Paul Negoescu's Men of Deeds (2023), is a tale of dubious morality and small town politics as filtered through a darkly comedic sensibility, reminiscent of the films of the Coen Brothers or Milos Forman.

223 Wick is a film that will be appreciated by aficionados of the experimental, underground works of the ‘60s and ‘70s where sometimes you’re only along for the ride because of the psychedelic visuals and totally out there concepts.

Jenna and Veronica both enjoyed Barbarian, which is why they recorded a podcast ripping it apart. It’s one part film critique, one part conversation, and a whole lot of lusting after Lil’ Billy Skarsgård.

In The Card Counter, the schism between processing trauma and self-forgiveness comes to a head. To Bill, this living prison he has set up for himself is akin to a religion. But salvation cannot be achieved without true consciousness – simply having suffered great punishment is not enough.

The beautiful and unflinchingly brutal I Saw The Devil invites the the audience to meditate on the idea of the purpose of revenge and justice – how either is served and where to draw the lines between righteous vigilante and depraved psycho.

Turning 30 can be rough. All that peer pressure, awkward insecurity, fights with mom, not to mention the raging hormones… Wait did I say 30? I meant 16. Sorry, I get those two confused somehow, just like our double feature: Crime in the Streets & The Delicate Delinquent.

Ruthlessly bloody, indulgent and like watching Lars Von Trier primp in the mirror for two-and-a-half hours, The House That Jack Built is surprisingly watchable. A little insufferable, big time pretentious, but darkly funny and strangely digestible.

Guest Paul Corupe joins Dan & Carlo to discuss two notable tax shelter era horror movies featuring inanimate objects as murderers: Murder by Phone and Death Ship.

Christmas may always be the season of sap and treacle, but there’s no reason to suffer through boring, trite entertainment just to be thematically appropriate. Veronica delves into Red Christmas, Better Watch Out and Christmas Evil.

Veronica interviews filmmaker Anja Murmann on her upcoming film Unintended–about a woman who has repressed a memory of murder for so long that it begins to drive her insane.

At it’s heart, Henry: Portrait of a Serial Killer is a commentary on both the mutability of morality and the culpability of voyeurism. Or it’s a weirdly dark comedy, depends on how twisted your soul is.

It’s dinner and a movie with Italians, American Style! Veronica mixes it up by providing you with two recipes to go with your double feature of Moonstruck and I Love You To Death.

The charges against Martyrs range from misogyny, to torture porn, to support for getting what you want by any means necessary. It’s an unsettling and rightfully polarizing film, but I'd like to take a closer look at what exactly it is saying, and how many (if any) of these claims have validity.

That's right folks, pretty soon we'll be able to violently murder each other next to some sweet-ass concentric circles, just like our forefathers envisioned. You might scoff, but we've been dreaming of this future for a long time.

We’re killing Capitalism before it kills us with a double feature of Thoroughbreds and Cheap Thrills, both of which skewer, roast, and serve up the worst parts of capitalism on a metal spike.

With graphic violence, rape, drugs, pedophilia and necrophilia, Veronica watched A Serbian Film so you don't have to. But maybe you actually should.

Veronica looks at Black Christmas and Elves  – movies about female anxiety, loss of autonomy, murder, and, oh, Christmas.

AKA How to Lose Friends and Alienate People by telling them to shove their Christmas cheer and watch movies about losing yourself in a maze of hangovers and murder in the Australian outback.

My Friend Dahmer emphasizes how the culture of cruelty and selfishness in high school can aid in masking real warning signs. But to forgive or not to forgive is another question entirely.

this isn’t the starry-eyed kids of the pre-Vietnam sixties, setting out to make a name for themselves. It’s the druggies and the rockers and they’re here to party because fuck you, old man.