Devour the Podcast 62: The Midnight Meat Train



Welcome to episode 62 of Devour the Podcast


This Week:


-Jamie goes to war with the electric company….no really…..for like 10 minutes.

-Bo watched Chernobyl Diaries for some reason


-We make fun of M Night Shamalamadingdong

-David bitches about Star Trek Into Darkness, raves about Wrath of Khan


Check out listener Ian’s site:




-Jason returns to Paramount

-Blumhouse preparing The Purge 2

The Walking Dead seaons 3 DVD/Blu-ray details

Stoker coming to DVD and Blu-Ray

-Shocktillyoudrop gives us the 10 most influential horror films of the last 15 years


It Came from the Instant Queue:

House (1986)

Bo- 4.25/5




Our Feature Presentation:

The Midnight Meat Train (2008)

Bo- C-

David- B

Jamie- B-


Next Episode:

We’re taking a trip back to the house for House 2 for our Instant Queue selection and we tackle Dread for our Feature Presentation


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Review: V/H/S 2



Let me start off by saying that at its core, I think the V/H/S films have a good idea, which is to take young directors and have them tackle the found footage genre in an anthological format. In theory this is great, however, like every anthology, the outcome ends up being a bit uneven, and while there were elements of the original film that I enjoyed, ultimately I felt like V/H/S was at best an interesting experiment that didn’t quite live up to its full potential, and when the sequel, original titled S-V/H/S (now simply the less interesting V/H/S 2) was announced, I thought this just might be the fruition of what the original concept hadn’t been able to achieve.


Boy was I wrong.


First, let’s address the elephant in the room, the biggest glaring problem of the original film, and one that gets dragged along into this one. Yes I realize the films are called V/H/S, but when the shorts themselves don’t look at all like they were shot on, or are being viewed on VHS, it raises the question of how the footage we are seeing got onto VHS tapes when clearly it was shot digitally. This problem plagued the original film, and it returns once again for the sequel, only this time we are presented with all new impossible segments, and better put together wrap around story, but one that isn’t much better than the abysmal wraparound of the original.


Things start our strong enough with the story of a man with a prosthetic eye that records everything the eye sees. This is easily one of the best segments of the film, although it gets problematic quickly and by the end just sort of falls apart.


The second segment is a zombie affair that I was bored with as soon as it became clear that it was a zombie story. The ending of this segment was saccharine and just plain dumb.


The Raid director Gareth Evans gives us easily the best of the lot with his entry into the film, and while it touches on some familiar ground, it uses the found footage elements excellently and has some of the best special effects in the entire film.


And then the whole things comes crashing down with an awful closing segment that tries to mine the sci-fi genre the way The Sick thing that happened to Emily when she was Young from the original did, but this time it’s just tedious, poorly shot and frustrating.

Finally we finish off the wrap around story and the whole thing just ends rather unceremoniously.


Putting aside my issue of “How did any of these films get onto VHS tapes”, I’m left wondering do any of the events in theses shorts exist in one world? Do these events take place in the same universe as the wrap around story, and if so, what are the repercussions? Do these tapes exist as views into alternate dimensions or something? I’m not asking much here, I just want a little clarity is all.


Overall, V/H/S 2 falls into the same trap its predecessor does, keeping a dumb story premise and being a showcase for a couple of really talented directors to shine while the others flounder about with poorly written/directed segments.


Grade: D


The Good-

Gareth Evans knows what he’s doing.


The Bad-


Was the dog really necessary? Really?

Devour the Podcast 61: Book of Blood


The dead have stories to tell…………..


Welcome back to another episode of Devour the Podcast.


This week:

We kick off our Clive Barker retrospective with a lengthy discussion of Clive Barker the author, horror novels in general, and why Hollywood is dumb.

Plus, news and reviews!



AMC thinks Walking Dead will never end

Human Centipede 3 is finally shooting….

Emma Roberts joins American Horror Story: Coven

Aja tackling A Perfect World, folks join Vampire Academy adaptation and David Pinner has a sequel to Wicker Man written.


It Came From the Instant Queue:

Paranorman (2012)


Bo: 4/5

David: 4/5

Jamie: 4/5


Our Feature Presentation:

Book of Blood (2009)

Bo: C-

David: C+

Jamie: D+


Next Episode:

We go wandering through House (1986) for our Instant Queue selection and Midnight Corey joins us to discuss The Midnight Meat Train


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Call Us: 760-661-7280


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@Ddellamorte  or @maven1974 or



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Devour The Podcast Episode 60: The Lords of The Dead


It’s gonna be a fight!


Welcome back to another episode of Devour the Podcast.



Ben Wheatley’s new film picked up by Drafthouse Pictures

Dominic Cooper to play Dracula

Luke Evans also in Dracula and now The Crow

Apparently we’ve got 3 Cabin Fever sequels coming

Three more coming to The Town that Dreaded Sundown

I Spit on Your Grave 2: Spit Harder coming this fall

RIP Ray Harryhausen


It Came From The Instant Queue:

Hold Your Breath

Bo- Fuck this Movie




Bonus Review:

The Lords of Salem

Bo- B

David- C+

Jamie- A


Our Feature Presentation:

The Dead


David- F

Jamie- A+


Next Week:

We’re taking on Paranorman for our Instant Queue selection and kicking off our series on Clive Barker with Book of Blood.


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Call Us: 760-661-7280


Follow Us on Twitter:

@Ddellamorte or @maven1974 or



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Review: The Dead (2010)



Synopsis: When the last evacuation flight out of war-torn Africa crashes off the coast, American Air Force Engineer Lieutenant Brian Murphy (ROB FREEMAN) emerges as the sole survivor in a land where the dead are returning to life and attacking the living.

Fuck You Howard and Jonathan Ford, just Fuck You.

I can’t remember the last time I’ve been as disgusted with a film as I was watching The Dead. On paper, the idea of a zombie film set in Africa sounds interesting and original, but that originality is quickly thrown out the window when the hero of the film is a white American, and not the native African Daniel (Prince David Oseia) who should have been the lead.

First and foremost, the story is derivative and dull. Zombie outbreak has started, we follow a couple of characters as they try to survive and come back to their families, and everything ends badly for everyone.

If that was the film’s only major flaw, I don’t think I would be as angry about it as I am, but the fact that I sat through an hour and forty five minutes of what can best be described as a “White Savior” zombie film is not only infuriating, it’s disgusting.

Why in the hell would you bother to make a zombie film set in Africa and then make the hero of the film A WHITE AMERICAN? I’d be willing to say “Well, you’re making some commentary” if he’d been a white South African, but he’s not, he’s just another White American Male saving minorities, and one scene toward the end of the film, after I was starting to be relieved that I only had about ten more minutes of this tripe to deal with, we’re given the perfect summation of exactly what this film is all about.

The White Man is the savior.

(What you can’t hear is the angelic choir singing on the soundtrack.)

This movie is derivative, racist and painfully long.


Pros: None

Cons: Everything.

Press Release: Musician Voltaire to direct adaptation of his comic Oh My Goth!




Aurelio Voltaire to direct film version of his comic book OH MY GOTH!: an irreverent, comedic trip through horror and science fiction

Monsters, rock and roll, comedy and sex

(May 7th, 2013 – New York City, NY) – On behalf of musician and filmmaker Aurelio Voltaire, we’re excited to announce his upcoming full-length film as director: an adaptation of his comic book OH MY GOTH! featuring his musical talents.


When the reanimated skeletons of Necronus, a cemetery planet across the dark expanse of space, decide they need Earth paved into a landing strip, they send, possibly the worst of their agents to undertake the task. Arrogant, pompous and not the brightest laser in the arsenal, Heironymous Poshe , takes on human form and travels to Earth aboard his Black Spire, a space ship that could easily pass for a giant, black cathedral. However, Poshe has plans of his own, namely to avoid a desk job on the Necrid home world and live a life of leisure in a fixed orbit above Earth. For centuries, Poshe (along with his robot slave and an imprisoned midget) has avoided his prime directive. Instead he has spent his time abducting Earth women, celebrities and bands for a non-stop, nightly party above the Black Spire.

But Poshe’s days of care-free, hot-babe abduction are coming to an end. Tired of Poshe’s lack or results, Lord Krom Wrath, supreme ruler of the Necrus, launches a full scale invasion of Earth. Poshe bands with the only people on Earth who understand his cause (a group of Goth kids, a cadre of ninja priests and a small army of Hasidic Rabbis- ironically, all of them people who wear all black!) to repel the oncoming armada of Necrid ships. The final space battle is the “Jews in Space” Mel Brooks promised us and never delivered!

After performing worldwide onstage, directing commercially, and following the film festival circuit with his stop-motion animated films, Voltaire will now direct a feature film based on his own comic work. The feature version of OH MY GOTH! will have that strange brand of dark comedy and music that he has been performing at Goth clubs and sci-fi and horror conventions across the land.

“It was time to finally unite my storytelling, my music, my twisted humor and filmmaking sensibilities all into one project,” says Voltaire. “It has all the things I love: monsters, rock and roll, comedy and sex mashed into a giant ball of awesome.”

Producer Keryn Thompson is very excited about the content: “There’s loud music. There’s scantily clad girls. There’s Satan,” she says.


James Morgart, also producing, says that he joined the project because “Voltaire’s material stretches across so many genres that he sort of encompasses every bastardized sub-genre to be associated with the Gothic tradition since Walpole’s Castle of Otranto.  His plans for this film are to give his fans all of their favorite aspects of his work: music, animation, and subversively witty humor.”

OH MY GOTH! the film is currently in pre-production and will shoot in the New York City metro area.

Genre: Horror/Musical

Directed by: Aurelio Voltaire

Screenplay by: Aurelio Voltaire, Based on his comic book OH MY GOTH!

Produced by: James Morgart, Keryn Thompson

About Voltaire

Aurelio Voltaire is a media personality and respected authority on all things Gothic, Horror, Sci-fi, Steampunk and involving “geek” culture. He is often referred to as a modern day renaissance man having achieved success in the fields of animation, music, comics, books and toys.

Voltaire’s career began in the 1980s as a stop-motion animator and director, creating some of the award-winning, classic MTV and SyFy channel station IDs. He worked in television, animating and directing commercials for nearly twenty years when he realized it was time for him to tell his own stories. Finding comic books to be a vastly more economical tool than feature films Voltaire told his first epic tale, “Chi-chian” in comic book form. This dark, Cinderella story set in Manhattan’s future, was published and led to a 14-episode animated web series directed by Voltaire for the SyFy channel’s website. His success in comic books also led to several underground hits including the comic book series Oh My Goth!, Human Suck! and most recently Deady. The latter featured collaborations with some of the biggest names in horror and comics including Neil Gaiman, Clive Barker, James O’Barr, Roman Dirge, Gris Grimly and many others. It also spawned a long list of toys including plush toys for Six Flags, Hot Wheels cars for the Japanese market and over a dozen vinyl toy releases including collaborations with Disney and Skelanimals.

In yet another career swerve, 1995 saw Voltaire took the stage at a New York City club where he launched his music career. His songs are a strange brew of murder ballads, tongue-in-cheek exercises in the macabre with just enough bawdy Star Trek and Star Wars songs to keep convention audiences rolling in the aisles. Many in the mainstream know Voltaire as the writer and performer of the songs Brains! and Land of the Dead from the Cartoon Network show, The Grim Adventures of Billy And Mandy. Almost constantly on tour, he has played his music around the world and released eleven full length CDs to date.

Voltaire also wrote the popular books What is Goth? and Paint it Black: a Guide to Gothic Homemaking (Weiser Books) and has appeared on numerous television shows and documentaries as an authority on Goth, Horror and Steampunk. Appearances include Fox News, Biography, MTV News, Fearnet, IFC, PBS and others.

When not touring, writing books or designing toys, Voltaire teaches stop-motion animation at the School of Visual arts and continues to make short films. His “Chimerascope” series of stop-motion shorts are perennial film festival favorites. The five shorts have won a combined 31 awards and feature the voice talents of Deborah Harry, Richard Butler, Gerard Way, Gary Numan and Danny Elfman.

More on Aurelio Voltaire can be found on his official website:

Review: Maniac (2012)


Synopsis: The owner of a mannequin shop develops a dangerous obsession with a young artist.


If you’ve never seen the 1980 William Lustig film Maniac, you’re missing out on some of Tom Savini’s best early 80’s effects work.


But I’m not here to talk about that Maniac, I’m here to talk about the Franck Khalfoun directed, Alexander Aja/Gregory Levasseur penned remake.


First and foremost I’m an fan of Alexander Aja and Gregory Levasseur, and have been since seeing High Tension in 2004. I loved The Hills Have Eyes remake, and I loved Piranha 3D more than I probably should have, however when I first heard that Maniac was up to be remade with Aja and Levasseur writing I was giddy. Don’t get me wrong, I like the original Maniac, but there are some serious problems with it on a story level that I’m willing to forgive because the rest of the movie is good.


This Maniac is the kind of remake I love to see, one that takes into account all the good things about the original, while patching up and fixing the problems as well as adding its own new twists and spins on the subject.

The story is very similar to the original, Frank (Elijah Wood) is a man with severe mental problems with a decidedly homicidal bent, but when the right woman comes into his life, it seems like everything could change for the better……


The first thing that stands out about Maniac is that it’s shot all from Frank’s perspective, and while this at first can be a bit jarring and almost annoying, it actually ends up working in the films favor as we are forced, as the audience, to see the world as Frank sees it, to experience things through his eyes and his twisted mind. There are a few scenes where the camera does give us a more traditional third person perspective, but they are very few and far between, and when they happen, I felt as if they were meant to be a sort of out of body experience for Frank.


Elijah Wood’s performance is perfection, as he’s just handsome enough to be non-threating, but it’s those same good looks that hide the…Maniac within, and while we tend to only get glimpses of Wood on screen through mirrors and reflective surfaces, as well as the couple of third person shots, his delivery of lines and the reactions of the actors he’s talking to help to pull every scene together.


Without getting too deep into spoilers of this film, or the original, I will say that I appreciated what Aja and Levasseur did in clarifying Frank’s past, which in turn, leads to some fantastically unsettling flashback sequences and one of the single most disturbing murder sequences in the entire film near the end.


And what an ending! With all due respect to Lustig’s original film, the ending of Maniac (1980) doesn’t make a hell of a lot of sense. It’s a fantastic bit of special effects work, but it doesn’t make a lot of sense in the context of the film, and thankfully Aja and Levasseur kept most of that ending, while making things more clear.


Franck Khalfoun deserves just as much credit as Aja and Levasseur do because he directed the hell out of this film, from the opening with the two women coming out of the club and the tiny details of our first victim being harassed by random stranger on the street, to the vicious brutality of the ending, every scene was gorgeous to look at and the visual nod to the original film’s poster in one scene was excellent.


The score by the artist simply listed as Rob is exquisite, a throwback to 80’s synth driven scores that still feels contemporary and has been in heavy rotation for months even before I had a chance to see the film. Easily one of the best modern horror film scores of the past ten years.


Maniac is everything I hoped it would be and more, delivering a genuinely uncomfortable, beautiful remake that improves upon the original.





The Score

Elijah Wood’s performance

Aja and Levasseur’s script

Khalfoun’s direction

Special Effects