Murderous lunatics in red robes, gothic castles, severe fetal abandonment, and a wee bit of detective work comprise this double-bill featuring a string of gruesome murders in a gothic castle and across a musical conservatory in The Red Queen Kills Seven Times (1972), and Mozart Is A Murderer (2001), respectively. Along with our general thoughts on both films, we take a look at the contrasts between gialli from 1972 and 2001, we (try to) dissect the convoluted plots of each film, we look into the cast/crew, and much, much more!

555... Every five years, within five days, unsuspecting couples are brutally murdered. Who is behind these bloodbath sex crimes? What does the third five mean? Nathan scrapes, as only he can, the bottom of the SOV barrel to deliver unto us 555 reasons to recoil in terror... Yes, it's 555 (1988) from director Wally Koz. In addition to our general thoughts, we take a look at the life lead by director Koz, where 555 stands up against other SOV flicks, and much, much more!

Struggling artist Reno paints to survive, but the pulsating paranoia of the city squirms and crawls in his psyche, splitting his mind from the strain. Reno's response is a fast finger on the trigger of a killer drill. Plug into terror with The Driller Killer! We are joined by Bill Ackerman and brave a few technical hiccups (no video tracks for Justin or Bill) to deliver one of our longest shows in a while, deep diving into the sketchy world of Abel Ferrara's The Driller Killer (1979), looking at everything from the sleazy atmosphere to its sordid release history (including its status as a Video Nasty), and a lot more in between!

Estranged siblings, Scott and Ashley, look to mend their relationship on a 3-day hiking trip. As tensions rise, Scott gets lost and falls into a 10-foot-deep spike pit, impaling him through his leg and leaving him trapped. He and his friends soon learn that his fall was no accident, but the beginning of a deadly hunt perpetrated by a deranged madman whose use of deadly traps each adds a gory notch to his body count, one by one. A sight-unseen choice from Erik, we give our general thoughts on this backwoods throwback and also discuss the cast, crew, and what's next for director James Kondelik.

An abandoned cargo ship, two brothers in law enforcement, blood-thirsty Dobermans, and a mysterious killer con dos conjuntos diferentes comprise this double-bill featuring a string of gruesome murders in Texas and across the Rio Grande in The Day Of The Jackal (1984), and its sequel, Massacre In Rio Grande (1988). Along with our general thoughts on both films, we take a look at the landscape of Mexican slasher cinema, the similarities to the Golden-Age American counterparts, hideous red sofas, silky mustaches, boozy mothers, body-popping strip clubs, and much, much more!

Someone's killing the beautiful young majorettes at the local high school. Could it be Harry, the voyeuristic janitor? Tommy, the nerdy photographer for the high school yearbook? Mace Jackson, the sleazy local drug pusher? Jeff Holloway, the star quarterback for the high school football team? Or could the identity of the killer be just one of the many incredibly shocking twists you'll discover as you watch The Majorettes? Along with our general thoughts, we dissect this slasher/action mashup (from page to screen) from director Bill Hinzman, looking at its origins dating all the way back to its 1979 novelization from John Russo, its sordid release history at some point between 1986 and 1988, and much, much more!

14-year-old Lisa (Staci Keanan) and her mother Katherine (Cheryl Ladd) share everything, but Lisa has one secret: she and her best friend engage in brief flirtations with attractive men. The girls are just having a little fun, until Lisa encounters Richard (D.W. Moffett), a handsome charmer who's also the notorious Candlelight Killer, strangling unsuspecting women in the area. Drawn into his deranged world, Lisa's innocent game of phone tag becomes deadly serious, and the stakes are people's lives! Along with our general thoughts, we dissect this psycho-thriller/home invasion/From Hell/slasher mashup from director Gary Sherman, looking at its origins dating all the way back to 1981, its failed cinematic release in 1990, and how it became a smash hit on VHS and cable channels.

Danielle Breton (Margot Kidder) is a beautiful young model, the kind of girl you meet only in your dreams. But this dream turns into a nightmare when young reporter Grace Collier (Jennifer Salt) witnesses a brutal murder in Danielle's apartment. Danielle has a secret: she lives half a life, and the other half is lived by her formerly-conjoined, murderous sister Dominique. One sister is lovely, gentle, and kind - the other is quite mad, and you never know which one you're holding in your arms. We're joined by author, director (1991's Guilty As Charged and 2001's Elvira's Haunted Hills, among others), and screenwriter Sam Irvin for a look at the 1972 psycho-thriller, Sisters, with Sam's treasured memories of working with director Brian De Palma on The Fury (1978), Home Movies (1979), and Dressed To Kill (1980) acting as a retrospective backdrop on the famed director. This 90+ minute special episode bypasses our usual shtick (no Joke Of The Week or Recently Seen) for a candid interview (we'll return to our regular format on the next episode), with fascinating insights into the wide world of Brian De Palma, our general thoughts on Sisters, and more.

We're back for a chilly good time with Cold Prey 2 (2008), the Norwegian slasher sequel that picks up directly where the last one left off, with shades of Halloween 2 (1981) and Friday The 13th: The Final Chapter (1984) serving as inspiration points as Jannicke once again faces The Mountain Man in a mad, slashery jaunt through a spooky hospital. Thankfully, nary a sign of Chris Martin to be had, but that doesn't mean we don't have jokes!

Come and knock on our cabin door for the slasher/horror/comedy of farcical error, Tucker And Dale VS Evil (2010), which pits a group of college kids against a duo of backwoods, psychotic rednecks, or pits a couple of well-meaning rednecks against a group of psychotic collegiate yuppies, depending on the degree of misunderstanding at any given moment.