The Blind Rage Podcast explores the darkness of SINISTER 2 (2015), where twin brothers Dylan and Zach discover cursed home movies that pull them into a deadly ritual. Their mother, Courtney, struggles to protect them, while a former deputy haunted by past trauma races against time to stop a malevolent force .

PET SEMATARY II (1992) haunts The Blind Rage Podcast this second week of Sequels Month, bringing a story where the past refuses to stay buried, and the living discover that some things are better left alone. With moments that are unsettling, absurd, and darkly funny, it’s a ride that keeps your nerves on edge and your eyebrows raised.

It’s Sequels Month on The Blind Rage Podcast, and we’re starting with a sinister chapter of magical mischief in THE BROTHERHOOD II: YOUNG WARLOCKS (2001). John Van Owen arrives at the prestigious Chandler Academy eager to fit in, only to find himself at the mercy of the school’s jocks and social hierarchies. When Luc, an enigmatic senior with a dangerous edge, offers him entry into a secret circle of warlocks, John takes the bait. The rituals promise power, prestige, and vengeance, but the cost is far higher than anyone suspects. As the students are drawn into a web of dark magic and manipulation, loyalty and ambition collide, revealing that the true threat comes not just from the supernatural, but from each other. David DeCoteau’s signature style is on full display, blending suspense with homoerotic undertones, lingering shots of muscular young men in their underwear, and an atmosphere charged with tension, desire, and danger. The film weaves teen angst, forbidden magic, and seductive peril into a unique slasher‑horror cocktail.

The final week of Shitty Remake Month arrives with THE STEPFATHER (2009), a remake that takes the razor sharp menace of the original and sands it down until all that is left is a bland, overlit parade of Lifetime level thrills. The tension evaporates scene by scene, replaced with dialogue so flavorless it could have been generated by a malfunctioning appliance, and a villain who feels less like a cunning chameleon and more like someone rehearsing menace in a bathroom mirror. The movie tries to convince you it is building suspense, but mostly it is just wandering in circles hoping no one notices how little is happening. And yet, buried deep in this beige swirl of mediocrity, there is exactly one glimmer of entertainment: Penn Badgley without a shirt. The film may fail at almost everything else, but it never misses an opportunity to remind the audience that he was the only thing even remotely worth looking at.

It's the third week of Shitty Remake Month on The Blind Rage Podcast and we're dragging our nails across the chalkboard of horror history with CARRIE (2013), a remake so limp it feels like it was assembled from the rejected scraps of half a dozen teen dramas. Somehow the filmmakers took the volcanic fury of the 1976 original and turned it into a mopey after school special with telekinesis sprinkled on top like sad glitter. The performances drift between robotic and melodramatic, the script stumbles through every beat with the grace of a dropped cafeteria tray, and the so called modernization lands with all the impact of a damp sponge. Even the infamous finale, once a towering moment of terror, fizzles into a CGI laden shrug. The Blind Rage Podcast walks through the rubble of this disasterpiece, picking apart the hollow characterizations, the misguided attempts at edgy relevance, and the baffling creative choices that drain the story of every drop of menace. It is a remake that somehow manages to feel both overproduced and undercooked, leaving behind a perfectly shaped example of how not to revisit a classic.

The second week of Shitty Remake Month on The Blind Rage Podcast barrels ahead with the cinematic equivalent of a dial tone, otherwise known as WHEN A STRANGER CALLS (2006). This glossy misfire takes the nerve shattering opener of the 1979 original and stretches it into a full length slog, trading tension for endless filler. What was once a tight burst of terror becomes an overinflated parade of wooden line deliveries, meandering scenes that go nowhere, and a script that treats pacing like an optional accessory. Even the central threat loses steam as the movie strains to turn a handful of minutes of genuine suspense into a feature that feels twice as long as it actually is. The Blind Rage Podcast digs into the baffling creative choices, the charisma vacuum masquerading as a cast, and the misguided attempt to reinvent a story that never needed a makeover in the first place. Horror fans craving a good laugh at a bad film will find plenty of unintentional comedy tucked between jump scares that never quite land.

The Blind Rage Podcast kicks off Shitty Remakes Month with A NIGHTMARE ON ELM STREET (2010), a lifeless reboot that somehow manages to make dreams boring. Gone is the dark humor, the surreal energy, and the iconic menace of Robert Englund. In their place: a washed-out color palette, joyless exposition, and a Freddy who sounds like he needs a throat lozenge more than revenge. It’s not scary, it’s not clever—it’s just tired.

The Blind Rage Podcast is celebrating Australia Day with one of the worst horror movies the Land Down Under ever produced: HOUSEBOAT HORROR (1989). Shot on video and seemingly edited with a butter knife, this sun-soaked slasher follows a group of “musicians” and their entourage as they head to a remote lake to film a music video. What they find instead is an off-camera killer who makes quick work of the cast, the crew, and any shred of production value. With performances that redefine the word “wooden” and dialogue so flat it could double as a cutting board, HOUSEBOAT HORROR has been called everything from “the worst Australian film ever made” to “a masterpiece of accidental comedy.” And honestly, both might be true.