2015 (Part 3)
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In the third part of the 'Also-Rans' series for 2015, the host explores a batch of films rated 6 out of 10—above average but not quite great. The episode begins with a deep dive into *Goosebumps*, a film the host initially dismissed but rediscovered as a heartfelt, imaginative gateway horror experience that balances childlike wonder with genuine scares. A heartfelt conversation with guest Father Malone reveals how the film’s supernatural elements, strong character work, and nostalgic charm made it a surprisingly powerful watch, even for adult horror fans. The discussion expands into a broader debate on what defines horror—ranging from supernatural threats to existential dread—before transitioning to a review of *Last Shift*, a low-budget, atmospheric police station thriller praised for its tension, phone call mechanics, and ambiguous ending. The episode also features a musical interlude with James Chapman (Maps), who shares his long-lost concept album *Welcome to the Tudor Gate*, described as a haunting blend of 70s folk horror and 80s synth scores. The segment closes with a comparison of the original *Last Shift* and its polished remake *Malum*, with the original winning for its raw, unsettling edge. The final highlight is *Queen of Earth*, a psychological horror anchored by Elizabeth Moss’s intense performance, though marred by an overbearing score.
Goosebumps works as a gateway horror film because it treats kids with respect and delivers genuine suspense without talking down to its audience.
The power of *Last Shift* lies in its atmospheric tension, minimalism, and ambiguous ending—making it a masterclass in low-budget horror.
James Chapman’s *Welcome to the Tudor Gate* is a lost 11-year-old concept album that feels like a found-footage score for a non-existent folk horror film.
The original *Last Shift* is superior to its remake *Malum* because it preserves mystery and unease, while the remake over-explains and loses its edge.
Elizabeth Moss delivers a career-best performance in *Queen of Earth*, turning a female friendship thriller into a chilling psychological horror.
The 'Also-Rans' Part 3: 6/10 Films
“This movie feels to me what that movie was going for. Monster Squad. But this is actually funny. This movie made me laugh a lot.”
Goosebumps: A Gateway Horror Masterpiece
“It's not pandering to either of us. And that alone, getting through the studio system... the fact that we got such a solid movie is absolutely worth everyone's time.”
The Art of the Ambiguous Ending: Last Shift
“It's like you've just said there, how did he get in? But she's like, oh, he must have got in. It's like those two things. You're just constantly trying to convince yourself...”
Maps & the Lost Album: Welcome to the Tudor Gate
Musician James Chapman (Maps) returns to discuss his long-lost concept album *Welcome to the Tudor Gate*, recorded in 2014 but released in 2026. The album is described as a haunting blend of 70s folk horror and 80s synth scores.
The Remake Trap: Last Shift vs. Malum
A comparison between the original *Last Shift* and its polished remake *Malum*. The host argues that the original’s ambiguity and raw tension make it superior, while the remake’s over-explanation and clean visuals dilute its impact.
“It's not pandering to either of us. And that alone, getting through the studio system... the fact that we got such a solid movie is absolutely worth everyone's time.”
“This movie feels to me what that movie was going for. Monster Squad. But this is actually funny. This movie made me laugh a lot.”
“I've never felt as chilled as I've... It bothered me for weeks.”
Host
Guests
Goosebumps
media
Paul Waller
person
Last Shift
media
Father Malone
person
A Year in Horror
media
James Chapman
person
Jack Black
person
Welcome to the Tudor Gate
media
Malum
media
Maps
person
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