Now we come to a classic 70’s horror movie… made in the 2000’s. House of the Devil is a loving homage to the horror from the 70’s that the director, Ti West, grew up watching. He does a fantastic job of capturing that look and feel.
And what could be horrific about being a babysitter? Well, sometimes you deal with little monsters, but that’s not the problem here. Our babysitter is supposed to be watching a full grown woman, but gets a bit more than she bargained for. You’ll also get the answer to – What’s so bad about getting pizza delivery.
If you like 70’s horror, this is a great one to add to your watchlist. It’s like finding a lost horror classic.
Stephen: is already, I, we still are just getting started with season four as far as released episodes, but this is episode four. So we’re almost halfway done with season four already. And we have a bonus one coming up with Jeff Strand too. So yeah, on top of our regular bonus, on top of our regular bonus, we’re just awesome that way.
So this one is the House of the Devil, and it’s an interesting one. So tell us about House of the Devil. Rece
Rhys: House of the Devil is a United States produced film done in 2009 I believe it was the second or third film by a guy named Ty West. We have done other films that have been tributes to the heyday of horror films of the late seventies, early eighties.
And you had things like Hatchet, for instance, right where there were almost seen for, seen body dismemberments taken out of it. It was done very tongue in cheek. Ty West, on the other hand, pays tribute to that era of filmmaking by embracing the culture and the overall look. And not so much the scene by scene thing, but for instance, he shoots on 16 millimeter film.
Yeah. Which is what they used to shoot in back then as opposed to 32 millimeter film because it was a hell of a lot cheaper. And he continued to shoot his films in 16 millimeter. It was even noting how cost prohibitive it was becoming because it was so much cheaper to shoot it in digital. But that’s the,
Stephen: that’s funny.
It’s the opposite of what it was. Yeah. And I did notice it looks like it’s from the seventies the title card, the way they do the credits, the, some of the scene angles, you don’t see so much anymore. Some of the shots that are just a little too long watching somebody walk across campus, little things like that or watching someone walk through a tunnel, it’s just had that dripping feel of a seventies move.
In fact, if you put this and last house on the left side by side, you’d probably be hard pressed to tell that they’re not both from. Anyway, so what I was saying is this, and last house on the left, you put ’em side by side. You would have to be hard pressed, really pay attention to see that they weren’t made like the same year that they, they had that same feel to, to both of them.
And how it builds up and what the reveal is near the end, and all of that. It really damn good job of making it look like a seventies horror and he really stuck to his guns. Cuz I could see a lot of people in 2009 going to see this and saying, oh, come on, show us something already and blah, blah.
Because it talk about a slow burn build in a movie. Yep.
Rhys: There is one early gore shot in the film, but it’s very brief and it happens really quickly. One of the things that I, if I can, go on about how awesome we are, one of the things that I love about our. Podcast is that we can sit here and we can review a movie like house of the Devil and we can talk about how it was written and directed by Ty West, which is very impressive.
And how Ty West, when he was younger, would see things like Return of the Jedi and be like, I have no idea how to do that. But then when he watches Peter Jackson’s horror film, bad Taste, he’s I think I figured it out. And so he works off of that. That’s an actual story about Ty West and this, however, RIE Astor has a film out now called Bo Is Afraid, which I have not seen, but there was a promotional thing called the Criterion Closet, where they put him into a room just full of Criterion collection films and he picks his favorites.
And I watched it and for eight minutes the guy talked about movies of which I only knew too. Wow. So you have people who are like on the super sophisticated end who are producing horror films that are very good. Then you have people who are on the very much more practical populist end who are producing movies that are really good.
And our podcast talks
Stephen: about both of them. Yeah. And we try and find the ones you may not have heard known about. Yeah. We don’t need to do Freddie or Michael or Jason. Everybody knows them. They’re pop culture means, house of the Devil. People may not know, especially if they’re not seeking out all the horror
Yep. The film also is a tribute to the Satanic panic of the 1980s. Yes.
Stephen: I was looking for a Kiss album or a d dice or something like that there
Rhys: for our younger listeners. During the 1980s, there was this big push about there being secret satanic cults that were sacrificing babies and kidnapping virgins hidden all over the United States.
It did not exist. And they insisted there were things like backward masking satanic rituals on albums and playing. D and d actually would, role playing games would. Brainwash you turn you into some sort of psycho killer. So at the start of the film, for instance, there is a title card that explains a little bit about the Satanic panic.
He does go on to say this movie’s based on true events. And at no point in time ever besides on that title card, if I found any evidence to prove that any of this was actually based on a true event.
Stephen: Okay? But let’s talk about, based on true events, That is so ambiguous. And you could say because no, seriously, there was a guy that put up posters looking for a babysitter, the, to watch his elder mother.
So it’s based on true events. Okay. Yeah. But the end part it didn’t say it had
Rhys: to be the end part. Yeah. And it happened so often. It’s happened already. La Casa Muta was, based on real events. It was based on an urban legend of a crime scene. That’s all that it really was.
It’s really hard to do, but the job in this film is a babysitter. It’s a job. I’m sure almost everyone’s done at some point in. Did you, were you ever a babysitter? Yeah, actually
Stephen: me and Eric babysat his young cousin at one point. It was really weird running into her when she was 30 then.
Rhys: Oh yeah, I imagine. The film was made for about $900,000 and it brought in roughly $101,000 theatrically. Wow. It was simultaneously released at the Tribeca Film Festival in the US and a film festival in Brazil. I don’t know why Brazil was lumped in there. It’s like the den being released in Russia first.
Stephen: went on to do it. They might have had connections and knew somebody, or, I really wanna take a vacation down to Brazil, so now that’s a good point. We’re fighting this off. That’s what your dad always would’ve told us to do, right?
Rhys: Yeah. Just go to Sao Pao and write it off.
It went on to do a whole tour of film festivals in North America and Europe. There was a really limited theatrical release in the US on October 30th, 2009, but it was like literally just that weekend. That it was in theaters. And
Stephen: that is the problem with the smaller films, getting that distribution, getting out there to the theaters which, it feeds on itself.
It’s, it didn’t make much money of course it didn’t, cuz we weren’t out there, but Right. People might not want to see it, but that’s where today’s world has so many more avenues to get these out in places to find them. Which Netflix DVD will no longer be one of those places, unfortunately.
Rhys: I hear you’re gonna have to renew your library card.
Stephen: I’ve got, I’ve got a library card from New York City.
Rhys: Will they ship videos to your
Stephen: house? See. Cause last year they did a 50th anniversary Spider-Man card, but you had to stop in to get it. So I signed up and I actually was like, should we make a trip to New York just to get a card?
But then it was like, limited amount and first come first serve. I’m like, I’ll get there and they’ll be out.
Rhys: By 2010, this was being released and distributed on DVD in Blu-ray. And then they had this cool promotion where they had it on v h s in a hard clamshell case. Nice. Like you would get back in the day when you bought it.
Stephen: So see now what they really should have done is released it that way, but had the movie all the way through. So you had to rewind it first to watch it.
Rhys: I saw an interview with Ty Wes, and it was really interesting because he said in the interview a lot of. And I’ve noted this in that talk that we did a lot of famous directors start with a horror movie.
And he said, the reason that is because you always are guaranteed to make money on horror movies. So when I say it cost him just under 900,000 to make, and he made 101,000, that’s just the theater gate, right? But Postsales and now streaming as an avenue, people will pick that stuff up, right? And over time you’re gonna make your money back.
Stephen: Oh yeah, go on Amazon. Look at the horror movies up there. You see a lot of two and three stars, but it’s 7,000 reviews for 10 people, quite often.
Rhys: He was saying, that’s one of the things that makes horror such a freeing genre because if you’re doing a drama or an action, the studio wants guarantee they’re gonna get their money back.
So they’re only gonna go with tried and true stories. But in horror, you can do whatever and as long as you can say it’s a horror movie, they’re more willing to get you money because they know in the back end they’re gonna eventually make it back anyways. The film was shot in 18 days. Wow. And not unlike the battery, this film was shot in Connecticut.
Huh. In a town called Lakeville.
Stephen: And like we’ve said, it’s, like a lot of the movies of the time, it’s got one setting for the most part, for most of the movie, you’re in one spot. Yeah. That saves filming time, that saves cost and all that. But it was very common with a lot of the movies back then.
Rhys: And it was such a common location that not on, unlike around here, they were shooting it in the fall and they had an infestation of ladybugs. And throughout the movie there’ll be ladybugs occasionally that pop up in scenes. I didn’t catch any, but yeah. There you go. That’s what you’re gonna look for.
Stephen: The ritual looking for the beast in the background.
Rhys: Yeah. The soundtrack to this is there’s two recognizable actual eighties songs in it. And then other songs that he has in there are eighties adjacent. One of the ones that plays, I think right at the start, I’m like, is that the cars?
Wait, is that the cars? No, no one’s singing. It’s not the cars, but it really
Stephen: sounds like them. And I did notice for the music, they’re, they use synthesizer like sounds for a lot of it that were Moog almost that back then. Yeah. And there’s not a lot of music that pops up in some of the scary parts.
Today they build a lot of that tension with those deep tones or the music building up. That’s what we get. But it was like very quiet through a lot of those more tense moments. So difference in filmmaking, but he picked up on that. That’s, kudos to him for sticking
Rhys: to that. Oh yeah, absolutely.
A lot of the crew that he hired, he actually hired from the town. So he wasn’t actually technically hiring union crew members, but they were so much cheaper because he’d be like, Hey, you wanna make a movie? Come here, hold this stick, stand there. And that’s, what he did for a lot of the crew when he made this film.
Ty West was born in 1980 in Wilmington, Delaware, and he did all of his schooling at the School of Visual Arts in New York City. He is a bit of a film purist but not annoyingly. Like he said, he can overlook scratches and hairs in film, but he doesn’t like seeing that in digital artifacts, that they throw into digital film formats, that kinda thing.
And he speaks very sincerely when you hear him talk about it. It’s not You and I both know someone who will sit there and talk about how, oh, you have to get the LP and play it on a record player because the warmth is just so much better. And you’re like, you don’t hear a difference, Jack, you’re just saying that cuz somebody talked you into buying a $600 turntable and those are the words they
I believe that for some of the early CDs and stuff, but now I don’t. But
Rhys: then there are people who are just like really focused in on super fine details and you’re like, why are you paying that much attention? They can’t help, but it’s just the way they are. Yeah. That’s the kinda guy Ty West seems to be like, he loves the look of film, like actual film as opposed to digital.
He did a lot of other films. The first one of his that I saw was called The Innkeepers, which I’ve seen. Okay. And at that time he was saying in an interview during Innkeepers, he was saying he would eventually have to switch to Di Digital just because the price difference between digital and getting film processed.
Stephen: Yeah. Innkeepers is definitely another right along this line. It, it felt more like an older horror than new.
Rhys: He graduated from school and one of his teachers introduced him to an investor, and I can’t remember the name of the investor, but he’s not afraid to say his name in interviews.
It’s not like it’s some hidden thing. The guy gave him 50,000 dollars to make a movie and said, here you go. And that’s how his first feature film got made.
Stephen: The innkeepers was
Rhys: 50,000? No, the Innkeepers was like his fifth or sixth film. Oh. Oh, okay. I can’t remember what the name of his first one is,
Yeah, I did see the list of films. Yeah. Recognized.
Rhys: So he’s directed 27 different projects starting with two shorts in 2001, the Wicked and Prey. Then he did three more projects before running the House of the Devil. In the same year he did Cabin Fever two, which turned out to be a horrible experience for him.
He wanted his name taken off the film, and they wouldn’t let him take his name off the film. And it was because he had things he wanted to do, and the corporate suits said, no, we’re gonna do this instead. And so they really hamstrung him throughout the process. Wow. He also did the Innkeepers, loved that film.
Then he did a couple pieces for anthologies vhs the ABCs of Death. He did one of those. And then he followed up with the sacraments, which is a very different movie than the ones we’re watching now. It’s have you seen it? It’s a Jim Jones kind of thing.
Stephen: You were talking about the
Sacraments. Have you seen it? No, it’s a Jim Jones based kind of thing. He went on to do several television show episodes, and then he did, it’s almost like a trilogy. He did a film called X and then he did a film called Pearl, which is focused on one of the characters off of X, at least the same actress.
And now he has one in the pipes called Maxine with three X’s in the name Maxine. I would like to watch those sometime.
Stephen: Yeah. I think I’ve heard of
Rhys: Pearl. It could be. Yeah. His bar for remakes is not the lowest in the world. He says they need to be competent when he goes in to watch a remake.
His general thought is, if I come out thinking it wasn’t bad, then it was successful.
Stephen: And we’ve seen some bad remakes though.
Rhys: Yes. He considered the ring to be a good remake. Okay. And I would agree with him. In fact, in my notes in away somewhere, I say don’t tell anyone, but I actually like the American version of the ring better than the Japanese one.
Stephen: That’s a very rare
Rhys: thing. Yeah. It very rarely happens. He’s a big Tom Cruise fan. This guy was interviewing him and saying, Hey, who would you like to work with? He’s Tom Cruise. Wow. The guy’s okay, odd choice, but.
Stephen: I can’t see Tom Cruise in a horror movie. Not a good one. Yeah.
Rhys: He seemed to be kinda geeked out over just movies in general, the concept of film as opposed to some of the other directors we’ve talked, we’ve listened to interviews with, who are like going on about the cast or going on about the story or themselves.
This guy just seems to be really into films. Yeah. That’s cool. So we’ll talk about the cast a little bit. There’s a lot of kind of newer actors and actresses in this, right? Jocelyn Donahue plays Samantha. She’s been in 44 projects. She’s from Connecticut. And so I started thinking, oh, I wonder how many people are from Connecticut?
So I started make keeping Track. She was in the Burrowers, so no, that one. Oh, you don’t? No. Oh. It’s It’s a good one. It’s a horror film out west. Yeah. He’s just not that into you. She was in Insidious chapter two. Okay. Furious Seven Holidays, which is an anthology horror series. Yes, I seen that one.
Yep. I trapped the Devil, Dr. Sleep. Oh. She was in the Taco Bell Nachos, fries retrieval ad. Nice. And she has a project in the work the last stop in Huma County. Is one of her projects gonna be upcoming here, Western? I don’t know. Mostly cuz when you’re going through the list, when you get to, projects that are upcoming, there’s no icon, there’s no anything for it, yeah. Tom Noonan plays Mr. Allman.
Stephen: He, I recognize, but I looked at his list and I’m like I’m not sure where I recognize him from. Exactly nothing that stood out. Yeah,
Rhys: He’s one of those guys who did a whole lot of television and it’s a whole lot of television. We would’ve seen like an episode of Tales from the Dark Side.
He was in Wolfen and Easy Money. The Last Action Hero, he was in there. He was in a couple episodes of X-Files.
Stephen: That’s probably where I’m remembering ’em. Cause some of those bad guys antagonists in X-Files stick out a lot. Yeah.
Rhys: He was also from Connecticut. So we had, it was filmed in Connecticut. They used Connecticut cas or crew, and now we’ve got two members of the crew.
I was like, cas, I was like, oh, they’re all from Connecticut. No, the next was like Florida and California and Georgia. So we’ll just forget about that. Mary Ovv plays Mrs. Oman. She has been in 122 films. She was born in the forties and she got her start in a film called The Beard in 1966, but then she went on to be in two of Andy Warhol’s films.
Wow. Which is, yeah, so I’m thinking like she was in the beard and then she went out to New York and fell into that whole Velvet Underground Andy Warhol art house scene. So she was in Chelsea Girls and Kissed the Boot. She was also in Superboy and then she was in a couple things that we will know, like Silent Night, bloody Night, death Race, 2000.
Ooh, Logan’s Run. Yeah. Wow. Buck Rogers in the 25th Century Knight writer. And then I’m trying, I’m going through, she was in Warlock and the Dick Tracy movie. She was in a film called Prison A Go-Go where she played a character called Diane. She Slut Face.
Stephen: That had to be a seventies movie. No, I
Rhys: think it was in
Stephen: the nineties.
Oh my gosh. Are you kidding me? I would never have guessed that.
Rhys: She was also in the Devil’s Rejects. So she has worked with the Great Rob Zombie. Nice. Greta Gerwig plays Megan. She’s been in 41 projects. And most of them you won’t know. They’re almost all television. Howie met your dad. She did some Portlandia and she was in the Mindy Project.
Oh, okay. AJ Bowen plays Victor Alman. The. Bearded guy in the film. He’s been in 43 pieces, including Creep Show two, the Signal Hatchet two. Oh. A horrible Way to die. He was in your next rights of Spring. The guest. I trapped the devil. He’s got a pretty long pedigree of horror films. Yeah. But the ultimate tip of the hat, of course, is De Wallace.
Yes. Who is in the first five minutes, she’s the landlady. She’s been in 262 movies. You know a few of them. Yes. The Stepford Wives was her first major motion picture. Wow. The Hills have eyes 10 with Bo Derek back in the day. Wow. The Howling et Cujo Alligator two alone in the Dark. Headspace, abominable Halloween, 2007 version.
Troubled Child, the Lords of Salem. Another Rob Zombie. Yeah. One of the bazillion Hansel and Gretel films that are out there of those Polaroid, which is a pretty good one. Red Christmas, three from hell. There’s Rob Zombie again. The new Jeepers creepers reborn. Oh. Which you can see on Hulu right now.
And she’s got 12 titles in process right now. Wow. Wow. Very busy. Yeah. Pedigree,
Stephen: horror film actress. Now let me just touch on that part of the movie, cuz it’s the very beginning, so it’s not giving much away, but from a story standpoint. That’s almost unnecessary. If you cut out that whole part with her, the girl looking for an apartment and meeting with the apartment, you cut that out.
It doesn’t affect the story whatsoever. You don’t necessarily need to know she’s looking for an apartment. From a story standpoint I was just looking at it like that, may what maybe it was just to add that couple minutes for, oh my God, I could get De Wallace, let’s write her into this. We only got five minutes.
Five minutes for a day. Yeah. I can see that. Definitely. But the, that part of it is just cutaway story. It unnecessary for the rest of it from the story standpoint, that’s what I saw. Yeah.
Rhys: And I think I could agree with you cuz you could have just gone to the, her looking at the newspaper ad, where it’s $300 a month and then move on from there. Yeah. You didn’t need the whole introduction. It clocks in at 93 minutes. Perfect time. Which is the perfect time, which kind of makes me think. Okay. We can get De Wallace for a day, we can film it and it allows us to pad the opening a little bit.
Yeah. To get us up to that magic number.
Stephen: And I, I will, I’ll argue with myself against myself that I kinda, that’s pretty funny sometimes. And, but the problem is, which one of me is right. But there are a lot of things in the old seventies movies at times when you watch ’em, that it’s just okay, this is looking at it from today’s viewpoint, it’s not necessary.
There’s things added in and one, the one that always cracks me up and I mentioned it, is last house on the left. There’s like only one spot in the whole movie where they even make it known that’s the last house in that area on the left. Yeah. So there’s a lot of a additive in the, some of those movies, sequences especially seventies movies.
They would add in the disco scene or the filming the porno scene or whatever it is, and it’s just 10 minutes of added. The one that Colin always mentions to me is the creature from the Black Lagoon. They have that whole long 12 minute underwater shot, and it was totally unnecessary, but they wanted it in because they had just gotten underwater cameras and they wanted to showcase filming underwater.
Yep. Nothing to do with the story.
Rhys: The innocence was very much the same way too. We have this brand new super wide camera. We want to use it, so make sure that, while you’re yeah. It’s, but one of the things that I did notice is that it does a great job of setting the table. Yeah. If nothing else, because if you’re watching it, the costuming, the hair that was there, Everyone always goes on about the big hair of the high school and college age girls, and you see some of that in this film.
Yeah. But they always forget about like the feathering and stuff that was super important to the older women who were around in the eighties. And Dee Wallace’s character has that, the whole feathered layer thing. And then he starts the film with that push in to a character, which is something they don’t do anymore.
But they used to do that a lot. And so he is really taking that whole five minute thing, which story-wise might not be that important, but he’s setting the table for the film feel. Absolutely.
Stephen: Overall and again I’d argue Storywise that could be cut, but from the filmmaker, I want this to look and feel like a seventies horror movie.
That’s how you had to do it. That was part of it. He really must have studied and I love little, there was a couple things in here, but the one I was like when they were at the diner and they’re eating, drinking and talking and they had coke cups and I’m like, wow. They had to like probably make those, I’m thinking they found some pla, they got the old logos, they’ve got it printed special just for this cuz there’s no way in hell from 1980 these coke cups that were flimsy cardboard have survived.
Rhys: actually sourced those on eBay. Oh. Oh,
Stephen: excellent. Okay.
Rhys: Yeah. I actually have notes in here about it. But
Stephen: there you go. I was very impressed. Again, everything looked like the seventies, eighties. Yeah. That transition time period.
Rhys: Yeah. The house that she’s looking at. I wasn’t sure if it’s the whole house or just a floor was going for $300 a month.
And it looks like it’s gonna be an issue for her. And the landlady picks up on that too as she’s leaving. She’s you know what? Don’t worry about the deposit. You just come up with first month rent on Monday and we’ll be
Stephen: all set. Yeah. Which watching it, I was wondering, okay, how’s she part of this whole scheme and stuff?
She’s not, it’s just, she’s just a lady. Yeah.
Rhys: I also really like how at the end where she’s walking away and like the freeze frame with the house of the devil and you’ve got the church in the background right next to the house. It was a nicely composed shot. Yeah. There is gonna be a slight delay.
The landlady needs to do something again, it was leading back to the landlady being, what’s this she has to do? It doesn’t matter. And again, the opening soundtrack right there. I’m like, is that Rick O Kasek playing or No, it’s just a really well done clone. Yeah. Then you have the credits that go by and Sam is just walking through town.
It looks like your typical, everyday average American town
Stephen: looks like Strode walking home from school. There
Rhys: you go. Yep. Aside from the only thing that I noted that was a little odd and I get it, is she’s walking through town and there’s no one on the streets. She’s the only one out walking about.
Stephen: I took it that it was like an early Sunday morning. Wyatt, that’s how I took it. Cause the landlady like, oh we’ll take care of this, get it to me by Monday and then by the end of the week. So I’m thinking, oh, cuz I remember when I was in school you walked campus at six, at seven, eight o’clock in the morning.
Nah. Sunday nobody’s
Rhys: around. I took it as he didn’t wanna hire extras. Either that
Stephen: or you had to clear it off so you wouldn’t get cars and people that looked like two thousands. Yeah.
Rhys: The credits are over and Sam is in the dorm building heading up some stairs. She gets to a room and the dorm, they did a really nice job cuz it looks like that kind of rundown converted yeah.
There’s a sock on the door handle of her room, which if you don’t know, that means someone’s getting busy inside. And apparently it’s her roommate. And it seems to be a situation that she’s run into before. And it’s not an uncommon situation. You’re first and second year students who are rooming for the first time ever, they’re not gonna vibe.
Once you make some friends, you can get your own place together. But but they have, kudos, they have managed to stay in the same dorm room and not kill each other So far. Yeah. She leaves the dorm. Cross’s campus on her way. Shewas passed this bulletin board. It has notices all over it.
Now, of course, the one we’re gonna pay most attention to is the one that says babysitter needed with a little phone numbers underneath it. But it also has a whole bunch of things about the Astro astronomy society and an eclipse. So there’s this kind of subtle story building going on this notice board as she’s walking past,
Stephen: which again, for all the younger viewers, that was a thing.
You had these community boards. We still have it at the Edinburgh store here, that people would put things up announcing, yard sales, flea mark inviting you to church babysitter wanted somebody to drive a home during break to California. It was all sorts of stuff like that.
And you really did tear off the one little slip.
Rhys: Yep. She takes her little slip and she walks up to this strange device that’s out in the middle of the street. It’s called a payphone.
Stephen: Okay. So I assume he had to find the payphone and set it up for the picture. I assume there’s not one wherever they were
Rhys: If I head in towards Newton Falls, there is a house that has a phone booth in their front yard. I’m assuming it is non-functional.
Stephen: But it is there. I did see one up. There’s a spot in Akron where there’s like an abandoned lot and there’s still a payphone there. I don’t think it works. I think the gas station right in cotton corners up here still has one, but I don’t think it’s, it works.
Rhys: The logo on the top of the thing too was creepy. It was like this all seeing eye. It was like someone was spying on you while you were using the phone. It was really weird. She calls the phone number, she gets an answering machine, leaves her information as she’s walking away, the payphone starts to ring.
I was watching this maybe with Rhiannon, and she’s could you do that? And I’m like, oh yeah, as long as you had the phone number. I was like, we used to do it at school all the time. Call home collect, and then they’d refuse the charges and then call you back at the same number
Stephen: Or Star six nine used to do it on the phones too.
That’s true with the, when they got BBOs.
Rhys: Yep. She heads back, once the phone starts to ring, she answers, and guess what? It’s Mr. Oman offering her a job. He needs a babysitter really badly. He can pick her up in front of the student union. And she’s that’s cool. So she heads over there and spends some time and he never shows up.
So rude. These
Stephen: sameness and right there is the other thing that I’m like, wow, where’d they get? That was the brick of a Walkman. It was the biggest Walkman I think I’ve ever seen. Probably weigh you down. You’re walking sideways with it.
Rhys: She meets her friend Megan at their favorite pizza place and this is where the cups Yeah.
He bought off of eBay. Megan wants to know about the house and sh she also finds what Mr. Oldman did. Quite rude. Sam on the other hand, wished she had taken pictures of the house, which a lot of the problems in this movie are erased if you have a cell phone. Yes. She would’ve had pictures of the house and, Hey, Megan, are you home yet?
No, I’m just, oh my gosh. There’s a creepy guy with a gun and she’s, Sam is worried about money. Megan apparently has money available to her if she wants it, and Sam doesn’t want to be involved with any money from Megan’s dad. Megan’s very upset that Oman didn’t follow up on his agreement to meet Sam.
So she wants to go tear down all the flyers across the whole place. And Sam’s not all about that. She just wants it all to
Stephen: be over. Yeah. She just, and that’s a, actually, I thought that was pretty good. A good college student reaction.
Rhys: Yeah. Yeah. She does go back to her dorm room. She heads to the bathroom first.
She goes into her dorm room and it’s very noticeable how one half of the dorm room’s filthy. The other half’s clean. They’ve obviously had a conversation about this and her roommate’s boyfriend who’s in bed with her and they’re both passed out, wakes up and winks at Sam. Nice try buddy. Sam, however, leaves goes into the bathroom, turns on all the faucets, and sits in a stall and cries for a while.
So the money situation has her quite upset. She heads back to her bedroom and her roommate wakes up. Her roommate’s, creepy boyfriend is gone. Wakes up and lets her know somebody left a message for her and it turns out it was Mr. Alman. She calls him back and he apologizes for missing her earlier that he begs her to come.
He really needs help, even offers to double the amount.
Stephen: Which to, again, kids nowadays, it’s actually quite a lot for a couple hours of work. Yeah. For the time
Rhys: period. Then she and Megan are in the car heading out to, out into the country. And it turns out Megan had pulled down all the flyers.
Stephen: So it really, from a viewpoint, it’s all Megan’s fault really,
Rhys: megan did pretty much everything she possibly could to make sure that this didn’t go down like this, right? They get to the house and Megan’s I want to go in with you. And she’s no. And she’s just, you don’t know this guy from Adam.
Let me go in with you. And so she goes in with her. Then she’s mad because Sam’s sending her home, that kind of thing. So Megan was a voice of reason here a little bit. But they’re driving out listening to the breakup song. So Sam allows Megan to come inside with her, the very large house they pull into. Megan points out they’re driving a Volvo, the safest of all cars. I’d like to point out that Megan is actually driving a Volvo and it doesn’t seem to help her out very much at all. No.
Stephen: Yeah, it’s not. I omni and know what’s going to happen,
Rhys: that’s right. I wouldn’t call the house a mansion, but it’s a big house.
Stephen: Yeah, a big old farmhouse.
Rhys: Yeah, it’s three stories. And probably about six rooms, a floor or so. Again, a big house, not necessarily a mansion. They head inside. Mr. Oman seems a bit frazzled. That actor seems to do a good job being either frazzled or forgetful, that kind of thing.
Yeah. He just wants to get the night behind him. He says, he calls Sam away for a private conversation and the first thing he says is, I don’t have enough money to pay for both of you. And Sam’s oh, Megan’s leaving. But by the end of their negotiation, he is paying Sam $400. Yes. Babysit. Yes. So obviously he’s got plenty of money
Stephen: and I liked that because it’s a plot point that you wouldn’t think about or pick up on unless you thought about it afterwards.
Yep. Very much it, because he definitely wants to get one girl there, that’s what’s obvious later. He didn’t want two girls there, that, that was the point.
Rhys: You watch it a couple times and you do pick up on all this little sneaky crap they do like that. And it’s
Stephen: done in such a casual way.
It’s not focused on, not prominent. There’s a couple other things coming up too that it’s, once you think about it, it’s okay, now I, very masterfully done.
Rhys: Yeah. He’s very soft spoken too. The actor. Which makes some of the time the things he says creepy, like such beautiful girls.
And you’re like, yes.
Stephen: And that’s also part of it too, Ty West, getting you to think one way when things go a different way. Yeah. So he has a red herring in a
Rhys: way. Yeah. And it gets even more red here in a bit. He says he’s new in town and did they know they’re in the most perfect place on the earth to watch the eclipse?
They ask him, is he a teacher, an astronomer? And he’s nah, eh, he evades the questions.
Stephen: And when you bring up a huge, big night is an eclipse. If you’re watching a horror movie, okay. It has something to do with that, talk.
Rhys: Yeah. While Megan is left alone in the living room, she helps herself to a whole big bunch of candy outta the candy bowl.
Even trying some and not liking that and, getting rid of it, but taking a bunch of the other stuff.
Did that successfully mute? Yes, he did. Oh, excellent. Nobody needs to hear that. Mr. Alman informs Sam that she’s not babysitting a child. This is his other big secret. He, she’s babysitting his wife’s mother, but she’s quite independent, very private. You may never even see her. Sam’s not crazy about it and she’s trying to back out.
He offers her an additional a hundred dollars, so now she’s up to $200 for the night. She accepts but pushes him up to $400. Yeah. Now you’re getting paid a hundred dollars an hour for four hours work. That’s hard to turn down if you were actually gonna get paid
Stephen: at all, especially since that’s a whole month’s rent right there already.
Rhys: in one night
Stephen: And The one thing that stuck out to me is I’ve never been in a situation where I’m going to either do a babysitter or someone’s house without being introduced to the person that you’re there to keep an eye on. Yeah. So that was, that should have been a red flag for her.
Rhys: I think she’s just seeing dollar signs. Megan picks up on it. She’s not at all happy as Sam’s chasing her outta the house, saying, look at how good the money is, how much it’s gonna help me out. They part on good terms. And Megan will be back to pick
Stephen: her up. Yeah. At least Megan gets away.
Rhys: Megan’s driving down to the end of the driveway. She goes to light a cigarette and her lighter’s not working. So she pulls over next to the cemetery puts in her car cigarette lighter to get it going, and while she’s waiting, someone steps up and with a lighter. And offers to lighter her cigarette.
Just some guy in a coat with a big bushy beard
Stephen: at the end of the driveway by a cemetery with a lighter Yep. And no car around. Nothing. I, I’m sorry. No matter what era of horror movie, that’s a bad sign. That’s a red flag. Yeah, that’s a bad one.
Rhys: She does lighter cigarette asks where it came from cuz it’s dawning on her.
Like, where the hell do you come from? And then he is it’s cold out here. And she is yeah, and I’m not fighting you in my car. He asks if she’s the babysitter and when she says she’s not, he pulls out a snub nose pistol and
Stephen: just shoots her in the head. Bam. No more precursor to that. Yep.
Rhys: Pushes her body to the side, gets in her car cuz it’s slowly starting to roll forward since her foot’s off the brake. Grabs her lit cigarette out of her bloodied hand, smokes it. And he, I thought he drove her car away. He really doesn’t cuz you see it at the cemetery in the last scene anyways. Oh yeah.
But yeah, so at this point you see this happen, you could be mistaking. Thinking that, oh, this is gonna be one of those things where the omans leave and then this creepy guy’s gonna try and break
Stephen: into the house. Yes. Again, another red herring leading to a different direction. Really well done.
Rhys: Yeah. And that was the part, I think I was watching this with price and that was the part where price was like, he felt really bad because he really liked Megan’s character.
It’s she’s not suffering anymore.
Stephen: That was a pretty gory shot too. It was, again, well done, but pretty gory to watch.
Rhys: Yes. Back at the house, Mr. Oman gives Sam half of her money in advance and points out that his mother-in-law’s asleep and there, there’s a million times between now and when they leave where he reminds her there’s a phone number for a pizza place right there cuz college kids like pizza number right there.
Call that pizza number
Stephen: and he gives her extra money just for pizza. Yeah.
Rhys: Then he heads upstairs. And this part is a little bizarre because Sam hears him reassuring someone that everything’s gonna be fine. And she assumes it’s Mrs. Oman. But Mrs. Oman comes up from
Stephen: downstairs, right? Nope it’s a Norman Bates thing.
Rhys: Mrs. Oman tries to get some information out of her unsuccessfully. They’re sharing some pleasantries when Mr. Oman comes down to join her.
Yeah. Which is can you hear me, Luis? Because we could have sworn that’s who he was talking to. And there is another person in the house
Stephen: refresh, but
Rhys: that person. Never actually
Stephen: showed. Yeah, I was talking and you’re like, do I, I said yeah, he goes upstairs to talk to somebody, but it’s really a Norman Bates type of thing.
Rhys: So I saw my screen went blank and I’m like, now last time he can still hear his me and see me, so I’m gonna talk to him while I’m texting and then we’ll take a break and I’ll refresh. There
Stephen: we go. But we’re, so it’s a choppy episode. It’s kinda, it’s instead of lost footage, it’s lost audio and it’s, we’re it’s the horror movie coming to get us.
Rhys: the quality that you could expect from back then if you were trying to do stuff online.
Stephen: Exactly. I’ll add a filter we get hair put on it.
Rhys: So the odd thing is who’s he talking to? Because there is one other person in the house. We see them at the end of the film, but Sam is.
Going upstairs constantly, never runs into anyone else.
Stephen: And he mentions he’s going up to talk to his wife, but then she comes in from out outside. And that’s a weird thing. Sam’s not hold on now I know you’re lying to me. Something’s going on it, they just gloss over it. And she’s yeah she
Rhys: comes up and says she was getting her furs from the basement.
And that they’re from the desert. They come from the desert, wherever that is
Stephen: for all the fur animals
Rhys: in the desert. Yes. I will give Sam this whenever Mrs. Oman tries to get any personal information out of her, she doesn’t really give her any, about her mom or anything like that. Do you have a boyfriend?
She evades all that stuff pretty effortlessly. Not that it would’ve changed the night at all, but.
Stephen: She’s feeling a little creeped out, but like you said, this is $400. I can make it through this.
Rhys: Yep. So the two of them leave, they head out for the night in their Volvo. Sam tries to call Megan’s not home, get her answering machine.
There’s this kind of weird water motif that happens throughout this next section where there’ll be a closeup of water dripping in the sink or her running a faucet. Yeah I’m not exactly, maybe it’s like a recurring motif in the eighties films, but I didn’t really pick up on any message or thread of using it, aside from like breaking up scenes.
Stephen: I’m gonna jump ahead just a little bit that it’s right after she drinks that she starts getting all spacey and all that. So I’m like did they set it up somehow? Something in the water, but we know it’s not that. Yeah. That was the whole reason we had pizza, but, they made it seem like
Rhys: that maybe it’s just another red herring.
Yes. That could be to make you wonder that. Yeah. We kinda get this tour of the house. It’s this very old grandma house kind of vibe. It’s got all kinds of weird little knickknacks here and there. None of them particularly screaming out. Spooky run from this place. There’s a billiards room.
There’s like a sitting room. It’s starting to sound like a clue Game. Yeah,
Stephen: the honest, crazy old man in the attic. Yeah. With the gram, the oddest thing.
Rhys: I thought of all of the things in this opening part that was strange was they have a harpsichord Yeah. It’s a very bizarre instrument to have. She does order a pizza from the phone number on the fridge.
The guy says it’ll be there in 30 minutes when she goes over the pizza, says, do you want anchovies on it? That’s apparently a reference to a movie in the eighties where people would deliver you drugs with your pizza if you ordered it with anchovies on it. I can’t remember which movie it’s, but
Stephen: and I’m glad you said that she calls the number to order pizza.
It’s not that she’s calling the pizza place to order
Rhys: pizza. She calls that number to order pizza. Yeah. Yeah. There’s a noise upstairs, so we get a tour of the upstairs. She goes upstairs, there’s a second story office. There’s a bedroom. There’s like a goldfish, a bedroom for that. She the
Rhys: on, there’s, I put in my notes, will the goldfish die?
They’re always killing off animals in these and We’ll, Steve be upset by
Stephen: the goldfish. Oh man, the goldfish.
Rhys: There’s a telescope and some trophies in their son’s old room. There’s a second story sunroom, which, it’s a very nice house. Yeah. She heads back downstairs, pulls some work out of her bag, gives up on that, gets at her candy bar.
She hears the noise outside. She goes, look, she doesn’t see anything. So she turns on the TV and it’s the news and lunar eclipse is leading off the news. It’ll peak at midnight and it’s just in case
Stephen: you missed all the other references. Let’s nail it here.
Rhys: So the news is to be followed by fright.
Mayor Theater, a little foreshadowing. She doesn’t bother watching whatever’s gonna be on next, she turns the TV off, puts on her Walkman with the fix, one thing leads to another, and we have this whole risky business dance scene while she’s dancing through the house. Yes. As she’s dancing through the house, she breaks a vase.
Stephen: There goes the
Rhys: 400 bucks. Yep. So she grabs a whisk broom and she’s cleaning it up. As she’s cleaning it up, she opens this closet and in the closet hanging, or a bunch of furs, which is odd to her because Mrs. Oman says she kept her fur in the basement. Then there’s this bag and she pulls it out and it’s got family photos of a family at that house who are not those people.
And in fact, there’s a picture of them posing by the Volvo that. The Oldman’s just took into town. Then she looks out and there’s a conversion van out in the side yard. This is just all very strange. Yes she tries to call Megan, but Megan’s not back yet. No figure. Of
Stephen: course not. She, the end of the driveway,
Rhys: she puts down the Walkman and grabs the kitchen knife.
Smart girl. Yes. Much better. Doesn’t help. Much better than the guy from batteries, right? Yes. It’s time to be serious. We’re gonna quit listening to music and grab a
Rhys: She heads into the bathroom. While she’s in the bathroom. There’s a thump. There’s some water motif stuff going on. She grabs the knife and she heads outta the bathroom following the sound.
It’s coming from upstairs. She calls upstairs and no one answers. Just thumping noises. So she follows upstairs to a room asking Mrs. Oman if sh everything’s okay. And we can see on the other side of the door everything’s okay with Mrs. Oman. There’s a pentagram on the floor with all the old family members and they’re dead.
So not so good with them, but I’m sure Mrs. Oman is just fine.
Sam doesn’t open the door though.
Stephen: Yeah. Yeah. I’ll dig through your closet and pull out pictures in a bag, but I’m not gonna open that door where there might be a person.
Rhys: I was assuming it was gonna be locked. Yeah, that’s, she continues to follow the noises, finding a set of stairs heading up into the attic.
But the doorbell rings stopping her and she gets the pizza and throws $20 delivery guides on to keep the change and, I don’t know that he needs that change unless he needs to buy more ammo. Cuz it’s the guy with the pistol who killed bigot. Oh
Stephen: Yeah. So my question was, where exactly was he to get the phone call for one and number two?
$20. That was probably only like a five, $6 pizza. So that’s a good tip. It was
Rhys: 8 99 I believe he said on the phone ok.
Stephen: Did he say that he missed that?
Rhys: Yeah, I don’t know. That’s a really good question cuz no cell phones. Yeah,
Stephen: maybe he was back at the payphone on,
Rhys: or maybe there’s a pool house or something that we didn’t actually get a chance to see with its own phone line.
Stephen: Yeah, that would’ve been weird though, but,
Rhys: Back then, like when my dad used to do accounting and stuff, he had a, his own phone downstairs, he could get a different line number for that line.
Rhys: She tries to call the number Mr. Oman left for her for where they would be.
But it says it was disconnected. She tries calling 9 1 1 and they answer and then she chickens out.
Stephen: And 9 1 1 was pretty new at, it was time too.
Rhys: They do call back to make sure there’s no emergency and then she’s they’re like, this is an emergency only. The funny thing is there’s an act they did not use a five fifty five phone number on the sticker, on the rot on the rotor.
It’s an actual phone number for a fire station. Like in a New York City suburb somewhere.
Stephen: Oh, I wonder if they could call. I’m
Rhys: wondering. She cuts up the pizza aggressively. I don’t know why you’d have to be that aggressive. Cutting up a sliced pizza. She grabs the slice, goes to the TV room to eat it.
As she’s, and we’re watching her through the window. She turns on the tv and of course the film is Night of the Living Dead cuz it’s one of the most recognizable public domain films of in the horror genre run. Yes. She turns it off. She’s had two bites of the pizza. She’s not really keen on it, so she throws the rest out.
Stephen: See, I took that, that whatever they put on the pizza she tasted and didn’t like the taste. You’re correct. And tossed it.
Rhys: Yep. Okay. That’s why she didn’t like it. But there was some comment Megan had made earlier about sometimes the pizza’s just not right. Yeah. So it was foreshadowing to another hearing.
Yeah. There’s an odd noise coming outta one of the drain pipes. She decides to head back upstairs. And she’s turning on all the lights as she goes.
Stephen: It’s about time. This place has been extremely dark and
Rhys: greeny. Yes, she’s up in the upstairs bathroom. In the bathtub is a great big pile of dyed black hair.
Stephen: Very disgusting looking.
Rhys: Yeah. She goes to the stairs leading to the third floor, and there’s a door at the top of the stairs. She tries to turn on a light in the stairwell going up and it blows a fuse knocking the lights out to the entire house.
Stephen: That’s an old,
Rhys: unless they set it up to do that.
Stephen: No, that’s true.
Rhys: Never thought of that. She hears a noise from behind the upstairs door, and as it opens this hand. Reaches out and like grabs the edge of the door. All of a sudden Sam’s I don’t wanna be here anymore. And oh my gosh, the drugs in the pizza are starting to kick in. She starts stumbling down the hall.
Goodnight. She’s out unconscious. Yeah.
Stephen: Yeah. Yep. And like all the classic movies of that time, the horror ones we’re looking at the time going, oh my gosh, there’s 10 minutes left. And that’s where all the horrific stuff happens, for a lot of them. That’s exactly what
Rhys: it’s, yeah.
You could ride seatbelt until the last 20 minutes and you better buckle up.
Rhys: She wakes up. She’s tied up on a pentagram. Now about the only thing I will say that’s not overly true to these kind of films in the seventies and eighties, she had on far too many clothes for this scene.
Stephen: Yeah. But that also kept it a little
Rhys: classier, right?
Yeah. I’m just saying true homage, there would’ve been skin.
Stephen: Yeah. And when she went up to the her room with her roommate, there would’ve been something there too. Yeah.
Rhys: Yeah. She wakes up, tied up on a pentagram, Mr. And Mrs. Oman and Young Victor, Oman, the guy with the beard are all there in black robes.
And then we see who’s actually living in the loft. It’s actually a nice demonic demon hag disguised as a person. She started to come. I know
she started to come too, and she’s struggling to break free to no avail. And then the amount of detail he put into this ceremony is impressive because it’s not the kinda thing where like they’re doing stuff and the camera’s back here, like there’s this goat skull, it’s upside down. There’s no bottom jaw.
That hag pulls up Sam’s shirt and traces a blood pentagram on her belly, and then she sets the goats goat skull upside down in that pentagram. Then she cuts her own wrists and bleeds into the skull, thinking, this is not a tasty cocktail. She’s
Stephen: mixing up here. No. If you thought the pizza taste bad.
Rhys: She traces some ruins on Sam’s forehead before she picks up the skull and pours the blood into Sam’s mouth. Yeah. Sam does manage to get a hand free and slaps the hag who retreats screeching, apparently doesn’t like being touched. Then she gets herself untied as she, she’s afraid she’s, she, I she’s the last girl.
Stephen: Yes. Yes. Very much remind me a lot of, what’s her name from I, again? Last house on the left, kept fighting and fighting, yeah.
Rhys: To no avail in the end. But yeah, as she runs, she grabs a nice hags knife and stabs Mr. Oman in the gut. Just as beep coming through. Victor goes after her.
She gouges his, gouges him in the eyes enough that he lets her go
Stephen: now let me stop real quick. The one thing I, that stuck out to me with that ritual that I thought was really great actually, was nobody was let me explain to you what we’re doing. Or, Hey, don’t forget for this part of the ceremony, it was like, you’re watching this.
You’re like, oh my God, what are they doing? And they’re not. So again, you have to piece together what’s been going on and okay, you’re tied up on a pentagram. We’re dealing with blood. We got it. We figured it out, but I loved it because they didn’t feel the need to overexplain, no monologue, everything going on.
Rhys: exactly. She gets upstairs and slips in the blood of her friend whose body is lying in the kitchen minus her face. Of course. Yeah. Faceless. Very much she grabs she grabs the kitchen knife. Victor’s chasing after her. He shoots her in the shoulder and then he like comes up to her and he is, it’s odd because the ceremony’s been performed and we want her to survive, but he’s so pissed off.
Like it looks like he’s about to end her. Yeah.
Stephen: That’s you get the impression. Okay. It’s a sacrifice. We got the moon, we got some devil worshiping call. It’s gonna be a sacrifice. That’s why they want her dead. Another hearing.
Rhys: But he gets close and she just lashes out with a knife, catches him across the throat, he falls backwards.
Gurgling, gurgle. I love that. Gurgling. Ggl grabs the gun. And now Mrs. Alman is following. Sam is starting to have these visions of the hag and there’s this black spider webbing appearing across her abdomen that looks so much better than it would have back then.
Stephen: True. Mrs.
Rhys: Oman’s, now Mrs. Oman starts to monologue a little bit.
She’s you stupid girl, blah, blah, blah. And she’s standing there staring out the window and Sam gets up and stabs her in the back, like, all right.
Stephen: Definitely. Mrs. Almonds just a touch on the crazy side. Yeah. She, yeah. But a char her character of how she acted, it’s that type of person is in a lot of these type of Yeah.
Movies. You get that it felt comfortable. The person who’s
Rhys: way down the rabbit hole. Yeah. She heads downstairs tries to call 9 1 1. Grabs the gun, but the hag keeps giving it her. These visions, they’re getting worse. So she runs from the house into the adjoining cemetery with Mr. Oman, limping along, following her with a knife in his belly.
We end up in the cemetery and she’s like pointing the gun at him. He’s it’s fine. Shoot me. I’m fine with that. It’s not about me. I’m fine with me dying as long as you’re gonna be okay. And now she gets, she is not a babysitter. She is not a sacrifice. She is yeah. She is going to be carrying devil baby, apparently.
Yeah. So he says the ceremony’s done, it can’t be stopped. And she’s oh yeah, choose yourself in the head. And he’s no.
Stephen: End of the movie. Yeah.
Rhys: But not the next scene we get is the news saying astronomers are confused as to why it took three hours to lead up to the eclipse and all of a sudden it just stopped.
Stephen: We don’t get it. That I liked that part. That was a good addition to the whole mythology in the movie.
Yeah. I like that. It’s wow. They are controlling stuff, that’s even scarier.
Rhys: Yeah. And then we. Cut from there to find Sam lying in hospital bed, her head bandage, and there’s an IV dripping there, and the nurse comes in and is putting medicine saying, you’re gonna be okay.
And so’s the baby. Yeah.
Stephen: And that’s where it gets all tied together masterfully. Yes. Because it, you could still very much say what is going on? They, it was a satanic cult sacrifice and they didn’t sacrifice her. She killed herself, but she’s still alive. And then, oh my gosh. It’s but they didn’t have any sex scene.
It was, that had to be supernatural because it was the blood and the moon and goat head. So
Rhys: yeah. It’s, yeah. Really. It was, and I I love the fact that the same pistol that at close range completely removed Megan’s face. Sam shot herself in the head with it and survived.
Stephen: Could that have been because of the baby?
Rhys: Yes. Yeah. Yep. It’s the supernatural power is showing that for sure. Once it had started, it couldn’t be stopped and so it deflected and you hear about that. Someone who tries to shoot themselves in the head with a 22 and the bull ricochets around under the skin. It looks like it did that with a much more powerful shell.
Stephen: Yeah, this is definitely a movie that some people probably wouldn’t give enough of a chance to. And watch it, being open to a period piece essentially. It and making it feel and everything like that time period. So you know that’s a shame because it was masterfully done throughout the whole thing to look exactly like what it was.
Rhys: It takes a bit of patience, but especially in an era where we romanticize that period of time, the eighties and the nineties, and, we have television sitcoms about it and how great it was and things like that. This is a really good example of, what that kind of movie was this was, this would’ve been a Saturday night film.
Stephen: Yeah. Yeah. Would’ve had to stay up. Really? Or hopefully Mr. Cost had it down at the video store we could grab a copy of. That would be awesome. And not explain to my mother exactly what it was. Yeah. Oh, it’s a horror movie. Yeah. All right. House of the Devil.
Yes. Here you go. There’s a lot to it. A good one to really keep your mind open and watch and enjoy what it is. Yeah. And,
Rhys: I think it’s a really good film from a really good promising director, and I’m. I don’t wanna say that he’s like an early director anymore cuz he is got a whole lot of films under his belt.
But this is early in his career.
Stephen: Yeah. And you know nothing against him at all. I loved this film and I recognize Cup theres, I think he probably won’t be one of those huge directors cuz he seems very much like he wants things a certain way. Yes. And unfortunately that’s probably gonna hold him back a little bit from the standpoint of Uber
He’s only gonna make the movies he
Stephen: wants. Yeah. And I think he’s doing fine. So you still may not hear from him in 10 years, but there’s probably gonna be some good movies from him for sure. All so what’s next sir?
Rhys: Going through the list, I’ve been sensitive about my choices of American films versus foreign films, and this season we actually have more American films than we do foreign films.
The last three that we’ve gone over, including House the Devil have all been from the United States. Now we’re gonna switch over to a British film called Kill List.
Stephen: Ooh, nice. Okay. What’s the job?
Stephen: Oh it makes sense with a title called Kill List. All right, thanks. See