Send us Fan Mail

HUGTOBER continues with one of the most chaotic, gory, and aggressively mid‑2000s creature features ever made. In this episode, Rob and Liam dive into Feast — a film that doesn’t warm up, doesn’t slow down, and doesn’t pretend to be normal. It kicks off with explosive title cards, kills characters seconds after introducing them, and constantly flips horror tropes on their heads.

From the instant “hero” fake‑out to the rapid‑fire deaths, the movie’s wild energy becomes the centre of the conversation. Rob and Liam get into the mid‑2000s aesthetic, the exaggerated character archetypes, the shock value of killing the kid early, the skull‑masked monster design, and the film’s chaotic tonal swings between genuinely great creature horror and comedy that hasn’t aged well.

They also dig into the sequels, the director’s bizarre career path, and the unexpected detour into Children of the Corn lore — discovering just how many of those films actually exist.

It’s messy, loud, unhinged, and perfect for HUGTOBER.

Send us Fan Mail

HUGTOBER kicks off with one of the strangest, creepiest, and most unexpectedly chaotic sequels of the 1980s: Poltergeist II: The Other Side.

This week, Rob and Liam dive into the return of the Freeling family, the cosmic weirdness of the “Other Side,” and the film’s biggest weapon — Reverend Henry Kane, whose calm, skeletal presence instantly elevates the entire movie. Every time he appears, the tone shifts from suburban ghost story to full‑blown nightmare.

We break down:

• Kane’s unnervingly calm performance
• The surreal, jarring emotional flashback
• Giger’s grotesque creature design
• The Freelings’ ongoing supernatural misery
• Taylor’s mystical smoke ritual and spiritual logic
• The sequel’s wild tonal swings and 80s weirdness
• Why the film feels like two different movies stitched together

Plus: Rob and Liam unpack the creature effects, the emotional beats that come out of nowhere, the bizarre pacing, and how Poltergeist II manages to be creepy, chaotic, and unintentionally hilarious — often at the same time.

HUGTOBER is officially underway, and we’re starting with a sequel that’s equal parts spooky, surreal, and wonderfully odd.

Send us Fan Mail

Brad Dourif is feral, the robot dog is clunky, and the corridors are very wet — which can only mean one thing: we’re diving into Death Machine (1994).

Rob and Liam revisit Stephen Norrington’s pre‑Blade cyberpunk oddity, a film Rob adored at age 10… and is now deeply questioning in 2026. From the aggressively grimy 90s aesthetic to the War Beast that moves like a shopping trolley with a wonky wheel, this one is a relic of a very specific VHS era — charming to some, exhausting to others.

We get into:
• The War Beast looking like it’s trying not to fall over
• Brad Dourif behaving like a gremlin denied dessert
• The wild pop‑culture character names (Weyland! Yutani! Scott Ridley!)
• The tonal whiplash, the dripping corridors, and the baffling emotional cutaways
• Why this film has four different cuts, none of which fix Dante’s hair
• Whether Death Machine actually has a cult following… or just a cool VHS cover

Plus: Rachel Weisz’s eyebrow piercing, eco‑warriors with no cause, and the eternal question — why name your movie Death Machine when the machine is called Warbeast?

It’s messy, loud, weirdly ambitious, and absolutely drenched in blue lighting. Join us as we unpack one of the most 90s‑80s movies ever made.