31 Days of Fright: Final Destination


We did it, friends. 31 Days of Fright wrapped up this Monday night, and in total, you raised $1,226 for the TRCC/MWAR, and I watched approximately 47 hours of horror movies and wrote approximately 105,000 (mostly inane) words about said horror movies. And I watched all the movies I set out to*, in the timeframe I intended to watch them! Success! (*The only exception was Stagefright – also known as Stagefright: Aquarius or Deliria – which is apparently impossible to find. Only partially because of its multiple aliases.)

Obviously, I’m overjoyed at the money you raised. The Toronto Rape Crisis Centre / Multicultural Women Against Rape is an extremely valuable resources offering a 24-hour crisis line, counselling, court support, and more! If you missed your chance to donate, several friends are participating in their annual Bowlathon fundraiser, and you can pledge to their teams here.

I suppose, however, that you’re wondering about my state of mind. Well, I suppose you could say I’ve become a bit desensitized to violence and death. The final film I watched was originally rated ‘X,’ and it didn’t even garner a nightmare or moment of true revulsion. So, I’m in a much darker place than I was when I started. (Luckily, it’s now February: the happiest month of the year.) But more than adding darkness to my soul, this month-long horror movie marathon probably subtracted years from my life through lack of sleep. The viewings and write-ups added minimum four hours (usually more like five hours) of work to every day in January, and I usually re-budgeted those hours from the time I’d usually be sleeping and (occasionally) exercising. You don’t need to be Dr. McCabe from The Beyond or Dr. Herbert West to realize those are hours you probably need.

Exhaustion aside, I had a really great time. I was actively engaging in some of my favourite things all month long: watching movies, reading way too much into movies, and working way too hard at an endeavor that means, ultimately, almost nothing.

Thanks so much to all of you – to those of you who donated, who recommended movies, who read these overly long reviews (and there are way too many of you who did that), who watched alongside me (either virtually or beside me on the couch), and who encouraged and supported me by thinking this effort was somehow a good idea Another big thanks to Toronto’s Queen Video and Bay Street Video for existing, as this month of horror movie viewings would have never happened without their extensive libraries and helpful staff. (Please patronize your local video rental store, friends. Most of these films are not available on Netflix!)

Below is an alphabetical index of the full list of thirty-one films. Simply click on the photo to be redirected to that film’s the write-up.

Thanks again!


Alice, Sweet Alice

Forget “drink of this wine, for it is My blood.” How about just pints and pints of the real stuff?

Beyond, The

The Beyond

The Beyond, if you think about it, is just a really gory and surreal episode of Love It or List It or The Property Brothers. Like, unless Gordon Ramsay helps out Liza Merril and the 7 Doors, he has no business calling his show Hotel Hell.



“Being a gardener in the Netherlands seems like a really dangerous job.”


The film opens with a voiceover by (we can assume) the Candyman himself – not to be confused with Rene from Danish pop band Aqua – who asks us while the screen fills with bees, “What’s blood for, if not for shedding?” (I feel like a hematologist would have a lot of good answers to this question.)


Chopping Mall

The best thing about Chopping Mall is its title. There’s not even any chopping in the film – the killer robots literally have no tools or weapons with which to chop!


Deadly Blessing

When Jim starts up his John Deere tractor, you can tell from the look on Hittite elder Isaiah’s face that he’s not going to be the Wilson to Jim’s Tim ‘The Toolman’ Taylor.


The Exorcist III

Filled with My-Dinner-with-Andre-like dialogues (if Andre were a demon serial killer and Wallace Shawn barely said anything).


Flesh Eating Mothers

“Each of us is responsible for our own mother’s actions.” Words to live by.


Halloween III: Season of the Witch

Halloween III‘s willingness to murder children like Little Buddy, along with the real downer of the ending, demonstrates how damaging the filmmakers think children’s marketing really is. (That said, Carpenter has always been willing to kill children in his movies.)

La casa dalle finestre che ridono

The House with the Laughing Windows

One thing that differentiates The House with the Laughing Windows from many other gialli is the constant reference to World War II, and Nazis having used the village as a staging area of sorts. This, combined with the hidden horrors that happened in the town, seem to implicitly link Italy with the horrors of the Third Reich in a way that few Italian horror movies do. “At first, they came for the fresco restorers …”


The Howling

For an over-the-top monster movie, The Howling gets a lot right about post-traumatic stress.


It Follows

There seems to be strength in numbers. Whether this is or isn’t a tacit endorsement of polyamorous relationships can’t be definitively proven.



Everyone who comes in contact with the house lives the rest of their life haunted until they die. It travels from parent to child, from friend to friend. Could Ju-On be the first great ghost story about transgenerational trauma?


Lake Mungo

A spooky Where’s Waldo?, Lake Mungo makes Paranormal Activity look like an episode of Goosebumps. And not even a very scary one. I will be forever spooked by that figure in the dark Alice finds at Lake Mungo. As it is, I’m irrationally worried about having an image of it on my computer desktop.


Lemora: A Child’s Tale of the Supernatural

Lemora’s town is called Astaroth, which is traditionally the name given to the Duke of Hell, one of the three main demons down there. Which seems like a weird thing to name your town, even in the South.


Paranormal Activity

Prior to one night of paranormal hijinks, Katie is filmed applying deodorant before bed. Is this a thing people do? I have been putting on deodorant at the entirely wrong time of day?


Pet Sematary

Let us take a moment to praise the work of the cat actor who portrayed Church. I have never seen cat-acting like that featured in Pet Sematary. Church was played by seven different cats, but the scene that most impressed me was the death scene. The cat’s movements were so convincing, I was a little worried they just straight-up murdered a cat. Bravo, seven cats who played Church. Bravo!



In my notes, I have written, “I feel like I don’t understand sex enough to understand this movie.” And I stand by this statement. The film should carry a Surgeon General’s warning that it shouldn’t be viewed by anyone in the midst of a breakup.

Katahdin 6


I was willing to watch Prophecy for the exploding boy in the sleeping bag alone. No one even told me there’d be a raccoon attack and a chainsaw-axe battle in store!



One is reminded of the Grand Guignol tradition of French theatre, so over-the-top (and impressive) is the gore. Re-Animator commits to taking the scene to its logical death, then – fittingly – takes it even further. It is the Will Ferrell of horror movies.

rituals rough hal

Rituals (aka The Creeper)

I once went dogsledding in the Northwest Territories. (It sounds more adventurous than it was.) My dogsledding partner was a surgeon at the Yellowknife hospital. I thought to myself, what great luck to be travelling with a doctor. If we crash or if any sort of crisis happens, I have a doctor right here. But Rituals makes me reconsider how handy it would be to have doctors on hand in an emergency situation.



The surprise reveal in Rodan is that there’s not just one Rodan. There are two. This is a Scream-level twist. And Professor Kashiwagi suggests that they are mates. So the love story of the two Rodans parallels the love story of Shigeru and Kiyo. Given this romantic setup, the opportunities for Rodan erotic fan-fiction are limitless.



What at first appears to be an upscale, modern apartment complex filled with respectable professionals devolves, within a day, into a den of sex-crazed monsters who assault everyone in sight. And the real trick is, even before the sex-worms entered the picture, there was something very rotten below the surface of the Starliner Towers.



Imagine Pretty in Pink, but instead of Blane and Andie lovingly reconnecting at the prom, Blane invites Andie to a fancy party, then transforms her into a gelatinous puddle of flesh that he consumes to rejuvenate himself. (As long as it has OMD on the soundtrack, I’m still on board.)



This is supposed to be a romance, but Evan is so insistent on Louise loving him, it becomes pathological, even scary. If Louise didn’t intermittently transform into random monsters, you’d fear for her safety.


The Stepfather

The movie is also a prescient warning that those people who seem like the perfect fathers, the perfect husbands – who quite overtly aim to make that “goodness” their identity – may not be who they seem. A colourful sweater can hide a black heart.


Stir of Echoes

Stir of Echoes: a movie about the existential dread of Kevin Bacon digging a hole. Did you know that making dirt wet makes it easier to dig? I didn’t! Grave-digging tips from Kevin Bacon! That’s why you watch Stir of Echoes.



“Dude, you’re trippin’. I don’t blame you. That’s what trippers do.” – Gary, criminal, philosopher


White Zombie

That the movie is called White Zombie demonstrates what viewers are supposed to see as the true horror of the film. Zombies in Haiti are black. Madeleine very obviously is not. The horror of White Zombie is the horror of a white person being treated like a black person.


The Wicker Man (2006)

The movie is dedicated to Johnny Ramone. Which is confusing to say the least.


Witchfinder General (aka The Conqueror Worm)

Find witches. Get money. That’s the motto of Matthew Hopkins.

31 Days of Fright: Rodan

Rodan hits the Terrible Twos in almost no time.

Rodan hits the Terrible Twos in almost no time.

This January, in support of the Toronto Rape Crisis Centre / Multicultural Women Against Rape, friends and family have raised over $1,000, which means I have to watch and write about thirty-one horror movies. I’ll watch (on average) one movie a night, many of them requested by donors, after which I’ll write some things about said movies on this website. Be forewarned that all such write-ups will contain spoilers! Today’s film is a request from my very own mom, Japanese monster movie, Rodan, directed by Ishiro Honda (Godzilla, Mothra)! Rodan is one of my mother’s all-time favourite movies from her youth, during which she spent much of her time in movie theatres. Without a doubt it’s her favourite Kaiju movie – that is, the genre of Japanese disaster movie featuring giant monsters laying siege to a city or two. (The most famous of which is Godzilla.) I rented Rodan from my friends at Queen Video.

What happens:

Rodan opens with a prelude about atomic weapons. Over several minutes of stock footage of atomic bomb testing, a narrator outlines how the American military tests new weapons of distraction, including the hydrogen bomb, in and around the Pacific Ocean. As his monologue progresses, he becomes more and more dramatic, his prose more purple. At one point the shockwave caused by an atomic bomb is described as “some gigantic and murderous hammer” – which: fair enough. The narrator wonders what the aftermath of all this atomic testing might be, then invites us to watch the story of one such aftermath.

The action of the film begins in the mining village of Kitamatsu, located on the far-southern Japanese island of Kyushu. Our narrator and protagonist is Shigeru Kawamura (Kenji Sahara), a safety engineer for the village’s coal mine. Even before anything goes wrong, Shigeru worries about the number 8 mine, which he notes is far deeper than any of the other mines. Already they have noticed “creeping floor” in that mine, whatever that means. In no time, he receives a call about flooding in that very same Shaft 8. Shigeru leaves to investigate.

He arrives at Shaft 8 to learn two of the miners – Goro and Yoshi – have gone missing. They were seen fighting earlier in the day and no one knows where they are. This is a problem – and not just for safety reasons. Shigeru is to be wedded to Kiyo, Goro’s sister. Shigeru leads a group into the flooded shaft, and they soon find Yoshi face down in the floodwater. But he didn’t drown; instead, he was sliced to pieces. Immediately suspicion turns to Goro (as they hadn’t been getting along). Shigeru tries to shut down that gossip, though. After all, Goro’s sister is his fiancee.

Our creeping floor issue has just got a lot worse.

Our creeping floor issue has just got a lot worse.

Speaking of Goro’s sister, Kiyo (Yumi Shirakawa) meets Shigeru on his way home from the mine. He has to regretfully inform her that Goro is still missing. But he assures her that Goro didn’t kill Yoshi; he’s almost positive of that. The police join the search for Goro, now that this has become a murder investigation. An officer goes with two miners back into Shaft 8. They tie themselves together with a strong rope and wade into the floodwaters. The first two are quickly attacked, Jaws-style from below, and the third runs to the mine elevator to escape. He sees massive shadows playing on the walls and hears weird sounds reverberating through the mine. Before the elevator arrives, he is attacked by a massive unseen thing. The three men’s bodies are retrieved and Dr. Minakami (Kiyoshi Takagi), reporting to the interested parties, says their bodies have been torn apart, but he doesn’t want to disseminate this information as it would spread panic throughout Kitamatsu. Little does he realize the panic’s about to spread through Kitamatsu with little assistance from him.

Shigeru visits the grief-stricken Kiyo. He (strangely) suggests she leave town for a little while and things will seem better. As he comforts her, an insect the size of a bear lumbers up to the open side of her house. The couple flees and calls for the police immediately. The police confront the giant bug, but are little match for it. Not dicking around in the least the police chief calls for the military immediately. Then the police and seemingly every able-bodied man in the village chases the giant insect up the nearby Mt. Toya and unload their guns. The insect bites into two of the men, killing them, then flees. Dr. Minakami, probably the smartest man in the universe, studies the freshly dead men’s bodies and notes the wounds are the same as with the earlier victims. (Thanks, Doc.)

Shigeru, quite the reckless risk-taker for a safety engineer, announces he’s going to enter Shaft 8 to finally find Goro. The police chief offers a few of his men to go with him. Before they can even leave, the very efficient Japanese military arrives in record time. A bunch of the newly arrived troops join Shigeru, as well, and they travel underground in search of Goro. It doesn’t take them long to discover Goro’s dead body. And as soon as they do, the massive insect discovers them. The military uses a machine gun on it, and the bug still won’t stop. All the automatic weapon manages to do is to weaken the structural integrity of the mine. Shigeru has a better idea: he pushes a loaded coal cart downhill, and it races down its track, colliding with the bug and killing it. Shigeru then retrieves Goro’s body and the whole search party discovers there’s a second bug. The military again fires on the insect with a machine gun, causing a massive cave-in that traps Shigeru on the wrong side of a rock wall.

Topside the next day, a number of doctors and journalists, presided over by Professor Kashiwagi (Akihiko Hirata), wonder about rescue efforts for poor Shigeru. They don’t wonder long before an earthquake hits. The professor immediately calls the earthquake institute (as we all would) and asks the professor there about whether the quake will affect volcanic activity at Mt. Toya. They make a plan to meet at the epicentre of the quake to investigate and discuss. When they arrive, they find an injured man crawling amidst the rock rubble: it’s Shigeru!

However, Shigeru’s experience has left him with amnesia. He doesn’t remember his fiancee Kiyo, he doesn’t even remember his own name. While Kiyo waits patiently at Shigeru’s hospital bedside, the science team learns things about these giant bugs. Turns out the massive insects are actually prehistoric insects who must have remained hidden for centuries – millennia, even. Professor Kashiwagi brings the convalescent Shigeru some photos of the monster insects in an attempt to jog his memory: “I know you don’t remember the woman you love, but maybe you remember these insect monsters?” The photographs do cause Shigeru some mental distress, but he doesn’t remember anything new.

The attacking insects fail to stir any memories – pleasant or otherwise – in Shigeru.

Can you believe someone would want to eat these guys? (I’ll let you decide if I’m talking about the miners or the insects.)

Elsewhere on Kyushu, an air base receives a transmission from a Japanese pilot: he reports an unidentified flying object moving at supersonic speeds with maneuvers and heights that seem impossible. The last thing the pilot sees before his jet is smashed to smithereens is the silhouette of a giant flying creature. In a military board room, the top air force brass look sternly at the pilot’s bloody helmet and clothes and wonder how such an aircraft would be possible: the pilot even said it reversed at supersonic speed.

Further reports of the UFO and its effects come in from around the region. A British cargo ship in the Pacific is destroyed, villages are levelled by the supersonic wake it creates. Tokyo suspends all air travel while something airborne (but, as of yet, unseen) terrorizes the entire South Pacific. Back in Kitamatsu, a young honeymooning couple go for a drive up Mt. Toya. The woman poses for a photo opportunity in front of the volcano. As her husband takes a few snapshots, she turns and is horrified by what she sees. She screams and something – the UFO, probably – carries the both of them away, leaving only a shoe and the broken camera behind.

Cattle have been reported missing from the area, too. The science strike team develops the couple’s photos and see the edge of the UFO, captured in their last photograph. “Is it a bird? Is it a plane?” is more or less their conversation. Back in Shigeru’s hospital room, Kiyo continues to care for the amnesiac fiancé. She takes the nest from their pet bird’s cage and shows him the two eggs. As Shigeru watches the eggs hatch, it induces a nightmarish memory from his recent past. In his flashback, Shigeru is laying injured in a cavern filled with massive prehistoric bugs and one titanic egg. The egg hatches and a massive creature that looks like a pterodactyl emerges. If you thought those prehistoric insects were large, wait until you see this thing! It eats those bugs for breakfast. Literally. And when it roars, it kind of sounds like a jaguar.

Back in the present, Shigeru is sweating profusely and flailing like one of those wind sock people at a used car lot. He calls out for Kiyo (remembering her name) and warns her that there are monsters afoot. (But on the plus side, his memory is back.) Shigeru promptly meets with a sketch artist to describe the monster in the cavern and the resulting illustration looks almost identical to a pterodactyl. The whole assembled gang decide they should go to the cavern and destroy any other eggs that may be down there. (How they’re going to do that, when they couldn’t even kill the things these monsters eat, is not thoroughly discussed.) Then begins a Descent-esque journey deeper and deeper into the caverns of Shaft 8.

Shigeru leads the crew to the spot where he saw the monster and they find some egg shell buried among the rocks. At first, they don’t notice it, as this egg shell is thick as a brick wall. A sudden cave-in forces them to leave quickly without further investigating the area. The scientists do an analysis of the egg shell and determine the following things: (a) it’s an egg, (b) it’s reptilian, and (c) it’s really, really big. They theorize the creature that hatched from the egg has a wingspan of 500 feet, capable of causing typhoon-level shockwaves. And it appears similar to a pteranadon (not pterodactyl – I was close!), though its species is Rodan. (What? How would they know that?) Professor Kashiwagi suggests that the egg had been hermetically sealed and recent coal mining broke said seal. However, all the military wants to know is where they can find this monster so they can kill it. The professor suggests a route.

A quick helicopter search finds a crater that Rodan (as they’re now calling the monster) makes home, if the scattered human bones are any indication. (Man, that professor is good!) Jets are scrambled and they open fire on the lair, but it just makes Rodan angry. Or rather, it makes the Rodans angry: they soon discover there are two of them: Rodan and his/her mate! They’re a power couple! A jeep of military troops drives away from Rodan’s lair but the sonic boom of Rodan’s flight sends the jeep flying into a cliff wall, turning it into a twisted heap of metal. The air raid siren goes off and a state of emergency is declared.

A long, drawn-out aerial dog fight follows, with the two Rodans taking on the Japanese Self-Defence Force (JASDF). One Rodan nosedives into a river, causing a tidal wave on a nearby shore. It flies over a bridge as it emerges, and just the force of its wings causes the bridge to topple. (It’s a good thing they just evacuated that bridge minutes earlier.) Rodan moves on to a Kyushu city and begins to rock it like a hurricane, causing destruction with the beating of its wings. The military calls in the tanks (which look faker than Rodan by a large margin), and they begin to unload a lot of firepower on the flying monster. They call Tokyo for reinforcements. The second Rodan joins the party and the two fly off, leaving the city in flames and hundreds dead.

Days pass with no Rodan sightings. So where did the Rodans go? Professor Kashiwagi has a theory: like other reptiles, the Rodans may have gone into hibernation. A plan is devised to kill the Rodans while they’re sleeping: they can blast their lair with missiles and bury them alive! The guy from the earthquake institute doesn’t love this plan; after all, they could kill the Rodans, but this plan would also cause Mt. Toya to erupt. Despite his misgivings, Operation Rodan is soon underway and Kitamatsu is evacuated.

The only person who hasn’t evacuated Kitamatsu, it appears, is Kiyo, who walks up to the military base where Shigeru and the team behind Operation Rodan are situated. Shigeru asks why Kiyo hasn’t evacuated yet and she tells him she wanted to be with him instead. Isn’t that adorable?

Following that scene of young romance, the entire Japanese military (basically) starts firing missiles into the crater that the Rodans call home. Several scenes of pure explosion pass. WIthout fail, the volcano erupts within minutes. One of the Rodans escapes its lair, only to be overcome by the toxic fumes of the volcano. It collapses into the lava stream and bursts into flame. The second Rodan emerges from the lair and, seeing its mate in the lava, joins it in death, willingly falling into the lava, as well. That’s true love. Shigeru, in a voice over, mentions how the monsters sink “against the earth like weary children,” then closes the film by expressing envy for the Rodans’ love for one another.

The Rodans meet their Romeo and Juliet ending.

The Rodans meet their Romeo and Juliet ending.

Takeaway points:

  • It’s a generally accepted premise that most Japanese monster movies developed from a (very understandable and real) fear of atomic testing. As the only country to have had an atomic bomb used against its populace, Japan would develop the films that most vividly and outrageously depict these fears. And the opening of Rodan reinforces that idea. There’s a whole speech about atomic weapons testing and the monsters it could create in its aftermath. But Rodan’s genesis has nothing to do with atomic testing. As clearly outlined in the movie, it’s mere Victorian-era-style coal mining that unleashes Rodan. “We had dug too deeply for coal,” Shigeru laments. So it seems bizarre to link Rodan to atomic testing in the introduction, as atomic power and weapons are never again mentioned. (Though as a side note, a case could be made for an interesting remake of Rodan that serves as a fracking critique.)
  • When the air raid siren sounds in Rodan, I realized that air raid siren meant something very different in 1956 Japan than it did in the United States (or even modern-day Japan). This film was released only eleven years after one of the most heinous acts in history – the dropping of atomic bombs on Hiroshima and Nagasaki – killed over 200,000 civilians in Japan. Yet, here is a monster movie eleven years later, showing a monster laying waste to cities, primarily for entertainment purposes. Godzilla was released in 1954, just nine years after the atomic bombings. One can’t help but think about American film following 9-11 (which, for all its monstrosity, was a smaller tragedy in scale), and how distasteful viewers felt it was to show buildings being levelled in a disaster movie for years and years afterward. But it makes sense that filmmakers would want to depict simulacra of those disasters in film. There is, without a doubt, some cathartic element to the horror genre. Just as Stephen King dealt with his addictions though, say, writing Misery, I think it’s fair to suggest Japanese film culture (in general) dealt with the horror of nuclear holocaust with Godzilla, with Mothra, with Rodan. And the seemingly casual destruction of cities in these films is part of that process.
  • Rodan was the first Japanese monster movie made in colour, and it looks pretty good. Common sense would suggest that black and white would hide some of the more janky aspects of the monster costumes worn in Kaiju movies, but Rodan looks good even in colour. In fact, there’s even kind of an eerie feeling when Rodan leaps and flies in slow-motion. The costume for Rodan looks so realistic (relatively speaking), that some of the models for the tanks and other military vehicles look embarrassing by comparison. (That kind of rhymes.)
  • The surprise reveal in Rodan is that there’s not just one Rodan. There are two. This is a Scream-level twist. And Professor Kashiwagi suggests that they are mates. So the love story of the two Rodans parallels the love story of Shigeru and Kiyo. (Witness Kiyo join Shigeru as some of the last people in Kitamatsu, ready to face certain death. The two Rodans are a version of them, if their species had not won the battle.) Additionally, given this romantic setup, the opportunities for Rodan erotic fan-fiction are limitless.

Truly terrifying or truly terrible?: Neither. Rodan is not a terrifying film. It’s unlikely that any child has ever had nightmares about Rodan. But it’s a pretty good film, too. Certainly one of the better Kaiju movies, as it includes a pretty effective-looking monster who manages to be somewhat complex. Or at least elicit some empathy.

Trouble at the old mine in Rodan. But at least they're leaving no smudgy fingerprints.

Trouble at the old mine in Rodan. But at least they’re leaving no smudgy fingerprints.

Best outfit: Give it up for Kiyo’s flower-patterned dress. I was also impressed by how the entire Japanese military wears white gloves, much like Bugs Bunny or Mickey Mouse. The mining staff, too. A routine internet search reveals that many Japanese professionals – particularly those in defence, policing, and driving – wear white gloves as a cultural norm. Pop-psychologists theorize that the use of the gloves subliminally reinforces the idea of maintaining propriety and encourages making the right actions. So I’m sure that principle was guiding the good men and women defending Kyushu from Rodan.

Best line: “Amnesia can be … difficult.’” – Dr. Minakami, demonstrating good bedside manner when he inform Kiyo her fiancee doesn’t remember who the hell she is

Best kill: Very few deaths in Rodan happen visibly, on screen. So maybe the bittersweet lovers’ suicide at the end of Rodan should take home the trophy.

Unexpected cameo: Maybe this is cheating, but in the English dubbed version of Rodan, the voice of Professor Kashiwagi is provided by none other than Twitter superstar and accomplished actor George Takei. Sulu himself! (He did a few other voices in the dub, as well.) Apparently, Rodan is one of the first movies where an actor of Japanese background did the voiceover for Japanese movie. Previously, Chinese-American actors had done the majority of the dubs for Japanese films. (And, indeed, some of the other voice actors in Rodan were of Chinese background.)

Unexpected lesson(s) learned: There’s a bathtub on site at every Japanese coal mine, just in case they need to clean up a miner’s corpse. (Unless they use it for other things? In this movie, that’s the only way that tub gets used.)

Most suitable band name derived from the movie: Shaft 8 seems the obvious choice. But let’s not rule out Creeping Floor as an option.

Next up: Shivers (1975).