Infinite Respawncast – The Hateful Eight

Chris and Dylan lock themselves in a haberdashery to hash out some discussion on The Hateful Eight – Quentin Tarantino’s eighth film. Chris thought Demian Bichir was Edward Norton, which is a crazy thing to think, but he did it anyways. Meanwhile, Dylan tells Chris all about Star Wars box office records, what film Tarantino really liked this year, which band did a theme song for Spectre, and can’t explain why Christopher Nolan’s next film is a WWII film. There are a handful of new releases, most notably Bone Tomahawk. Then Chris talks about Joy and Point Break, while Dylan explains his feelings on Making a Murderer. The show, not the act. Next week we’re back with the first of two end of the year podcasts that we are doing. It is very difficult for it not to be extremely compelling.

Show Notes:

(2:12) The Hateful Eight Review
(29:14) The Hateful Eight Spoilers
(50:50) Tarantino really liked Mad Max: Fury Road
(53:01) Star Wars Episode VII: The Force Awakens is still destroying the box office and its records
(55:07) New Releases
(61:45) Radiohead did a theme song for Spectre for some reason, and then released it.
(64:01) Christopher Nolan is doing a WWII film, because why not? That genre hasn’t been done to death.
(65:51) Joy
(73:59) Making a Murderer
(78:16) Point Break
(85:00) Closing Comments including what we’re doing next week. Hint: It’s End of the Year time.

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Deliver Us from Evil Attempts to Break Away from Horror Tradition

Deliver Us From Evil Poster

Deliver Us From Evil Poster

TitleDeliver Us From Evil
Genre(s)Crime, Horror, Thriller
Director(s)Scott Derrickson
Release Year2014

The interesting thing with a lot of good horror films, are that they recognize what a generic horror film is. In fact, many still bathe in a bad horror film’s tropes. Buried underneath the goat’s blood, holy water, exorcisms, crucifixes, and constant stupidity, is a kernel of something clever, though. Sometimes the film lets that unique twist flourish into something whole, or they just have it there as a means of providing one moment to fawn over. Deliver Us from Evil is interesting because inside its classic possession/ritualistic tale are a slew of kernels of a different movie. They wind up as tonal inconsistencies more than moments you enjoy, but there’s something admirable about Scott Derrickson’s attempt to subvert the horror genre in so many unique ways.

The beginning of a horror film is predictable, yet always acts as a form of comfort. That initial killing or freaky circumstance sets the tone for the film and reminds the viewer that they will get their screams. When a horror film opens with a bunch of soldiers running through the deserts of Iraq as explosions detonate all over the screen, something unique is attempting to unfurl. Deliver Us from Evil tries so hard to unfurl from a standard horror film into this weird crime noir/action/horror hybrid that it can’t figure out how to meld each genre together. As the atmosphere tries to be set, action scenes ruin the creepiness, and those action scenes are ruined by weird comedic moments that do not jive with the noir elements of the film’s main character.

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