Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys because we’re talking about two films directed by Ulli Lommel: 1980’s The Boogeyman and 1983’s The Devonsville Terror.
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We start by talking about what we’ve done involving horror recently. We talk about seeing the new A24 feature Talk To Me. Justin talks about covering the recent Fantasia Film Festival (check out some of his reviews here) and virtually attending the Popcorn Frights film festival, as well as catching The Last Voyage Of The Demeter in theatres.
Up first is The Boogeyman. We start by talking about how the film is misnamed since there’s no boogeyman and how it’s just an amalgamation of better films. Liam talks about he enjoys the 70s/80s low budget vibe as well as the actor Suzanne Love and the weirdness of the FX towards the end. We talk about how we are largely unfamiliar with Lommel’s work despite knowing about his work.
Justin talks about how while he enjoyed the film in theory, he couldn’t get past the film’s insistence on inserting references to other horror films (Halloweens’s “heavy breathing POV”, the house resembling 112 Ocean Ave) and how it felt almost like Lommel didn’t have faith in the film, despite the studio having enough faith in it to cast John Carradine in it and producing two sequels.
We talk about some of the more uneven aspects of the film, like how it feels like towards the end the film just kind of runs out of gas. Liam talks about a strength of the film in that there is no escaping the haunting of it.
Justin concludes by talking about how ultimately, he appreciates the fact that while the film may have been poorly at least it was earnestly, which counts for a lot in enjoying a film.
Up next is The Devonsville Terror. Liam talks about it feels like this film reaches what The Boogeyman promised with its “weird nightmare” feeling.
Justin talks about how while he enjoyed the movie overall one actor was so annoying it became somewhat distracting. We discuss the performance of Donald Pleasance, as well as how the film delivers on the promise of violence and gore that was associated with European horror films.
We talk about how the depiction of “shitty upset men” in the film 40 years ago is the same as assholes are today due to the strange “incel” behavior of the characters. We briefly talk about how the film could be perceived as a work of feminism,
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