Welcome to Horror

Adam returns to the Welcome To Horror Fact Library for a bonus episode of extra material left over from our recent episode on “The Blood On Satan’s Claw”. As always, we recommend you listen to our main episode (number 234) first, before plowing into this fiendish field of facts. We hope you enjoy this little transmission from the Welcome To Horror Fact Library.

The team have unearthed something terrible under the cabbages in the Welcome To Horror allotment, so it’s time for “Blood On Satan’s Claw”. A film in which Mr Kipling leads exceedingly angry mobs; The Master gets in trouble for playing with his snake in the woods; and Simon Williams receives the worst kind of handjob. Part of the Unholy Trinity of Folk Horror, “Blood on Satan’s Claw” is the only one that features the genuinely supernatural. Originally conceived as a kind of anthology, those roots still show, but the decision to make it one tale was the correct one. Combining some of the most picturesque and beautiful imagery with some of the cruelest and horrific events to befall a seemingly innocent community; this is no mere Hammer knock-off. A marvellous script and a cast all bringing their best make for a disturbing glimpse of festering corruption, with our only hope being the intervention of harsh authoritarian powers seemingly as nasty and uncaring as the evil they confront. Watch (or re-watch) to avoid spoilers and join us.

It’s weird sequel time, and there’s few that come weirder than “House II: The Second Story”. A film in which we learn that portals are a common problem in old houses (a bit like dry rot, but with more murder); that old cowboys don’t die (they just get rat-arsed in the basement); and that Bill Maher is an oily heap of shit. Whilst an anthology film franchise should endeavour to make each entry as different to what has gone before as possible; it is still is a hell of a whiplash to view this after the first “House” film. Certain things remain - the humour, marvellous practical effects, and a guest star role for someone from “Cheers”, but the differences are far greater. Whilst the first film is definitely a horror, this falls much more into the category of family adventure; and could be an entry level horror film for kids, with nothing too scary, a set of goofy, likeable characters and amusing puppets. This family-friendly spookiness was possibly influenced by the huge success a few years earlier of the likes of “Ghostbusters”, “Gremlins” and “Raiders of the Lost Ark”. After this, the franchise went into more obvious horror territory, but, unfortunately, never quite achieved the inventive potential displayed in the first two entries. Watch (or re-watch) to avoid spoilers and join us.

We’re sticking with the work of Don Coscarelli, and going back to the classic that made his name; “Phantasm”. A film in which Angus Scrimm shows that, despite being older, he can still shoot his balls round corners; we learn how to make some of the most dangerous improvised explosives outside of the Anarchist’s Cookbook; and we meet a Jawa with a porn-moustache. Coscarelli’s third feature film, made independently over 2 years with a cast and crew of mostly friends and family, would go on to be a staple of the horror section in video shops for the next decade, with its striking poster image (entirely unrelated to anything in the actual film) burned into the minds of a generation. Unlike a lot of its VHS counterparts; “Phantasm” is an utterly unique beast; a horror/sci fi hybrid with surreal set pieces and a mythology that obfuscates the more it reveals; coupled to a domestic coming-of-age story of two orphaned brothers (and their singing Ice Cream Man buddy). It would follow the route of successful 80s horrors in spawning a franchise, but this too would be unlike any others, with (mostly) the same cast returning each time, the story being picked up pretty much from where the last film left off, and lore explorations that again only deepen the mystery. Watch (or re-watch) to avoid spoilers and join us.

This week, we’re discussing Don Coscarelli’s “Bubba Ho-Tep”, and usually at this point, we would write a few amusing sentences about the film. But nothing we can come up with beats this premise: Elvis Presley didn’t die and is now stuck in an Old People’s Home in Texas. He teams up with a fellow resident (a black man who claims to be a post-assassination JFK) to fight a soul-sucking Mummy in Cowboy boots. Seen and loved by many at the time of release, now 23 years later, “Bubba Ho-Tep” seems, sadly, overlooked. Despite its horror royalty combination of “Phantasm” creator Coscarelli behind the camera, and a magnificent portrayal of a bitter and forgotten Elvis/delusional Elvis impersonator by Bruce Campbell (in possibly his best role outside of “The Evil Dead”’s Ash), it just doesn’t seem to get mentioned much anymore. Which is a shame; Campbell’s marvellous double act with the impeccable Ossie Davis as JFK give this mondo idea some real humour and heart. Despite the madcap premise, the film is also a reflection on the regrets, sadness and indignities of old age, with Elvis mourning his lost potential, and his body’s decline (in a scatalogically graphic narration). Like its protagonists, this film shouldn’t be forgotten as it ages, but allowed its time to shine forever. Watch (or re-watch) to avoid spoilers and join us.

Get yourself a costume and slap on your face - we’re off to the cinema for 1991’s “Popcorn”. A film in which we learn that reggae bands cannot be stopped by a power cut; your favourite Martian now owns a movie memorabilia shop; and, as always, if Dee Wallace is your mum, shit’s gonna get weird. Made at that curious cusp of 2 decades, this should be standard 80s slasher fare, but it’s knowing references to horror film lore and elevated tone actually predict the direction the genre would take through the 90s. A fractious production with director and lead actor swapped out a few weeks into shooting, this could have been a real mess - the fact it’s as entertaining and coherent as it is is a testament to all involved. With a likeable cast exhibiting genuine camaraderie and some fine spoofing in the films within the film, this is a neglected little treat for the curious. Watch (or re-watch) to avoid spoilers and join us.

We present a spoiler free look at director Jennifer Wolfe’s debut feature “Happy Ending”. A couple losing the spark in their relationship seek advice from friends who recommend a trip to a massage parlour with “extras”. An already uneasy and awkward visit for the pair is reflected in the back rooms of the parlour, where the workers are troubled by their situation and the obsessive attentions of a dangerous former customer. Events spiral into an eruption of chaos and violence, drawing everyone into the maelstrom. Whilst that may sound like pure thriller fare, what sets “Happy Ending” apart is that it’s also extremely funny; our two main leads are engaging and realistic, their comfortable but strained partnership brings the laughs as they navigate their way through the tribulations of their relationship, and, latterly, attempt to get out of the deadly situation alive. A big thank you to Jennifer Wolfe for reaching out to us (on recommendation from previous guest, “Bampire” director Zoë Wassman) and giving us the opportunity to view this excellent comedy/thriller. “Happy Ending” is currently streaming on Amazon Prime, Plex and Fandango ar Home, and we urge you to seek it out!

Welcome To Horror Presents: “The We Have Been Watching Master Plan”. It’s one of our semi-regular rundowns of all the visuals we’ve been spaffing into our eye globes, betwixt our regularly scheduled programming. We discuss “The Devil’s Rejects” (2005); “Sinners” (2025); “Dellamorte Dellamore” (aka “Cemetery Man” 1994); “The Autopsy of Jane Doe” (2016); “The Monkey” (2025); BFI Southbank’s screening of Sophie Sleigh-Johnson’s “Code Damp: Experimenta Mixtape” and some honourable mentions. There should be no need to prep for this ep, but listeners beware, as here be (possible) spoilers and (definite) swearing. Join us!

Settle in your best (and only) coffin, grab a drink or twelve and join us for “The Comedy of Terrors”. In film in which we hear possibly the only use of the phrase “Toss Pot” outside of the UK; Orangey displays why he was considered one of the finest cactors of his generation; and Osgood Fielding III gives the best scream this side of a Tom and Jerry cartoon. Sadly, this is the last time that Vincent Price and Peter Lorre demonstrated their magnificent comedy double act as part of this amazing ensemble with Joyce Jameson, Boris Karloff and Basil Rathbone, all of whom totally embrace the grotesque insanity of their characters and the tale itself. “The Comedy of Terrors” is a real refinement of the dark vein of humour the various cast members had begun exploring with Roger Corman in the Poe adaptations “Tales of Terror” and “The Raven”, but this time, it’s the legendary Jacques Tourneur behind the camera, with an original script from the pen of the great Richard Matheson, both of whom mould this original gem of Gothic Black Comedy. Sadly, “The Comedy of Terrors” failed to perform at the box office, and with Lorre’s death only a few months after release, it closed a chapter on what could have been a far more interesting direction for producers AIP. Watch (or re-watch) to avoid spoilers and join us.

Grab your bandages and have a good sarcophagus - we’re watching Universal’s original 1932 version of “The Mummy”. A film in which Zita Johann attempts to break the record for the number of 6’s you can put on your forehead; Edward Van Sloan returns as Van Helsing… er… plays the entirely new character of Dr Muller; and Jack Pierce bakes Boris Karloff for 8 hours at Gas Mark 5. Having hit gold with their adaptations of Dracula and Frankenstein, Universal decided to add another monster to their roster, and turned to Egypt for inspiration. Returning star Karloff cements his reputation with his baleful portrayal of Imhotep/Ardath Bey, searching for his lost love from beyond the grave. He is ably matched by Zita Johann’s portrayal of Helen and, later, the long dead Anck-es-en-Amon. Makeup maestro Jack P Pierce once again makes a memorable monster, in both his forms. Although this in many ways retreads the story beats of Dracula, it still has its own iconic moments, and it may also surprise new viewers that the shambling figure in bandages they may expect is almost entirely absent. Whilst there are aspects and attitudes of the film that may not sit well with modern sensibilities; it is product of nearly a century ago, and should be taken as such. And as a key film of Universal’s original horror run, it really deserves to be seen. Watch (or re-watch) to avoid 93 year old spoilers and join us.

It’s Poe Time! Join us as we venture out into the daylight and visit “The Tomb of Ligeia”. A film in which Captain Peacock serves the tea, whilst Slartibartfast and Doctor Who’s Nero have dinner; meanwhile Vincent Price auditions as frontman of The Byrds, and attempts to convince us that he could hurt a cat. The last of the Roger Corman / Edgar Allan Poe films finally sees the series move out of the studio for some beautiful location shooting in the English Countryside. A wonderfully distressed and melancholy Price is matched by two excellent performances from Elizabeth Shepherd as both feisty and romantic Rowena, and the foreboding, electrifying will of Ligeia. With support by an excellent cast of familiar British character actors, the film still ties in with the others in the series, with woozy dream (and dream-like) sequences, and the inevitable conflagration of the main setting. Watch (or re-watch) to avoid spoilers and join us.

This episode we’re discussing the bang-up-to-date podcast “Broken Veil” from Joel Morris and Will Maclean. Two intrepid podcasters gathering weird stories from friends, find the tales begin to coalesce in the liminal spaces of Essex…. To tell you more would be to ruin this utterly original and intricately written show. With an excellently selected cast and a definite hint of Nigel Kneale to proceedings, it should suffice to say that if you’ve ever spent too long disappearing down esoteric internet rabbit holes, or whiled away sunny days with your nose stuck in The Fortean Times, this show is for you. SERIOUSLY - THIS SHOW IS A DEFINITE RECOMMENDATION FROM ALL OF US, SO PLEASE LISTEN (OR RE-LISTEN) TO THE 6 EPISODES IN FULL BEFORE YOU JOIN US FOR OUR SPOILER HEAVY CHAT.

We’re sticking with under-appreciated Hammer films this episode, and another from 1966 - “The Plague of the Zombies”. A film in which André Morell is such a badass, he stabs a man who is already on fire; the local constabulary are so obliging that they don’t just turn a blind eye to grave robbing: they also help fill in the hole; and Servalan is feeling really rather tired. This was originally released as a double bill with “Dracula: Prince of Darkness”, and while the Count brought the box office clout, “The Plague of the Zombies” is definitely the more exciting and interesting film. Hammer’s only foray into zombie territory wisely transplants the myth’s Haitian origins to Cornwall, thus bringing in an element of British colonialism, which is then married to a comment on capitalist exploitation of the workers, making for a remarkably modern subtext. But the gothic visceral chills are there too, both supernatural and all too horribly human, with a standout dream sequence that really gives these zombies some evocative menace, that may have played into George A Romero’s take on the monsters a mere two years later. Watch (or re-watch) to avoid spoilers and join us.

Well sod me sideways; it’s a cheeky bonus episode from Welcome To Horror! Adam and Lee spend time in the kitchen with the magisterial Mr Vincent Price, and take a look at his 1971 Thames TV series “Cooking Price-Wise”. A truly delightful show in which VP demonstrates his culinary prowess, knowledge and love of good food, with a series of delicious treats you can make at home. There’s no spoilers for a cookery show, so you can dive right in, but it’s a definite recommendation for fans of the great man. Stick your apron on, clasp a wooden spoon and join us!

It’s Hammer Time, and we’re looking at some of the more under-appreciated output from The Studio That Dripped Blood”; first up it’s 1966’s “The Witches” (aka “The Devil’s Own”). A film in which a headmaster cosplaying as a priest is seen as a harmless quirk; the local butcher puts paid to the adage “laugh and the whole world laughs with you.”; and your choice of drinks is gin, gin or more gin. A box office failure; “The Witches” was not considered a worthy part of Hammer’s horror output, languishing for decades as a mere footnote to both the story of Hammer Films, and the career of star Joan Fontaine. Thankfully, that reputation has shifted with time, as later generations have rediscovered it. The story is a blueprint for folk horror, whilst predating those movies that would come to define the genre and Quatermass creator Nigel Kneale’s subtlety witty script means this feels a lot more fresh and modern than some of the more melodramatic gothic horrors the studio produced, with a set of strong female characters driving the narrative. Whilst some may find the heavily choreographed climatic ceremony comical, if the movie has drawn you in, these sequences can actually be eerily mesmerising. Watch (or re-watch) to avoid spoilers and join us.

Welcome To Horror Presents: “The We Have Been Watching Invasion of Earth”. It’s time for our semi-regular round up of all the entertainments we’ve been sticking into our brains for the past few weeks (and no laughing at the word “semi” please, we’re all grown ups). This time round there’s quite an international flavour as we discuss Soviet masterpiece “Viy” (1967); 2 movies from South Korea in modern classic “Train to Busan” (2016) and the “Tucker & Dale…” reimagining “Handsome Guys” (2024); fantastic Norwegian comedy “Troll Hunter” (2010); and the breathtaking 1922 Danish/Swedish silent documentary “Häxan” (and it’s William Burroughs narrated 1968 version, “Witchcraft Through the Ages”). We also cover hit podcast “Broken Veil” (2025), 1982’s “The Slumber Party Massacre”; “Hellboy: The Crooked Man” and “The Book of the Witch” (both 2024). Plus there are honourable mentions for “Battle Beyond the Stars”; and the anthology shows “Tales of Unease” and “Armchair Thriller”. There should be no need to prep for this ep, but listeners beware, as here be (possible) spoilers and (definite) swearing. Join us!

We’re back in the deep dark woods for 2010 horror comedy “Tucker & Dale Vs Evil”. A film in which we learn the pitfalls of a “fixer-upper” for the first-time buyer; observe the dangers of mixing chainsaws with bees; and you can actively hate the clueless teens (even more so than usual). Based on a simple but hilarious premise; “Tucker & Dale…” manages to sustain it for pretty much the whole of its runtime, with a necessary swing into more familiar horror territory for the last act. The heart of the film lays with its (wonderfully portrayed) titular characters; a refreshingly sweet, honest and hilarious double act, who you cannot help but love and root for as they blunder through an increasingly ludicrous series of coincidences and misunderstandings. Watch (or re-watch) to avoid spoilers and join us.

It’s time to dig out your 70s glam hits and make weird proclamations in your best falsetto as we try on Osgood Perkin’s “Longlegs”. A film in which T.Rex are finally released from the tyranny of “Billy Elliot”; the devil is in the details (usually the corner) and nothing says happy Birthday like a shrieking man putting his balls into your head. Riffing on the 90s idea of the serial killer film - a police procedural dressed up as a horror film - Longlegs takes a horror film and dresses it up a a police procedural, to incredible effect. With a tantalising mythology of its own, which seems to be akin to that in Perkin’s earlier “The Blackcoat’s Daughter”, plus a cast all bringing their A game, this moody and chilling thriller rightly did excellent work at the box office. This success also came through an extremely well-designed promo campaign, and word of mouth that reached far beyond the horror community, meaning this deliberately weird and uncomfortable film is practically mainstream, without any apparent concession to get there. Watch (or re-watch) to avoid spoilers and join us.

It’s time to get deep, as we are joined by previous guest Dani, for Neil Marshall’s “The Descent”. A film in which we learn how to give a lemon an orgasm; that spelunking is not an orthodox method of grief counselling; and that there’s always one fucker who won’t stay with the group, even if you tell them to! Marshall’s superb follow up to his debut “Dog Soldiers”, whilst often mentioned by fans and in lists of lesser-known films to see, really deserves to take its place as an acknowledged classic of the genre. The building claustrophobic dread, vicious injuries and the gradual disintegration of the team’s relationship make for a stunning first half, with the emergence of the monsters almost a relief from these all too real horrors. The cast are simply outstanding; and this still, remarkably, remains an outlier as an almost exclusively female-led horror film, 20 years later. Watch (or re-watch) to avoid spoilers and join us.

It’s time to unleash some absolute mania, as we experience the multiple derangements of Nobuhiko Ôbayashi’s “Hausu” (aka “House”). A film in which we learn the best way to store a watermelon; the worst way to store futons; and that your legs can live to fight another day, even if the rest of you has been devoured. Like a food-colouring fuelled half remembrance of 60s pop group films fused to the most avant-guard of haunted house movies, with disturbing imagery drawn from the director’s young daughter, and nothing but torment and despair for our likeable young protagonists, “Hausu” should not work. However, Ôbayashi’s vision, style and flair make this a joyous dive headlong into a reality that the word surreal barely does justice to. It’s relentless energy and charm make for a real gem, that balances humour with the macabre - the switch halfway through from teen summer break to crazed nightmare barely dents its propulsive fun, meaning that the viewer comes away with a giddy contact high of absurdist joy. Watch (or re-watch) to avoid spoilers and join us.