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HORROR BUSINESS Episode 51: THE COMPANY OF WOLVES & BAD MOON

HORROR BUSINESS Episode 51: THE COMPANY OF WOLVES & BAD MOON

Published 7 years, 6 months ago
Description

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. On this episode we’re discussing 1984’s The Company Of Wolves and 1996’s Bad Moon.

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 www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks!

We start by talking about what we’ve seen or done lately in the field of horror. Liam begins by talking about seeing Lars Von Trier’s The House That Jack Built, and we discuss our opinions on the work of Von Trier. Liam also talks about the recent Netflix film CAM and a recent Japanese film entitled One Cut Of The Dead and The God In My Ear as well as seeing Overlord in theatres with Justin. Justin then talks about seeing the films Mom And Dad, The Night Eats The World, The Cured, Possum, Marrowbone, Primal Rage, and Summer of ’84, as well as starting the newest season of Syfy’s Channel Zero.

First up is 1984’s The Company Of Wolves. Liam and Justin spend much of the episode good heartedly sparring over their opinions over the film, with Liam greatly enjoying the film while Justin is only lukewarm on it.

We give a brief outline of the plot of the film. We discuss the positive aspects of the film, including the cinematography, the practical effects, some of the imagery, the story, and the structure. We then turn to what we didn’t necessarily enjoy about the film, including the pacing, the tone deaf nature of the film at times in regards to blossoming female sexuality, and the heavy handed nature of the film’s message.

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