This week on Hate to Interrupt, we’re talking about two directors known for doing things their own way. Edgar Wright’s The Running Man reimagines the 80s sci-fi classic through his kinetic style and dark humor (or does he?), while Osgood Perkins’ Keeper continues his streak of eerie, unsettling horror that lingers long after it’s over.

We break down how both filmmakers twist familiar genres into something stranger, smarter, and more personal, and whether The Running Man proves Wright still has his edge.

⁠VHSGuy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

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⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ghoulif⁠⁠

This week on Hate to Interrupt, we dive into Guillermo del Toro’s long-awaited Frankenstein, a gothic reinvention of Mary Shelley’s classic through del Toro’s signature mix of tragedy and monster empathy. We also talk about It, the modern horror juggernaut that redefined Stephen King adaptations, and Welcome to Derry, the new prequel series expanding that world. To round things out, we discuss The Chair Company, a small but fascinating new project that might be one of the strangest releases of the year.

⁠VHSGuy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

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⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ghoulif⁠⁠

This week on Hate to Interrupt, we’re diving into two very different visions of horror and dread. First up: Shelby Oaks (2024), the feature directorial debut from YouTube critic-turned-filmmaker Chris Stuckmann, which turned an internet myth into a crowdfunded studio film. We unpack its found-footage roots, its long wait, and whether it actually delivers.
Then we revisit Midsommar (2019) by Ari Aster—a folk-horror spectacle that blends heartbreak, cult rituals and daylight so bright you forget you’re scared. We compare how each film handles dread, tone and what we’re really meant to fear.

⁠VHSGuy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

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⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ghoulif⁠⁠