that helps prepare its members for life in the uncaring world of the hearing. Hailed as the world's first deaf thriller – the film's principle cast and its director are deaf – the film's relationship with sound is particularly fascinating.
Honey Bunch is an eerie horror/thriller from Madeleine Sims-Fewer and Dusty Mancinelli, in which its central character Diana (Grace Glowicki) and her doting husband Homer (Ben Petrie) arrive at... yes, an isolated country house... so the former can recuperate from an unspecified recent accident. When we tell you Diana's injuries include brain trauma and memory loss, genre fans' twist-detecting spidey senses will immediately start tingling. Steeped in a late 70s Let's Scare Jessica to Death aesthetic, is an atmospheric affair – but did we like it? Find out!
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199. Masters of the Universe (1987) (with Matt Swaford)
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198. Bug Buster (featuring Doug Jones and Derek Maki)
01:30:09||Ep. 198Legendary actor and creature performer Doug Jones and independent filmmaker Derek Maki join Dan and Conrad to reminisce about Bug Buster (1998), a late-90s horror-comedy in which a quaint lakeside town is terrorised by mutant insects. The incredible cast combines a pre-Knocked Up Katherine Heigl with Randy Quaid, Star Trek alumni James Doohan and George Takei, Meredith Salenger, and – of course – Doug Jones as the big bad: Mother Bug! The movie sits squarely in the era when creature features were increasingly living on video rather than in theaters, and it builds its appeal from ecological panic, practical-effects goo, and the deliciously overripe promise that a “former military man” might somehow sort out an insect apocalypse with enough swagger.You can follow and support Derek's documentary on Doug's incredible career by visiting www.getmedougjones.com and adding it to your watchlist on imdb. The Kickstarter campaign kicks off on Monday 18 May.
197. Phenomena
01:14:32||Ep. 197Dan is back from vacation and treats us to Phenomena (1985) – a supernatural giallo from Dario Argento that features a pre-Labyrinth Jennifer Connelly in a star-making lead as an insect-loving teenager who arrives at a Swiss girls’ school only to sleepwalk into a serial murder case that only becomes more bizarre as the story unravels. Released by New Line Cinema in the U.S. as Creepers (shorn of 30 minutes of its running time), Phenomena emerged in Argento’s most-celebrated period, with the director producing and co-writing with Franco Ferrini, Donald Pleasence as the obligatory learned eccentric, and a soundtrack that behaves like it's had one espresso too many. But is it an under-appreciated piece of Italian art, or an excessive and unruly misstep? Find out!
196. Cool World (with Melinda Mock)
01:14:23||Ep. 196RetroBlasting's Melinda Mock stands in for Dan as animation auteur Ralph Bakshi's Cool World (1992) bursts out of the oubliette and threatens to overwhelm us with its incoherent plot and haphazard melange of visuals. Starring a post Batman Kim Basinger as femme fatale Holli Would, Gabriel Byrne as murderous cartoonist Jack, and a very young Brad Pitt as by-the-book Cool World detective, Frank, Cool World is a very 90s live action/animation crossover with a remarkable soundtrack.Tonally the film tries on noir, erotica, satire and straight-up fever dreams, and then leaves the dressing room without checking the mirror. It’s flashy but confused, but never dull. But does it deserve to be pricked by the spike of power and be released from oubliette, or should it be sucked back into the author's pen and forgotten forever? Find out!
195. Cure
01:16:23||Ep. 195In this Patrons' choice episode, we're exposing ourselves to Cure (1997) – the film that announced Kiyoshi Kurosawa as one of the most unsettling voices in modern horror. Set in Tokyo at the tail end of Japan's "lost decade", it follows weary detective Takabe (Kōji Yakusho) as he investigates a string of seemingly connected string of murders... with apparently different perpetrators. Victims keep turning up with the same grotesque X carved into their necks, and the killers – usually found standing nearby in a daze –have absolutely no idea why they did it. Just when things seem bleak enough, Takabe encounters a mysterious drifter, Mamiya (Masato Hagiwara) – a soft-spoken young man who asks everyone the same simple question: Who are you? Should this early progenitor of the "J-horror" phenomenon be released from the oubliette… or would it be safer if we all forgot we ever saw it? Find out!
194. Hardware
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193. The Bride (1985)
01:04:52||Ep. 193By popular demand, we're celebrating the release of Maggie Gyllenhaal's The Bride! by taking a look back at Franc Roddam's The Bride (1985). This mid-80s take on Mary Shelley’s mythic creation project tellingly got the budget of a period romance, but likely only because it had a new romantic pop star in the lead role and the production design of an Adam Ant music video. The result is a Gothic fable where baroque laboratories collide with heartfelt journeys toward independence. The monster – dubbed Viktor by his diminutive travelling companion, Rinaldo (David Rappaport) – is played by Clancy Brown, presumably because he strayed from casting sessions for Highlander.Flashdance's Jennifer Beals’ Eva reinvents the notion of “the bride”: she’s bright, terrified of cats, and slightly too lucid for a world full of overlong candlelit discussions about autonomy and creation. Sting’s Baron Frankenstein embodies euro-aristocratic obsession with a bemused smirk, and spends most of his time leaning on something while holding a book.Should this experiment in misunderstood Gothic romance finally earn its freedom? Or is it a well-dressed atrocity that should be hurled off the nearest tower? Find out!
192. Monster in the Closet (with Octavio López Sanjuán)
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191. Don't Torture a Duckling
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