Welcome back! This week the boys are going on a city field trip with some of their favorite franchises, but first: Jacob tell us about his trip to Salem Horror Fest and the new documentary ICON: The Robert Englund Story, Jay talks Soft & Quiet and Consecration, and Correia reviews the restoration of L'Inferno (1911) before bringing us to the book nook for some recommendations. This week's topic covers horror franchises that move from either suburban or rural settings to the city, inspired by the recent Evil Dead Rise and Scream VI movies. Its all new on EYE ON HORROR!
https://linktr.ee/EyeOnHorror
Follow us on the socials: @EyeOnHorror or check out https://linktr.ee/EyeOnHorror
Get more horror movie news at: https://ihorror.com
Welcome back! This week the boys are going on a city field trip with some of their favorite franchises, but first: Jacob tell us about his trip to Salem Horror Fest and the new documentary ICON: The Robert Englund Story, Jay talks Soft & Quiet and Consecration, and Correia reviews the restoration of L'Inferno (1911) before bringing us to the book nook for some recommendations. This week's topic covers horror franchises that move from either suburban or rural settings to the city, inspired by the recent Evil Dead Rise and Scream VI movies. Its all new on EYE ON HORROR!
https://linktr.ee/EyeOnHorror
Follow us on the socials: @EyeOnHorror or check out https://linktr.ee/EyeOnHorror
Get more horror movie news at: https://ihorror.com
Welcome to Eye On Horror, the official podcast of iHorror.com. This is episode 106. Otherwise known as season six, Episode Seven. I am your host James Jay Edwards and with me as always is your other host, Jacob Davison, how you doing Jacob?
Jacob Davidson:Doing good. Just still kind of waking up. I was at a midnight show of Beyond The Black Rainbow last night, the New Beverly.
James Jay Edwards:How, how many times have you seen Beyond The Black Rainbow?
Jacob Davidson:You know, I actually have my Letterboxd here. And I think about se- I'd say seven or eight times.
James Jay Edwards:Is that more or less than Mandy?
Jonathan Correia:Did you even need to ask that question? I'm pretty sure we already know the answer.
Jacob Davidson:Oh, actually, I think I've seen Mandy slightly less like I think I've only seen that about six or seven times and yeah, I think Beyond The Black Rainbow maybe it's
James Jay Edwards:so but but Beyond The Black Rainbow has been out longer. So
Jacob Davidson:that's that's your two I was actually at the initial release screening back in summer 2012 changed my life forever.
James Jay Edwards:Also with us, as always is your other other host Jon Correia How you doing Correia?
Jonathan Correia:I am. I am sun sick from being at the Ren Faire all day yesterday and I took a sip from my drink from the Ren Faire yesterday thinking it was just water and Mio. But no there's there's vodka in there. That was a that was a surprise. So starting the morning off great guys.
Jacob Davidson:Ye olde Mead.
James Jay Edwards:My my wife once was working a shift as a as a server at at this one bar. And she grabbed a bottle of water to bring with her for her shift. And she grabbed a bottle of water that actually was a bottle of vodka in a water bottle. I didn't find out until she went to take a swig of it while working just ugh
Jonathan Correia:just having horrible, horrible flashbacks to college or just like im so thirsty, need to drink. No, nop thats just straight vodka.
James Jay Edwards:Yeah, I think that that probably ruined that shift. Because because not only did she not want to drink she also had no water. We've we haven't there hasn't been a lot that's come out. Since last time we talked but last time we talked we kind of ran out of time. Because there was so much so let's get on with it. And let's find out what Jacob saw at Salem Fest at the Salem Horror Fest. Yeah. Oh, yeah. back and did you see anything good there?
Jacob Davidson:Oh, yeah, no, I saw tons of great movies at Salem Horror Fest. And And I should add that I was fortunate enough to get a short into the festival. The October Martyrs name of the short. It's on the festival circuit now. I wrote it and Co-produced it and it was directed and Co-produced by Robert Tiemstra and we both went to Salem, Mass to see it play and being from the area. You know, I was able to crash on my dad's and I was able to stay for both weekends. But ya know, there were a lot of great movies. Like right off the bat. One of my personal favorites was this documentary called Satan Wants You which for those of you familiar with the Satanic Panic of the 70s for the 80s was about the Michelle remembers story. You know that novel or that? True true story about in air quotes about this woman who said that she was held captive by a satanic cult. And it's kind of what kicked off the mass hysteria.
Jonathan Correia:I was about to say biggest air quotes. Yeah, ever around true story.
James Jay Edwards:He was air quoting it. And I'm glad that he mentioned that he was there. Because we can't see and I
Jacob Davidson:always I always forget the limitations of this audio medium. But yeah, Jon, you know, you know about Michelle Remembers right?
Jonathan Correia:Oh, I have a I have a first pressing right next to me. On my bookshelf. It is the most cursed object I own because well, because Michelle Remembers it supposedly this adult woman who was doing a form of therapy of regre- of bringing up regressed and suppressed memories. And supposedly through that she was her name was Michelle and she was remembering.
James Jay Edwards:So it's not just a clever name.
Jonathan Correia:No, it's her supposedly remembering being a child being raped and tortured by the satanic cult in their basement for years. All bullshit and extremely dangerous because it not only made people think that satanic cults are a thing like that. But also that doing that form of therapy was ethical. It's not it's not an accepted form of therapy, especially nowadays, but even that it was questionable, but it was definitely sensationalized. So it was basically like the therapy, the equivalent of exorcism real life exorcisms where it's like, yeah, no, it's great for movies. It's great for entertainment, but like putting it into practical use is fucking horrible. And it led to a lot of it led to this, that book was like, what was like
Jacob Davidson:the keystone to the Satanic Panic, like it became sited by police, by ministers by doctors that proof that again, air quotes that you know, there were there was a conspiracy of Satanists just run around doing all this crazy shit in the country. And the documentary does a good job of kind of disseminating you know, just kind of breaking down how, you know, this one book kind of led to a lot of that and also a went into a lot of the shady shit surrounding the book's publication because it turned out the book was subsidized by the Catholic Church, so they paid the guy $10,000
Jonathan Correia:That sounds about right,
James Jay Edwards:Correia if you ever want to add to your cursed objects collection, I have a first edition hardback of The Amityville Horror.
Jonathan Correia:Almost that I think that would that would cause
James Jay Edwards:Is that too much?
Jonathan Correia:if I touch it, it will cause me to start burning. But it led to a lot of things. There was a whole movement during in the during the Satanic Panic where they were going after preschools because they were saying that these that and the problem with this form of therapy because you're putting them under hypnosis, you're putting them under all these things. There's a lot of suggestion that's happening there.
James Jay Edwards:So it's what happened with like McMartin and McMartin preschool exactly
Jacob Davidson:that was the case they said in the movie.
James Jay Edwards:Yeah, they were basically programming these kids to testify that there was like this satanic rituals in the basement of this. Of this preschool. Yeah, that was a messed up case.
Jacob Davidson:it was. In fact, they did a parallel of the Satanic Panic stuff in the 80s with the QAnon and Pizza Gate stuff today, you know, it's like, Everything old is new again. Yeah, the pizza gate plays didn't have a basement either. Nope.
Jonathan Correia:But yeah, if you want to get more into like the witch hunt into preschools, especially like MacArthur and all those, there's a book called Satan's Silence: Ritual Abuse and the Making of a Modern American Witch Hunt. It's absolutely phenomenal. They do really deep dives. Debbie Nathan cowrote it with Michael Snedeker. I'm going to my apologies for butchering that last name. But Debbie, Debbie Nathan is an amazing journalist. She also wrote the book Sybil Exposed which is another great read. Sybil was the person that had multiple personality syndrome and was like one of the big cases for that. Who and like it led to the like movie Sybil.
James Jay Edwards:Was that Sally Field? That was
Jonathan Correia:yeah, the Sally Field movie. Yeah, but there's read Sybil Exposed. I don't want to I don't want to spoil a lot but like that story is very fucking interesting and involves basically like there's a possibility that Sybil was faking it but was like faking it because she was in love with her therapist. And which she did not reciprocate. But like so she kept like the thing going because they were making a lot of money off. It's very interesting, but yes, Sybil Exposed is another great one. Basically, anything by Debbie Nathan she's she's also doing some great work at the border right now writing about what's going on there.
Jacob Davidson:But ya know, that was just opening night. Like I saw a lot of other great movies at Salem Horror Fest. In term in terms of narratives. Some of my favorite feature films were Stagg by Alexandra SPIEF, which was basically about a woman who has been disconnected by like an old friend of hers gets unexpectedly invited to a bachelorette party at an isolated campsite, and conc- and also, my sister had a summer camp destination wedding. So I really related to this one, and I thought it was very funny and did a good job playing with the genre. And I was also a big fan of T Blockers by Alice McKay, which was about when ancient parasites rise from beneath a small town taking the most fearful and susceptible as hosts, a young trans filmmaker finds herself the only one who can sense the possessed and rally the resistance before the horror escapes and spreads. Very topical and Alice McKay has been really been jumping to the forefront in horror and she's already got another couple movies lined up. And yeah, now just it, It was great to see on the big screen. Let's see
Jonathan Correia:that sound that T Blocker sounds right up my alley because I'm right in the middle of reading Man Hunt right now. I don't know if you guys have
Jacob Davidson:Oh yeah, I know that one.
Jonathan Correia:Oh man, it's such a great book. It's It's, uh, yeah,
Jacob Davidson:this would make a great companion piece to that
Jonathan Correia:it would? Okay, yeah. If you don't know Man Hunt, check it out post apocalyptic New England, where a virus has turned everyone with testosterone into murdering raping, like monsters. They're called new men. And so you follow these two trans women who are like fighting to stay alive because as their estrogen wears, if their estrogen wears off, they start to become new men. And then you have turfs which are basically like Mad Max villains hunting them down because they think they're all that trans women are ticking time bombs. And it's absolutely phenomenal. And I want TV adaptation. I want video games based I want everything this book is it's brutal as fuck, Man Hunt. We're getting I'm getting into a blue book corner over here, guys.
Jacob Davidson:Yeah, Jon-Johnny's book corn, corner. Let's see. It was also a big fan of this micro budget horror movie called Brightwood by Dane Elcar, which is about a couple that are kind of going through some dysfunction going for a jog around a pond and they get stuck in this kind of time loop. And shit goes bananas, which again is something I really appreciate about Salem Horror Fest because like the majority share these movies were independent micro budget. So it just really goes to show what the what filmmakers can do, you know, trying to make these big ideas with limited resources.
Jonathan Correia:That's one of my favorite genres is like low low budget but like high concept like Primer or who's the Texas duo Benson and Moorhead.
Jacob Davidson:Oh yeah. The endings of that and also there was this wild animated movie called The Weird Kids animated and directed by Zack de Cerro which, which he made over the course of several years. And it was produced by Lucky McKee and it's basically it's kind of a Monster Squad/Goonies type of horror comedy about these three preteens who go with like their friend's older brother to go out to the desert, and there's a monster on the loose and it just it goes pretty wild from there. So very excited for when that comes out. And also big shout out to a lot of shorts. Like I saw a lot of great and amazing shorts by some talented filmmakers while I was at Salem Horror Fest, including Blank by Avishai Weinberger, which involved a relationship that goes into crisis when a woman starts to slowly lose her mind. Also, Baby Fever by Hannah May Cumming about a popular teen who wants to become prom, prom queen who discovers she's pregnant, but there's a lot more to what she's pregnant with. And The House Sitters, which is about a couple of best friends as directed by Sidney Horton. Yeah, it's about a couple best friends who house it for their grandmother. And weird stuff starts to happen. They think the house may be haunted, but at the same time somebody may be after them. Oh and The Five Fingers of a Dog by Charlie Compton and Justin Landsman, which was a kind of a Giallo throwback that was shot in and around Boston.
James Jay Edwards:Thats a Giallo name.
Jacob Davidson:Yeah, it really is they and they really captured the the aesthetic and style and the bloodshed, and also had a kick ass poster made by Trevor Henderson slamming swamp ghost. And, ya know it again, you know, it's just I love this kind of festival because, you know, I get to see so many shorts and films, just you know, outside the mainstream and outside of the common parameters. So, you know, like, there's so many talented filmmakers and, and crew and cast and, you know, just, you know, hoping to see more from them in the future.
James Jay Edwards:I haven't seen a whole lot of new stuff
Jonathan Correia:I'll have to check that one out. since last time we talked but one thing I did see and I'm curious if either you guys have gotten to it yet, because it's kind of got a lot of hype on the internet. have you guys gotten too soft and quiet yet? Oh, no, now, it's on Netflix. And if you don't know anything about it, don't read anything about it. Just go in and the only thing I knew about it went in was that
James Jay Edwards:There's a lot of people been talking about it it takes place in real time. It's like a one shot, you know, movie. And and it's about 90 minutes long. So it's basically one well, it gives the illusion of being one continuous 90 minute shot. But the thing is, there's, there's a reveal that happens in the first act. That is, it's masterful the way that on the internet. And I think a lot of people are saying too they pull it off. And it's better if you don't know much when they say, you know, even saying what it is, quote anything going into it. And it was, it was so well played, that when the movie was over, I watched the first probably 10 minutes before just to because I started thinking after the reveal on like, well, you know what, you know, there's stuff that happened that tipped you off to this and then I went back and I watched it, and I was like, oh, man, now this is like, it's just masterfully revealed. But um, it's it's a really uncomfortable unsettling movie. But it's It's powerful. It's an it's, it's really well executed about air quotes about is giving away a little too much about it. But it's, um, it's a pretty shocking movie.
Jacob Davidson:All right, well, definitely gonna put that on the watch list.
Jonathan Correia:I was about to say, Man, I'd have to pop that in today while recovering on the couch. Yeah, it's a it's a I mean, it's not I wouldn't say that. You'll enjoy it. But it's definitely you know, I mean, it's not the kind of movie that you enjoy. Right? But it is. Yeah, it's it's, it hits hard.
Jacob Davidson:Also, following up on last episode, I did see Polite Society. And yeah, Jon, you were 100% Correct. That was awesome. And it definitely had those kind of Edgar Wright vibes.
Jonathan Correia:Yeah, it's it's phenomenal. I can't wait to see what's the these films the team behind that make. Because just high energy like I left that theater bouncing. Yeah.
Jacob Davidson:Oh, yes. And that's, and oddly, it kind of reminded me of those sidescroller beat him up games like Streets of Rage and the ransom or River City Girls because yeah, it does. It does that kind of stuff, where like, they're just beating the crap out of each other, and like throwing each other through walls and furniture, and I mean, they're kind of injured. They're kind of injured, but not like, seriously injured.
Jonathan Correia:They went Double Dragon quite a few times. Yeah. Yeah, no, it's really good. And
Jacob Davidson:I want at least two sequels. Right.
Jonathan Correia:I've been playing a little bit of catch up with some of my blue so I finally got to watch Benson and Moorhead's Something in the Dirt which is i It was really good it's it's it's Benson and Moorhead and it's just great. To see it. I highly recommend getting the Blu ray Disc because the behind the scenes is great. And also it has to Q and A's one is with them and Mike Flanagan which is really phenomenal. And then there's another one with them and EL-P from Run, Run The Jewels. Which those that's two very different discussion curators and Mike Flanagan and EL-P So that's very interesting, but both were phenomenal but yeah, it's it's really great and they really captured that spirit of like alright, cuz they made the movie during lockdown. And so most of the crew was literally just Benson and Moorhead and their producer. They had people helping on the from the outside and stuff but for the most part in the apartment, it was just the three of them doing all the lighting doing all the scripty, doing all the acting all the directing, doing camera audio, all that so it's yeah, it's, it's, it's really good. And it's a real love letter to LA but not like Hollywood LA but like LA LA. I don't know if you ever been that. If you ever been to LA and stayed away from the tourist thing or you're from there. You'll understand what I'm talking about. It's a It's really good. I also at the Spooky Swap Meet that happened the other day. A couple of weeks ago. I got a VHS of Have you guys heard of Hider in the House?
Jacob Davidson:Oh, yeah, the Gary Busey movie.
James Jay Edwards:I was gonna say it's Gary Busey, right. Yeah.
Jonathan Correia:I never heard of this movie. And I was like, You know what, for $2 I'm buying this VHS and let me tell you, that movie is, the premise is Gary Busey is a grown man who suffered a lot of abuse as a child. And so he got really good at hiding. And at this point, he's just very, he's mentally disturbed and he's going through things. But he goes, You know what, I want a house. So what he does is he goes into this house that no one has moved in yet. And he builds a fake wall in the attic, and he's hiding in the house. He's the Hider in the House and he creates
James Jay Edwards:So its not just a clever name. We are on fire with them today.
Jonathan Correia:I need to address the name because the entire time I was watching I was like Hider in the House is a terrible, awesome name, but there's got to be a better name for it. And so for 90 fucking minutes I was sitting there going what is a better name for this movie and I came up with nothing. Nothing was better than Hider in the House. But it's phenomenal. I think it was like, not long after his accident, or it was like right before it was around that time, but like,
James Jay Edwards:Was it a TV movie or is it a?
Jonathan Correia:No, I think it
Jacob Davidson:I think it's direct to video.
Jonathan Correia:I think it was meant to be theatrical. And then it got fucked on distribution is what happened. But Gary Busey said that it was a what he referred to as an NAR non acting role. So that's just, that's just Gary being Gary in those in those bits. And yeah, Hider in the House, man. Oh, yeah. So he's hiding in the house of family moves in he falls in love with the with the mom. And like, begins to like, try to like win her over. But like is also trying to not reveal that he's been like, secretly living in their house. It's yeah, if Hider in the House if you I think it got a DVD release years ago. And it's like, hard to find. If you could find a way to watch Hider in the House. fucking do it. What a what a great afternoon.
Jacob Davidson:I mean, it's I mean, it's a great horror concept. What if? What if Gary Busey was hiding in your house?
James Jay Edwards:How does it pair with Bad Ronald?
Jonathan Correia:I haven't seen Bad Ronald yet.
James Jay Edwards:You know what I discovered an amazing double feature Cocaine Bear and Beast. Ooh, yeah. I
Jacob Davidson:like the sound of that. They,
James Jay Edwards:they pair very, very well together. Have you guys seen this new movie? Actually, I think it just hit Shudder called Consecration? No, no, it's Jenna Malone as she's a woman whose brother is like a, like a priest. And he supposedly has committed suicide. But she doesn't think it's suicide. So she goes to the convent where he died. And she's investigating with the help of like, this cop and this Vatican priest, she's investigating his his death. And it's, I mean, it's, it's a little clunky in its execution, because it jumps around timeline wise, and it goes back to the, the 1600s, I think where, you know, it's, it's a little, it's not quite as graceful as it should be. But it does get to this point, towards the end, where it does kind of that Saw thing that we were talking about with Charlie Clauser where it like shows everything that happened before, but from a different angle, and you're like, Oh, this is good. This is you know, the twist is actually pretty cool. But I wish that it's about 90 minutes long. I wish it was about 10 minutes longer. So it could have explained a little more of some of the some of the weird stuff. But um, but the payoff to me was was was worth it. I mean, that when it gets to that little because it also throws back like the opening scene. It does that thing where where it throws back to it in the final scene, you know, and and it completely changes the way the whole scene looks. So it's uh, yeah, I think it's on Shudder now I got it. It was on Vudu as a 99 cent rental. So I got it on Vudu and then of course it showed up I Shudder so I blew 99 cents but
Jonathan Correia:they still not as bad as me with Orphan: First Kill buying it outright for 25 bucks and then it showed up are paramount that yeah,
James Jay Edwards:not that I'm not crying over 99 cents. Yeah,
Jacob Davidson:yeah. As for me, we actually did a big screening at the aero theater honoring Robert England as a part of the screening of his the new documentary about him. ICON: The Robert Englund story. And so we did a Robert England marathon, including Freddy vs. Jason, The Last Showing, Stay Hungry, A
Nightmare on Elm Street 3:The Dream Warriors than the doc. And ya know, it was a solid lineup. And yeah, a couple of those I hadn't seen before. Like a of course seen Freddy vs. Jason had not seen The Last Showing or Stay Hungry. And Englund himself held pro program, the marathon. So yeah, The Last Showing was interesting because it's very, very much grounded kind of Hitchcock thriller, where he, where Englund plays this kind of deranged theater worker who's pissed off about film going from film prints to digital, and he decides to make his own movie by manipulating people in the theater. And Stay Hungry, was genuinely heartening, like dramedy from the 70s by Bob Rasmussen, and where Jeff Bridges plays a sign on to this southern Corporation and he has to try and buy this gym, where Arnold Schwarzenegger works and Robert Englund plays a guy that works at the gym, and is he's Arnold Schwarzenegger's grease guy for greasing them up for the flexing competitions. Yeah, and ya know, and the documentary was very interesting going into England's career. Because and and I just, you know, I, you know, everybody knows him as Freddy but it's just it's so interesting to see, you know, it's kind of his career trajectory and just hear a lot of people gush about him because, yeah, he seems to be a genuinely nice sweet guy.
James Jay Edwards:Was he there for the screening?
Jacob Davidson:Oh, yeah. Yeah, he did intros for, for Stay Hungry and Nightmare on Elm Street 3, and he did a q&a for the doc and man, he was so charming. You know, I could listen to him talk for hours and hear all his anecdotes and stuff. Yeah, this is he's such a he's such an interesting guy.
Jonathan Correia:And, and that Doc was co directed by Christopher Griffiths, the friend of the podcast who of
course, was here for Pennywise:The Story of It. Yeah, yes. So yeah. Gonna have to I think that's going to ScreamBox later this year, right?
Jacob Davidson:I believe so. Yeah. I'd recommend it. If you want to know about everything, Robert Englund. Who doesn't? Yeah. Like I said, it's fascinating guy.
Jonathan Correia:I finally got because I backed on Kickstarter, a restoration of the 1911 Italian adaptation of Dante's Inferno called L'Inferno. So I finally got my blu ray of it. And let me tell you that it was a great restoration, because that's, that's a tough cookie to restore that movie's well over 100 years old at this point. I think it's 112 years old now. But it was it's phenomenal. If you're a big fan of you know, watching silent films, especially the works of like George Mellie, and whatnot, the in camera effects they were able to pull off and some of the imagery is really gnarly. There's a whole bit where they had like a headless body carrying its head and they had the shot of like the head screaming, and it still looks good. It still looks it's still holds up. Great. And I really liked that L'Inferno really captured the heart of Dante's Inferno where it's basically just two guys walking through layers of hell going oh, fuck, that's fucked up. Onto the next layer. Oh, man, that's fucked up. Next because thats the whole point, init just two philosophers going. Man, This place sucks. And then I did also watch Sisu which let me tell you
Jacob Davidson:Oh, yeah, loved that movie
Jonathan Correia:Feel good movie of the year. Sisu was incredible in all way. I was sitting there, I was like, man,
we are watching Captain Finland:The First Revenger here. Only they don't need they don't need performance enhancing drugs like Americans do. They just need that white knuckle grit.
James Jay Edwards:I saw a gif on the internet of I think the scene where he's throwing minds at the soldiers because it has someone made a GIF of it because a mine comes flying out and then hits his helmet, right with the trigger of the mine. It just blows them up as them is how it looks.
Jacob Davidson:Yeah.
Jonathan Correia:Its Wonderful. But yeah, it's great. I could watch that gif all day. I mean, I
Jacob Davidson:I know I was like gut laughing watching that movie in theaters
James Jay Edwards:when I saw that. But I saw that little that little clip. I was like, this has to be the scene Jacob was talking about.
Jonathan Correia:It's, it's the whole minefield scene. Because like, yeah, it's it's basically this one guy being chased by a group of Nazis who have a tank. And very early on, it's like, it's an open field. And then there's a minefield and it's just like how the fuck is he going to get out of here? And it just the tension of it is i I was white knuckled gripping the seats because I was just like, get the fuck out of there. Dude get out of there! You can't take on a tank and you know, and that's early in the movie and it just keeps going and oh man beautifully shot, acting was phenomenal. It really sold a really Grindhousey like feel and when that movie was ridiculous, if you saw Rare Exports, it's a very similar vibe of just like, ridiculousness, but sold in such a beautifully told serious way that you that you accept that it's Yeah, Sisu it's, it's phenomenal. It's already very high up there on favorites of the year. So yeah,
Jacob Davidson:I was also fortunate to attend a pre screening of The Boogeyman directed by Rob Savage.
Jonathan Correia:Ooh, what do you think?
Jacob Davidson:I really dug it. Um, you know, I had read the Stephen King short story years ago. And you know, it's one of those things you know, whenever somebody adapts to Stephen King, short story, the big screen a lot, a lot of different ways you can go about it, but I think they really found a way to, you know, kind of keep the tension and horror the original short ball expanding upon it because it's basically about this family that's dealing with the loss of their mother. And the father is a pschyatrist and he's got like a teenage girl and like a younger daughter, and well, they're a boogeyman enters their life. I don't want to go into too many details. I don't want to spoil anything but yeah, there that I yeah, I don't mean to alarm you, but there is there's a boogeyman in the house.
James Jay Edwards:So it's not just a clever name. Oh, I'm on fire with that one today. My screening of The Boogeyman is Tuesday, and I can't wait because it's weird because it has such a generic name. But then when you find out it's the Stephen King boogeyman you're like, Okay, now.
Jacob Davidson:Yeah. Yeah, and Savage really does a good job of kind of capturing King's style with kind of incorporating the kind of grounded kind of familial drama and, you know, kind of real world problems intersected with supernatural evil
James Jay Edwards:This is the Rob Savage who did Host and Dashcam, right?
Jacob Davidson:The very same
James Jay Edwards:Yeah. Okay. So this is kind of a different kind of, I'm assuming it's a different kind of approach for him because you know, Host and Dashcam. Yeah, Host and Dashcam. We're just so like, you know, micro budget and bare bones. And this sounds a little more ambitious.
Jacob Davidson:Yeah. But I would definitely recommend it. And also nobody, you know, shit on it. Just because it's PG 13 like it. It's a solid horror movie. Give it a chance. Listen,
James Jay Edwards:I never shit on anything for being PG 13 Because yeah,
Jacob Davidson:no, no.
Jonathan Correia:Hey, the most terrifying movies I've ever seen growing up was Ghost and Ernest Scared Stupid.
Jacob Davidson:So Oh, yeah.
Jonathan Correia:I do not adhere to the it's not scary. If it's right. If it's not Rated R.
James Jay Edwards:You're talking to the guy who was scared by a hand on Sesame Street. Okay,
Jonathan Correia:That hand was terrifying. I know what you're talking about. I
James Jay Edwards:was talking about me. But Did that scare you too? That hand scared?
Jacob Davidson:Oh, yeah. And scared the hell out of me.
James Jay Edwards:All three of us hate it nightmares from that hand.
Jacob Davidson:Kinder trauma,
Jonathan Correia:or the head or the hands in Labyrinth. Like there's a lot of PG PG movies. What was the was the one that Del Toro wrote, wrote and produced a remake for the TV movie.
James Jay Edwards:Don't De Afraid of the Dark.
Jonathan Correia:Don't be afraid of the Dark!
Jacob Davidson:Oh Right?
Jonathan Correia:Come on. You just you need atmosphere. And you can you can accomplish that without dropping F bombs and blood and gore and
Jacob Davidson:Oh, yeah.
James Jay Edwards:Remember when TV movies were scary? I mean, yeah, those still be
Jonathan Correia:Don't Be Afraid of the Dark. Yeah.
Jacob Davidson:Dark Night of the Scarecrow. Yeah, that's good.
James Jay Edwards:Bad Ronald.
Jonathan Correia:Was Jaws R?
Jacob Davidson:No, that was PG
Jonathan Correia:Jaws was PG fuck everybody, Jaws was PG Yeah.
Jacob Davidson:So ya know, I recommend The Boogeyman. And James interesting getting your thoughts when you see it.
James Jay Edwards:Yeah, I'm seeing it Tuesday. So next time we talk. With that, let's move on to our topic, which was inspired by Evil Dead Rise, which if you listened to our last episode, you know, we all loved and one of the things we loved about it was how seamlessly transition from the creepy cabin in the woods to an urban setting in this high rise apartment. High Rise I use loosely because I not sure how high rise it was, but it was at least there was an elevator.
Jonathan Correia:It was a tall building.
James Jay Edwards:Yeah, it was. I mean, when you think high rise, you think of you know, Empire State Building kind of a thing. But um, we were thinking there are other horror franchises who have also taken the, the urban approach. And I'm gonna go first because I have a favorite. And that is, it went not once but twice. Leprechaun in the Hood, and Back to Tha Hood Yes, yeah. And the thing with Leprechaun is Leps. It's it started on a farm. And then it went, I think, to La which LA, you can kind of think is urban, but LA has kind of a suburban feel to it a lot of times so
Jonathan Correia:it's great. It went to two cities known for greed, right? La and then the third was Vegas.
James Jay Edwards:Third one, they went to Vegas, and then the fourth one, they went to space. Thanks. Yeah, you gotta go to space. And then finally he goes to the hood.
Jonathan Correia:But the thing is, he didn't just go to the hood. He went Back 2 tha Hood
Jacob Davidson:with a numericle 2 Yeah, yep. And
James Jay Edwards:if you haven't seen the lat Well, I say the last two, but there actually have been a couple since then. But if you haven't seen Leprechaun in the Hood or Back 2 tha Hood, you really need to because first of all, LEP raps
Jacob Davidson:Yeah, the Leprechaun rap theme song it's great
Jonathan Correia:Warrick Davis rapping is great.
James Jay Edwards:The whole thing about the first about Leprechaun in The Hood is Ice T has this flute that he took from leprechaun and it makes him this successful record producer oh my god you're laughing and funny concept
Jonathan Correia:How can you not laugh at so Ice T has this magical flute But like I forgot like I mainly only just remember the behind the scenes of Warric Davis learning how to hit a bong like yes mostly what I remember that and the rap I totally forgot that there's a plot.
Jacob Davidson:Yeah that is the thing about In the Hood and Back 2 tha Hood the leprechaun smokes weed it like he smokes a joint with Ice T and Leprechaun in the hood and he smokes a bong in Leprechaun Back 2 tha Hood then he stabs a guy with the bong
James Jay Edwards:Lep in the hood LeP in the hood. The main characters are are the this is this rap duo. And one of them is like trying to be all hard gangsta and he calls himself
Jacob Davidson:Its a trio
James Jay Edwards:Its a trio? okay, I only I only remember the two but what one of them calls a stray bullet. And then the other guy who's trying to be like the positive rapper calls himself a Postmaster P because he delivers a positive message. But it's just such a dichotomy because they're trying to be these gangster rappers. But but there's they're always arguing over what kind of message they want to send.
Jonathan Correia:I was not expecting this recording of this episode to make me want to marathon the Leprechaun movies but
James Jay Edwards:but anyway, that that was one of the the franchises just kind of took it to, to the to the hood to the city. What do you guys got? What are some of your favorites?
Jacob Davidson:you know, back to, you know, change of Well, locations. The first one that kind of came to mind for me was Critters 3 with Oscar winner Leonardo DiCaprio. Like as Yeah, it's a similar thing where it's like, you know, Critters 1 pretty much all on one farm and Critters 2 spreads out to the rest of the town in Grover's Mill. So you know, and to move up from there. So Critters 3. It's like some crates, crate eggs, sneak on or get snuck on this truck that goes to the city. So you basically got a bunch of critters on the loose in a high rise apartment, and trapping everybody inside.
Jonathan Correia:I also haven't watched the Critter franchise either, so I have some marathons coming up, I guess. But that sounds awesome.
Jacob Davidson:Yeah, no, it's fun. And yeah, and again, it's just the novelty of watching a young Leonardo DiCaprio getting attacked by critters. And yeah, and it's like and yeah, it is kind of like Evil Dead Rise where it's not like a fancy high rise apartment. It's kind of a you know, just kind of a rundown apartment with like these people struggling to survive and navigate to struggle survive against critters who are like chasing them up and down. The complex. Yeah, it has its moments like I do. Like, there's like a funny scene where it's kind of this Tom and Jerry bay where like, this older woman is trying to kill the critters that are in her kitchen with a big, like Cleaver, or kind of like in Gremlins when the mom tried to find them off. And yeah, and it kind of turned into like a die hard thing where they gotta make their way to the roof. Yeah, so critters in a high rise in LA, go figure. Oh, God.
Jonathan Correia:Ah, most, most of the examples I came up with weren't exactly rural to urban settings. Most were suburbia to City settings. But there's, there's one that like I think we're all thinking of and we'll get to it with with a certain special effects guy.
James Jay Edwards:There's an obvious one. Yeah,
Jonathan Correia:Well, there's a couple, but a couple that I wanted to bring up Hellraiser 3. Oh, yeah. You tend to not think I know that you just binge through all of the Hellraisers, of Hellraiser on that. But it did follow a lot of the same trajectory that the leprechaun, like the 90s thing where it's like, Okay, now, it's a rural thing, or it's a suburban thing. Now we're gonna put it in the city or now we're gonna go into space, Hellraiser did all that too. But Hellraiser three was such as such a shift because like, it's, again, the first two movies like The second one, you know, we went to hell, obviously. But like, so much of it was like that. What's behind the walls of that suburban house? The perfect, perfect house. There's, you're not thinking there's a skinless dude up in the attic trying to fuck everybody, you know? And then the third one just went fucking ridiculous and turning all the Cenobites into Robocop terminators with the leather fetish, you know. But yeah, I'm not saying that that's a great example. Hell on Earth, it's, it's, it's, it's a it's a fun watch, but it is not Hellraiser. One or two. It's very different. And I think I think the urban setting helps with that, because there's a lot more like running around a lot more ridiculousness happened. But again, I think it's just the entire shift on like, what the Cenobites are, is what led to a lot of that, not just the setting. but you also just went through all of the Children of the Corn, didn't you? Don't they go to urban at one point, that was the one I was referring to. Yeah, that's why that's why I wanted to do Hellraiser First cuz I was like I feel like people want me to talk about Urban Harvest because I did do the one through six and I only made it to four with Hellraiser because after four I was just like I was I was tired I
James Jay Edwards:They get get rough
Jonathan Correia:not not that it was not as bad as doing Children of the Corn one through three and then working six through four That was rough that was that one was a okay like my my brain needs a reset but yes Urban Harvest the best of the Children of the Corn sequels is fucking incredible with just them trying to grow a cornfield in like a vacant lot and there's just like a teenage Charlize Theorin in there for why not? She was one of the extras
Jacob Davidson:and also the special effects by Screaming Mad George.
Jonathan Correia:Yeah, there's like a cord. The He who walks behind the walls screaming mad made him like a giant. Cornhusker. But right? is it wasn't that was like the big inspiration. That scene is
Jacob Davidson:Giant corn worm bug monster that's that.
Jonathan Correia:Children of the Corn three is such a great example of I put it I put it there with like Amityville 2 where it's just like, Alright, cool. We're just gonna go fucking bonkers with this. Like, we're just gonna throw everything at the wall. It's the American Horror Story Asylum of those franchises, you know?
James Jay Edwards:Did you guys see how in the Fangoria chainsaw awards? There's a category for best Amityville movie.
Jacob Davidson:Oh my god. Seriously?
James Jay Edwards:There actually were enough Amityville movies last year that they had their own category with five nominees. Man, when you were saying an obvious one, I thought we that you were gonna go Jason Goes to Hell because that are not Jason's Now Jason Takes Manhattan because that that's the gold standard of an urban setting going go into a rural setting going urban?
Jonathan Correia:Well, I mean, I think we all can agree that
Children of the Corn 3:Urban Harvest is the actual gold standard of doing it. Right.
Jacob Davidson:Yeah, I mean, considering Jason Takes Manhattan, largely on a boat. Yeah, that's
Jonathan Correia:I mean, that's you spend a little bit I think, the best part of Jason goes. Jason Takes Manhattan is the tease the hard one. A teaser is incredible. Just the skyline in New York, New York and many turns
James Jay Edwards:Start spreading the news
Jonathan Correia:beautiful. Ah, remember when we when we used to make awesome teasers like that, or Leatherface three or Leatherface Texas Chainsaw Massacre three with like the Excalibur chainsaw thing, or The Shining with the doors opening and it's just text basically being like Stanley Kubrick is doing a Stephen King novel so prepare your fucking panties. Motherfuckers
James Jay Edwards:speaking of Stephen King, the teaser for Maximum Overdrive.
Jonathan Correia:Oh when, he's coked out. He's like I'm gonna scare the shit out of you. And it's like you already did you already did
James Jay Edwards:you can see the cloud theater.
Jonathan Correia:It was a dark time for many.
James Jay Edwards:Oh, Steve. I'm glad he lived through it though because he's got he he definitely has put out some output since then. Scream kind of did the same thing as Jason takes Manhattan to because they I mean, they kind of played around suburbia. They went to Hollywood for number three, which you know, is kind of suburbia. But when they finally went to New York, I think they did it better than Jason takes Manhattan. No Scream VI in New York. Was was awesome.
Jacob Davidson:Ya know, like the bodega scene I still think about that
James Jay Edwards:the subway scene
Jacob Davidson:all that to that wasa good
Jonathan Correia:also at wait sorry, this just registered in my head. You said that LA isn't a city that that's basically like suburbia if you go fuck yourself San Diego,
James Jay Edwards:San Aires San Diego's a suburb do no I'm just saying LA I don't think of LA as being urban. There's like maybe a 10 block radius that is urban and the rest of it is
Jonathan Correia:that's that's like downtown. That's like city city.
Jacob Davidson:Cities like this guy. skyscrapers.
Jonathan Correia:You we are we are we are pretty spread out. I'll give you that. But we are a city.
James Jay Edwards:And when you do movies about it, a lot of times they say LA and then they'll focus in on like a suburban house. You know?
Jonathan Correia:That's because those movies are focusing on white people.
Jacob Davidson:But yeah, fair enough.
Jonathan Correia:I think I think we're Are We Living in the golden golden age of urbanization of horror franchises though, because like we're kind of back to back would scream six being like, really fucking good in New York and then on the other side of the country, Evil Dead Rise in LA.
James Jay Edwards:Now. Well, that actually brings me to a question I want to ask you guys. Why do you think core franchises kind of not necessarily feel the need but why do you think it's so effective that they do that? It's it's kind of like going to space eventually they gotta go space.
Jacob Davidson:It's it's simple, really. It's all about escalation. You know, like the best sequels are the ones that take everything that worked in the first movie and build them up even larger. And usually, you know, that also applies to setting you know, like if it's in a house you set it in a bigger house and with more people so it only makes sense that if you want to kind of build up on a story like that, do you go from like a house or a cabin to high rise or you know, like a big apartment complex? Also, similarly with Demons to Demons 2. Because yeah, and demons, you know, that was just in a movie theater, then demons to it was a whole, like apartment complex.
Jonathan Correia:That is true. You do need more Bantha fodder and how many people can you convince to go to darelic cabin in the middle of a fucking field? Right? Yeah.
Jacob Davidson:Although that would be funny if they tried to do a sequel where it's the same setting, but like, a lot more people. So they just stuff like 30 people inside of one cabin,
Jonathan Correia:right? So you need to go bigger. And what better example of a sequel going harder, bigger, better, and just having things turn into random ass things than Gremlins 2: The New Batch!
Jacob Davidson:Oh, yeah.
Jonathan Correia:The ultimate of suburban to urban settings? Like, I mean, come on. That's gold. We said Urban Harvest was gold standard, or how dare I Dare I say such things?
Jacob Davidson:Yeah, no clamp tower?
Jonathan Correia:What a, Yeah, that's that, but it is true. I do think it is the going bigger having the bigger setting, having more people for Bantha fodder. You know, that's that was a big thing with like Hellraiser 3: Hell on Earth, because there wasn't a lot of like, wasn't a lot of bodies. You know, there was there wasn't a high body count in those first few. And then the third one, you just had Cenobite, storing fucking CDs at people's faces and killing them. So like, you know, they can't do that in a suburban house.
James Jay Edwards:I think what it is, at least in the case of Friday, the 13th It was absolutely they were trying to break the mold of what those movies were because they did seven of them at the summer camp. And I think maybe Evil Dead might have been doing that too. Because, you know, they I think they got all they could out of the creepy cabin. So they were kind of trying to break the mold and also with Ash vs. Evil Dead that kind of helped usher that in, but they're they're basically trying to tell the audience Hey, you can't expect you know, you don't know what to expect. You can't expect us to stay in this creepy cabin, because we found a way to take it to this apartment building.
Jonathan Correia:Well, and that's what Lee Cronin said in an interview when he said that he was you he knew he was gonna meet with Sam Raimi. And he's like, alright, if Sam Raimi offers me another cabin in the woods Evil Dead. I will, you know, tell them listen, I can't wait to see that movie as a fan. But I can't make another cabin in the woods Evil Dead. And they went, Yeah, we don't want to either. So it was Oh, cool. And then that's where we get the shift in location. But, I mean, it really can be some of the best sequels in a fruit in a franchise, especially when you get to, because we're mainly talking about franchises that are like, get to like eight or 10 movies deep, but I think one of the best sequels that goes urban is Poltergeist 3, because
Jacob Davidson:Oh, yeah, that's another great example. Those two are just
Jonathan Correia:mainly in cities and then Poltergeist 3 has that was kinder trauma for me, especially the parking lot scene where they're when the guy's running and all sudden you just *ffhhp* into the ground.
Jacob Davidson:Oh, yeah. And the mirrors the mirrors in the elevator? Yeah.
Jonathan Correia:There's, there's a lot that you can play with and taking what you have, like the rules you have are like, okay, so if ghosts can fuck around with chairs, how would they do in an elevator that's filled with mirrors? You know?
Jacob Davidson:Exactly. And also, and, you know, I still love Poltergeist 3, because on a, you know, on effects level, like all I think it was almost 100% in camera effects. So like everything you're seeing, it's like, all sleight of hand and like making use of the environments of the of the skyscraper. So it still looks amazing.
Jonathan Correia:I have two questions first. What franchise Do you guys want to see? Go to the city? Take a take a little field trip. Get out of there that hasn't already.
James Jay Edwards:I've got one. I want to see Tremors in the city. Yeah. Because they went to like the Arctic. You know, they did like the glacier thing. But other than that, they've just kind of stayed in the desert.
Jacob Davidson:Well, they've gone to islands like that. Well, yeah, yeah, they
James Jay Edwards:went that way. But yeah, I want to see I want to see graboids take over a city.
Jonathan Correia:It would fuck up the foundation of a lot of buildings.
Jacob Davidson:Yeah, I got one. I want to see the Texas Chainsaw Massacre go to the big city, which Funny enough, that was a pitch by Bill Mosley years ago. He had an idea where the Sawyer is moved to New York City and open up a fancy In a restaurant where, you know, they're using people as the main ingredient, but they're a huge hit. So I just would love to see the Sawyer, just kind of do Beverly Hillbillies type thing and go from rags to riches
Jonathan Correia:associated with that movie.
Jacob Davidson:Me too. It would have been so much fun.
Jonathan Correia:Man, I'm having a hard time coming up with one off top my head because my head is just going Jaws want to see Jaws in the city. But we kind of we kind of got that a little bit with the Jaws 3D Because they had them in like a SeaWorld type. Yeah. You know,
Jacob Davidson:or, you know, just set in the mainland like off the coast of Boston, I
Jonathan Correia:guess. Yeah. But even still, like it's it's not in this city. You got it's gotta stay in water.
Jacob Davidson:chuck jaws goes into the Charles River.
Jonathan Correia:Charles River is a shack and the river. What's a franchise do you guys think would just flat out not work in a city because off the top my head Nightmare on Elm Street. I know. You know, there's that threat. At the end of Freddie's day. There's an elm street
Jacob Davidson:in every town. Every town has an elm street. Yeah,
Jonathan Correia:but I I don't know how effective that's a hurdle. That's a hurdle.
Jacob Davidson:Yeah. Cuz I mean, it's a dream. So you know, it doesn't really make that much of a difference. I guess.
Jonathan Correia:Just picturing Freddy running around like a like a subway. Silly.
Jacob Davidson:Yeah, the, the I'm just not really sure where you go with that. Let's see, I guess for me probably be like Halloween. Like, I just can't really see Michael Myers in the big city. Or, you know, if he wasn't a big city, it's like what what do you do with that?
James Jay Edwards:It's the same with Nightmare on Elm Street. You can't really take it away from Elm Street, you know?
Jacob Davidson:Yeah. Is that as Enfield Haddonfield Is this is this spot exactly. Or Michael Myers Take Chicago
Jonathan Correia:get some deep dish. I mean, even the Paranormal Activity they had that Japanese spin off Tokyo nights you know so that that one went urban but even then those those ones mostly take place in like a house or like you know that's not You're not seeing like Oh, I almost will also Marked Ones was in LA to
Jacob Davidson:Oh, I got I went I got one. The Blair Witch Project.
Jonathan Correia:That wouldn't work in the city. No, you can't they can't do
Jacob Davidson:the Blair Witch Project didn't like Baltimore.
James Jay Edwards:Any Bigfoot movie. Although I would pay to see a bigfoot movie in the city.
Jacob Davidson:Urban Bigfoot.
Jonathan Correia:Like Harry and the Hendersons type in the city. I still think American cryptids would work in in city areas like could you imagine a bunch of like melon heads, like running around New York people would just be like, Alright, those those weird fucks and then move on with their day because I think that's part of the aloofness of a lot of these, like weirdness that you would see in these rural areas that just New York or city folk would just either not be fazed, or they were just so ingrained to not look at it that just wouldn't care. Are we missing any any big ones?
Jacob Davidson:Well, I guess not. Not exactly the same. But there have been a lot of movies where like, Dracula goes to the big city.
Jonathan Correia:Yeah, but vampires in the city is cool, because especially like Blade.
Jacob Davidson:Oh, yeah, no, you're right.
Jonathan Correia:Yeah. Vampires in cities is dope. I mean, I got confused
Jacob Davidson:because I was just like referring in general, but yeah, like stuff that doesn't work.
James Jay Edwards:We know that Predator went to the city for Predator 2. Oh, yeah.
Jonathan Correia:I didn't mention Predator two!?!?!?!
Jacob Davidson:Oh, damn, we forgotten Predator 2
Jonathan Correia:Jesus.
Jacob Davidson:Yeah. I love that though. From one jungle to the urban jungle. taglines were wild for that one.
Jonathan Correia:So I think this episode, we're establishing that if your franchise is not, is running a little bit out of steam, or you're looking to shake things up a bit, then you got to take it to the city because we're, we have listed off some of the best sequels in these franchises.
Jacob Davidson:I gotta say, though, like moving to the big city.
James Jay Edwards:So are you saying that Predator was running out of steam after one movie?
Jonathan Correia:Well, no, they needed to change it up because you can't just do another movie about about a bunch of muscle muscle bros in the in the in the jungle. Yeah, you had to you had to change drastically. And also Danny Glover was fucking badass in Predator too. I
Jacob Davidson:am bringing this full circle Gary Busey.
Jonathan Correia:And Gary Busey. Yes. Highter in the LA from the Predator.
James Jay Edwards:You know what I want to see. I just thought of this. I want to see an Expendables movie that becomes a stealth Predator movie.
Jacob Davidson:Oh, there's an idea. Although that was kind of the that was kind of Predators.
James Jay Edwards:I was gonna say that will also predator was kind of that way too because you had Jesse The Body and and Schwarzenegger and and what's his head Carl weather I mean, you had all of these actions are so it would be a modern predator, I guess.
Jonathan Correia:I mean, you did have Terminator with Action Jackson and why don't I remember Jessie Venture's name and Running Man.
Jacob Davidson:What was he thinking my Electro orCaptain something hold on saying I feel
Jonathan Correia:like I have not only disappointed our fans but I've disappointed myself more so and
James Jay Edwards:I'm disappointing myself because what was the hockey guy's name in Running Man? Sub Zero?
Jacob Davidson:Sub Zero Yeah. Okay, Jesse Ventura was Captain Freedom.
Jonathan Correia:That's what it was Captain Freedom.
Jacob Davidson:Yeah, it's hockey guy I think was sub zero.
James Jay Edwards:Yeah, he was sub zero.
Jacob Davidson:And there was and there's another guy buzzsaw. And there was another guy named fireball.
Jonathan Correia:And you had the writer of Lethal Weapon in there to Shane Black shame. Oh, yeah, kind of was the Expendables
James Jay Edwards:kind of it was The Expendables of its day. Yeah. There you go fighting. And actually the Predator was supposed to be John Claude Van Damme.
Jonathan Correia:Yeah, but that that costume would did not work. I'm so glad they decided to get that yeah, it's also an is not cool. Attitude Era.
James Jay Edwards:Can you imagine how different the landscape of like of creature features would be if they didn't do the predator the way that they did? I mean, because it's so iconic. And it went on to do alien versus predator. I mean, there probably wouldn't even have been a second movie honestly. Right. Okay, cool. Well, let's uh let's wrap this one up. What did we miss? I feel like we are missing some but what are your favorite franchises that have that have gone to the hood? Or gone gone urban? What have we missed? And was it too soon for predator to go to go urban?
Jonathan Correia:No, no Predator 2 is a masterpiece! I
James Jay Edwards:And yeah, and did Friday the 13th wait too will fight! long to go urban?
Jonathan Correia:Well in the movie it did. Yeah, the movie.
Jacob Davidson:They weren't able to go to all the big locations they wanted to and you know how to cut the budget
James Jay Edwards:in the movie itself. It waited too long. Anyway, let us know what you think of these urban settings and and also chime in on on what who you want to see go urban? Do you want to see Sharktopus go urban? Or you know what, Sharknado go urban.
Jonathan Correia:I am trying to think of like franchises that are going on right now.
James Jay Edwards:Yeah, well, The Purge kind of went urban after this the first movie because the first one was like suburban, and then took it into the city, which was kind of cool, but
Jonathan Correia:it hasn't left since.
James Jay Edwards:No, no. Well, well, like it did kind of for Forever Purge
Jacob Davidson:it went through. Yeah, they were in Austin.
James Jay Edwards:Yeah, they went to and it was like on a ranch. So it was close enough to Mexico that they can make a run for Mexico when they didn't call it off. Which was really ironic. Alright, so faithful listeners. Let us know what you guys think. And we'll we'll call this an episode you can find us at on any of the socials at@EyeOnHorror or at ihorror.com Because that's the site we call home. Our music is by Restless Spirits. Go give them a listen. And our artwork is by Chris Fisher. So go give him a like, and yeah, I'm gonna go I'm gonna go hit the city right now. Ya know what if the Warriors went the other way and went rural? No. That's that's a different episode.
Jonathan Correia:Isn't that just Lord of the Rings?
Jacob Davidson:The Hills Have Warriors. I say
Jonathan Correia:Hills Have Eyes! That's a franchise that could go to the city.
James Jay Edwards:That would be that'd be really freaky. Yeah, Wrong Turn. Take those guys to the city. Oh, geez. Any of these deliverance to the city?
Jacob Davidson:Yeah, like I said, you know, it's like they did with the Texas Chainsaw Massacre is like the Beverly Hillbillies.
James Jay Edwards:Alright, with that, let's get out of here. So we'll see you guys in a couple of weeks. So for me, James Jay Edwards.
Jacob Davidson:I'm Jacob Davison
Jonathan Correia:and I'm Jonathan Correia.
James Jay Edwards:Keep your Eye On Horror.