There’s no number attached to Veronica’s “best of” list for 2020. This year, she’ll mention as many movies as she can remember seeing and liking well enough because, well, with theaters closed it was kind of hard for her to see much of anything. Dreaming of you movie theaters, xoxo come back soon.

A great documentary, skillful character studies and a handful of surprisingly original biopics kept 2020 afloat for Jenna. Here’s hoping this under appreciated cinematic year, full of intriguing introspective visions, is the shape of things to come for the decade.

If there’s one guy who deserves some sort of Nic Cage-level renaissance, it’s Eric Roberts. With a filmography that’s over 300 films long, there’s no lack of hidden gems to discover. Let’s begin.

Dan says 2020 sucked but watching these movies didn’t. Maybe you can find a couple new gems to watch to hopefully ensure that 2021 is less shitty.

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.

Join Carlo and Dan as they talk about two completely random, theme-less Canadian horror movies that they happened to want to watch this week: Food Chain (1999) & Corpse Eaters (1974)

This week on Hoser Horror, Carlo and Dan are joined by Heather from the Movie Melt! Podcast and Compañeros Radio Network to discuss two Canadian horror movies of varying quality and thematic relevance.

And so this is Christmas… doesn’t mean Veronica’s gotta be all sentimental about it. Here’s a list of three perfectly hilarious Christmas films to bring you joy, whether they mean to be funny or not.

Matthew Rankin’s The Twentieth Century is like if Guy Madden and Ken Russell discovered a portal to the 1920s while playing playing laser tag against Monty Python’s animations. You know, your run of the mill biopic on a moderate Canadian politician.

Put down that copy of Die Hard, toss aside that Gremlins tape… here’s a list of some alternatively festive (or creepy or funny or somewhere in-between) Christmas picks for you to watch this year.

This time on Hoser Horror, Dan and Carlo are joined by Meghann of Ghouls Only Press and the Ghouls Only Cast to discuss two Canadian horror movies of varying quality.

In search of color and jaunty angles, Carlo & Jenna throw it back to two early collaborations between Hideko Takamine and Keisuke Kinoshita: Carmen Comes Home (1951) and Carmen’s Innocent Love (1952). They get what they’re after, alright. Perhaps too much…

Carlo and Dan welcome Back Row's own Jenna to discuss two more Canadian horror movies about fantastical murderers–Bob Clark’s anti-war classic Deathdream and Oliver Stone’s home invasion Seizure.

Witch movies making a comeback speaks to a larger trend of people wanting more control over how they’re seen. With all of the discussion right now about who has power, who gets power, and what power means to society in general, it’s a natural fit for the Female Anxiety genre.

Horror sci-fi Synchronic focuses on drug addiction, sudden death, the harsh realities of the past, and unintentional time travel. While you wish it scratched past the surface a bit more than it does, it’s still one of the better sci-fi offerings we’ve had in the last few years.

Finally a college movie for the rest of us! I’m talking about those of us who spent their so-called “best years” mostly talking on the phone with their parents, eating take-out in their rooms and crying in the shower. Perhaps if I had had Shithouse I wouldn’t have felt so alone.

Today is the first Franchise Frenzy episode (of potentially many?!) where Dan and Carlo discuss all of the Stephen King's Children of the Corn adaptations and sequels.

This week on a very special episode of Hoser Horror, Dan and Carlo decide to dive into two more spooktastic horror flicks as is customary around this time of year. Or so they thought!

The Cinema of Ettore Scola is an essential addition for the shelves of those who have wondered what contextual nuances they might have been missing out on, or anyone who has wanted to dip their toes into the wonderful world of Italian political satire.

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.