Greetings and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1981’s Deadly Blessing and 1982’s The Slayer
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We start by briefly discussing what we’ve done lately involving horror. We talk about Wes Craven’s career for a bit. Liam talks about watching the documentary Scream, Queen! and Justin talks about the Netflix series Bataal and Ghoul.
Up first is Deadly Blessing. We give a brief summary of the film, which sticks with being a slasher film up until the very end. We discuss the lack of tension and “fear of stalking” in the film.
We talk about how the film is largely not exciting until the very end when it kind of switches genres to exploitation shootout, as well as the inexplicable and almost nonsensical reveal about the gender of one of the characters.
We talk about how the film is a reflection of Craven’s fear of religion and his upbringing and how they might actually be right when it comes to morality.
We discuss how the film touches upon the secular fear that maybe religion is right, a theme similar to folk/pastoral horror themes. We talk about the lack of creative kills and creepiness.
Up next is The Slayer. We give a brief summary of the film, and how the film doesn’t really push the sparseness that it hints at.
We talk about how the unfocused the film is, and how it kind of spreads it bets by trying to incorporate elements of different horror subgenre films.
We discuss how the film does a lot of work suggesting that the main character is losing her mind but then just devolves into a boring slasher film.
The nonsensical ending is touched upon as is the fact that the ending was obviously written as a way out beforehand.
We conclude by talking about the how the entire movie is worth it for the skeleton monster at the end, but how the actual ending of it all being a dream is bullshit.
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