Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys because we’re talking about two absolute bangers from 1983: One Dark Night and The House On Sorority Row.

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We start by talking about some of the things we’ve done involving horror recently. Liam talks about the films Destroy All Neighbors and Where The Devil Roams, as well as the comic series Monstress, and we talk about the recent season finale of True Detective.

Up first is The House On Sorority Row. We give a brief summation of the film and talk about the film’s status in the realm of fandom, in that it’s considered one of the greatest slashers of all time.

Justin talks about how despite this being the film he wasn’t crazy about this episode, he still found it to be and effective and well-paced film that seemed to know what it was doing, even if that was a touch well worn.

We discuss the film’s lack of a male gaze, something that is rare in the realm of slashers, and some of the more interesting visual choices the film makes.

We discuss the film’s clear influence, mostly Hitchcock, and the director’s relationship with Brian de Palma also being an influence. The film’s effective red herring/reveal of the killer is touched upon.

            Up next is One Dark Night. We talk about the near ensemble cast of the film and the strange connections they make to the rest of cinema. We talk about the film’s unconventional but effective opening, and how it leads into a film that seeks to be a zombie movie but does so in an extremely roundabout way.

The film’s unorthodox take on “zombies” is discussed, as is the phenomenon in ‘80s horror films in which practical effects that didn’t quite cross the finish line into the realm of realistic become far more unsettling than what they were meant to depict.

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