It’s time to visit the misspent youth of the team, hurtling back to 1998 for Jake West’s “Razor Blade Smile”.
A film that shows that a coffin can make a lovely centrepiece gun rack in any bedroom; highlights that vampires are the only ones not showing off their fangs at a Goth club; and bravely needle drops “Bela Lugosi’s Dead” like “The Hunger” just didn’t happen.
Razor Blade Smile made something of a splash when it came out - a flashy/trashy horror with camp laughs, nudity, gore and an icon in the form of Eileen Daly’s rubber cat-suited vampire assassin, it felt utterly different to anything else emerging from the doldrums of the British film industry. Made on a shoestring budget, but never aiming for anything less than spectacle; time hasn’t necessarily been too kind to it visually, although ironically it’s the (then) state of the art computer generated imagery that has dated the worst. More importantly; it’s shoot-outs and fetish wear aesthetic predates both The Matrix and Underworld franchises. Whilst some minor roles may feature less than stellar acting, the main cast are giving their all, with Daly cementing her place as a British scream queen, and a genuinely brilliant turn from Christopher Adamson as the villain.
Watch (or re-watch) to avoid spoilers and join us.
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It’s time to visit the misspent youth of the team, hurtling back to 1998 for Jake West’s “Razor Blade Smile”.
A film that shows that a coffin can make a lovely centrepiece gun rack in any bedroom; highlights that vampires are the only ones not showing off their fangs at a Goth club; and bravely needle drops “Bela Lugosi’s Dead” like “The Hunger” just didn’t happen.
Razor Blade Smile made something of a splash when it came out - a flashy/trashy horror with camp laughs, nudity, gore and an icon in the form of Eileen Daly’s rubber cat-suited vampire assassin, it felt utterly different to anything else emerging from the doldrums of the British film industry. Made on a shoestring budget, but never aiming for anything less than spectacle; time hasn’t necessarily been too kind to it visually, although ironically it’s the (then) state of the art computer generated imagery that has dated the worst. More importantly; it’s shoot-outs and fetish wear aesthetic predates both The Matrix and Underworld franchises. Whilst some minor roles may feature less than stellar acting, the main cast are giving their all, with Daly cementing her place as a British scream queen, and a genuinely brilliant turn from Christopher Adamson as the villain.
Watch (or re-watch) to avoid spoilers and join us.
Get yourself a costume and slap on your face - we’re off to the cinema for 1991’s “Popcorn”.
A film in which we learn that reggae bands cannot be stopped by a power cut; your favourite Martian now owns a movie memorabilia shop; and, as always, if Dee Wallace is your mum, shit’s gonna get weird.
Made at that curious cusp of 2 decades, this should be standard 80s slasher fare, but it’s knowing references to horror film lore and elevated tone actually predict the direction the genre would take through the 90s. A fractious production with director and lead actor swapped out a few weeks into shooting, this could have been a real mess - the fact it’s as entertaining and coherent as it is is a testament to all involved. With a likeable cast exhibiting genuine camaraderie and some fine spoofing in the films within the film, this is a neglected little treat for the curious.
Watch (or re-watch) to avoid spoilers and join us.
Welcome to Horror
It’s time to visit the misspent youth of the team, hurtling back to 1998 for Jake West’s “Razor Blade Smile”.
A film that shows that a coffin can make a lovely centrepiece gun rack in any bedroom; highlights that vampires are the only ones not showing off their fangs at a Goth club; and bravely needle drops “Bela Lugosi’s Dead” like “The Hunger” just didn’t happen.
Razor Blade Smile made something of a splash when it came out - a flashy/trashy horror with camp laughs, nudity, gore and an icon in the form of Eileen Daly’s rubber cat-suited vampire assassin, it felt utterly different to anything else emerging from the doldrums of the British film industry. Made on a shoestring budget, but never aiming for anything less than spectacle; time hasn’t necessarily been too kind to it visually, although ironically it’s the (then) state of the art computer generated imagery that has dated the worst. More importantly; it’s shoot-outs and fetish wear aesthetic predates both The Matrix and Underworld franchises. Whilst some minor roles may feature less than stellar acting, the main cast are giving their all, with Daly cementing her place as a British scream queen, and a genuinely brilliant turn from Christopher Adamson as the villain.
Watch (or re-watch) to avoid spoilers and join us.