Feb. 6, 2018

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. On this episode we’re discussing Jacob’s Ladder and They Look Like People, and we were lucky enough to be joined by Jon The LitCritGuy! First and foremost we want to give a shoutout to our sponsors 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 to check them out. Thanks! We begin by talking about what horror related things we had done lately. Jon opens the conversation by talking about recently teaching Alien and Ex Machina to his classes and hosting screenings of those films. We briefly discuss the intellectualization of the horror genre and the nature of horror fandom in America. Liam talks about seeing Brawl On Cellblock 99, and Justin talks about seeing Phoenix Forgotten, The Open House and Before I Wake. There is a brief discussion on the Truth Or Dare trailer and Godzilla: Planet Of Monsters, and Liam mentions the trailer for the upcoming ‘Bigfoot behaving badly’ movie Primal Rage. Up first we talk about 1990’s Jacob’s Ladder. We begin by talking about our initial exposure to this film. Jon talks about specific scenes in the film that had an effect on him, especially the ‘gurney’ scene in the hospital. Justin talks about the impact it had on the aesthetics of horror films in the 1990s, especially the ‘headshake’ effect the film pioneered and that many films and music videos went on to use. Liam talks about seeing the film on late night basic cable as a kid. Jon talks about the impact the film had on the video game franchise Silent Hill, as well as the overall bleakness of the film. Tim Robbins’ performance is discussed, as are the numerous twists and turns the film takes. Some of the deleted scenes and the strength of having them removed are discussed, and the nature of the cinematography (quick flashes of something horrific as opposed to long looks at something horrific) is discussed. The existential nature of the film, in that it examines the horror and anxiety of every day life, is examined. Liam briefly talks about the weirdly optimistic ending. Jon compares the gurney scene in which Danny Aiello’s character rages against the hospital staff as another example of we, in every day life, cling to our every day life despite it being horrific. Some of the theological aspects of the film are examined, including those of Meister Eckhart who is quoted in the film. There is a discussion on whether or not Louie and Jezzie are separate entities from Jacob Singer i.e. the film is entirely psychological and NOT mystical in nature, with Justin arguing the former and Liam arguing the latter. The plotline of drugs being used on unknowing soldiers in Vietnam being somewhat unnecessary and weird is discussed. We talk about the legacy this movie has, in that it had a tremendous impact on a certain age group while remaining somewhat obscure to the younger generation.   A comparison to Wes Craven’s The Serpent And The Rainbow is made, in that both films are non-traditional and non-linear approaches to the genre. Jon talks about the nature of horror film ascribed to each decade and how this film kind of bucks that trend. We discuss the possibility of the finished product being somewhat different from the screenplay and that it was a result of “director vs. screenwriter”. Up next we talk about 2015’s They Look Like People. Jon opens up the discussion by approaching the film’s take on alienation from a Marxist perspective, as well as commenting on the intimate look of the film in that it is a very tightly shot film. Liam talks about the “smallness” of the film, in that it has a small budget and a small cast and turns that “smallness”...

This episode is from Horror Business whose proprietor has full ownership and responsibility on its contents and artworks. It was shared using Castamatic, a podcast app for iPhone and iPad.