Greetings, and welcome back to Horror Business, the creepiest AND crawliest podcast out there. We have one awesome episode in store for you guys. On this episode we’re discussing two films involving gross insects: 1975’s Bug and 1997’s Mimic.
First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screenprinting company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a tshirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thanks!
We begin by talking about what horror related things we had done lately. Liam discusses watching The Transfiguration and Lace Crater. Justin doesn’t contribute much to this conversation since all he did was watch the trailers for Devil’s Gate, You Shall Not Sleep, and Day Of The Dead: Bloodline.
Up first is 1975’s Bug. Right off the bat it’s clear we don’t like this movie. It’s uneven in tone, lacks any sense of real urgency, lacks a clear narrative, and deviates from the normal ‘monster bug attacks town’ story in a really horrible way.
We discuss the lack of relatable characters and how no one in the movie is really likeable. We also examine the bizarre and seemingly sadistic motivations for the apparent main character, the general plodding nature of the third act, and some of the weirder aspects of the titular insects.
Next is 1997’s Mimic. We start by talking about what we didn’t like about the movie, namely the ‘magical autistic child’ trope and the decision to base Mira Sorvino’s inner turmoil around her seeming infertility.
We then move on to talk about what we did like about the movie, as well as what we like about del Toro as a whole. Justin briefly talks about his strange infatuation with the concept of ‘cryptoterrestrials’ and creatures that look like people and move amongst us undetected, as well as the concept of there being a whole separate subterranean society that is unknown to the wider world.
Del Toro’s tendency to include some kind of faith-based narrative in his films is briefly discussed. The effects of the film, both practical and CGI are discussed, we touch upon a ranking of sorts of del Toro’s work, and overall we give the movie a very positive review.
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