[music]

Alison Stewart: This is All Of It. I'm Alison Stewart, live from the WNYC studios in SoHo. Thank you for spending part of your day with us. Whether you're listening on the radio, live streaming, or on demand, I'm grateful you're here. On today's show, as the price of streaming subscriptions go up, we'll discuss whether cutting cable is still the smart financial move. We'll talk to Jim Wilcox, a senior editor at Consumer Reports. We'll also speak with Art dealer Dominique Lévy, about the new retrospective show of the late French painter, Pierre Soulage. Plus, we'll get tips on what to look for when we look at art with historian Susie Hodge. That's the plan. Now, Halloween is just 19 days away, so let's get spooky season started.

[music]

Alison Stewart: It is October. There's finally a chill in the air, and that means spooky season. It's the best time of year to curl up on the couch with a bowl of popcorn and prepare to be frightened, perhaps on Friday the 13th. If you don't know what to watch, the Criterion Channel has you covered. You might remember last year's series on '80s Horror curated by Clyde Folley. Fulley, Folley?

Clyde Folley: Folley.

Alison Stewart: Thank you. Clyde Folley. Now he's back with a series of '90s Horror featuring chills and thrills from directors like John Carpenter and Francis Ford Coppola plus some hidden gems. Here to walk us through this series is Clyde Folley, video editor at the Criterion Channel. Thanks for coming to the studio, by the way.

Clyde Folley: Hey, thank you for having me. It's nice to not be stuck in my apartment taking the phone call on this one.

Alison Stewart: [laughs]. Oh, well, we're going to have phone calls. You get to hear them through the good headphones this time. Listeners, we want you to weigh in on this conversation. What's your favorite horror movie from the 1990s? Maybe it's something you loved as an adult or as a kid, or maybe it's that movie that terrified you as a child. What's your favorite horror flick from the 1990s?

Give us a call and tell us why. 212-433-9692, 212-433 -WNYC. You can call in and join us on air, or you can always text to us at that number if that's more convenient, or you can hit us up on social media @AllOfItWNYC. We're looking for your favorite horror movies from the 1990s. The last time we spoke, we talked about '80s Horror. When you think about the shifts in horror films from the '80s to the '90s, what were some of the big changes?

Clyde Folley: I think one of the big changes was that if we're continuing the story of '80s Horror, in the early '90s, we have some of the biggest franchises hitting their late installments. We have movies like Freddy's Dead: The Final Nightmare, which is maybe the sixth installment. If Jason Goes to Hell: The Final Friday, or no, I'm sorry, It's just Jason Goes to Hell, my mistake. The point being that we have so many franchises that people are just getting sick of at this point, and people are going, "All right, what else is there? What's next?"

Alison Stewart: What you got?

Clyde Folley: Yes. Things went more gothic in the early '90s. That's one of the shifts. We have Francis Ford Coppola's, Bram Stoker's Dracula, which is one of the most beautiful horror films ever made. I say, one of the most beautiful films of the '90s. You also have the shift towards the serial killer film, which is evidenced by Silence of the Lambs, which is-- That's a big moment for horror in the '90s because it's almost like horror became respectable at that moment. You had that film sweeping all the major Oscars that year.

Alison Stewart: Okay. I have a Silence of the Lambs story. It's based on a book, obviously. I actually was on a filming shoot with Ted Demme-

Clyde Folley: Oh, wow.

Alison Stewart: -in a really creepy beach town in North Carolina secluded. He is like, "Hey, my uncle's going to make a movie on this book. You want to check it out?" He gave me a copy and because he knew [unintelligible 00:04:10] I was like, "Oh, great." I sat upright. I was like, "Ted Demme, you're the worst person in the world," because I couldn't sleep for the rest of the shoot because I was so scared. That is such a scary, scary movie. It made me think as we were talking about this Silence of the Lambs based on a book, Misery was a big one based on the book, Exorcist. Do you think that the literary genre had something to do with '90s films being perhaps a little more sophisticated?

Clyde Folley: That's interesting, I had not considered that before. I think that one of the things that could potentially be a factor with that is that those are established properties already, and that helps with the financing and the marketing of these movies. Also, something else that was happening in the early '90s is that the actual distribution was really collapsing. A lot of studios were really going under. Even in the case of Silence of the Lambs, by the time that film won all the major Oscars, Orion was already bankrupt.

Alison Stewart: Wow.

Clyde Folley: I think these financial considerations really weigh in on the films that are getting made in this time period.

Alison Stewart: Many of the films we're going to get to on this list are set in New York City. What sense do you have of why people might want to set a horror movie in New York City?

Clyde Folley: Oh, that's a good question. It's an iconic city. There's just such a rich tradition of New York set horror movies. I don't know. I don't have an answer for that.

Alison Stewart: That's okay.

Clyde Folley: I do love the New York horror movies, of which there are at least a few in this series.

Alison Stewart: Let's get to some on your list. Theaters right now is the latest installment of Exorcist series, another book, and there's Exorcist: Believer, not getting the best reviews.

Clyde Folley: That's what I've heard.

Alison Stewart: Yes, yes, yes. You recommend checking out the 1990 film Exorcist III.

Clyde Folley: If you want to see one of the oddest Exorcist films, look no further than William Peter Blatty's Exorcist III. Blatty wrote the novel, The Exorcist, and made a couple of very strange movies of which this is one of them. Basically, it's a mixture between a police procedural and an Exorcist film. It stars George C. Scott as playing the detective character from the original Exorcist and has a very wonderful turn by Brad Dourif, who I would say is one of the MVPs of this genre in this decade. Yes, I would recommend Exorcist III.

Alison Stewart: We got a text partner and I watched In The Mouth of Madness by John Carpenter on Criterion Channel last night. Really mind-bending and scary. Loved it. Adding it to the yearly rotation.

Clyde Folley: In The Mouth of Madness, is an all-timer. I was late to it actually, because as a youngster, I really loved the '70s and the '80s John Carpenter films. I think by the time I got to In the Mouth of Madness, I was just-- I liked it, but I didn't really get it. It felt--

Alison Stewart: Star Sam Neill, tell people what it's about.

Clyde Folley: Sure. It stars Sam Neill, who had just been in Jurassic Park as an insurance adjuster investigator who is trying to track down a missing Stephen King author named Sutter Cane. When he finally does track him down, he also finds basically, a series of love crafty and nightmares, and it is basically just a series of horrifying scenes with barely a semblance of a plot stringing it together, but it doesn't matter. It becomes an argument against the importance of plot in a way, but it's really terrific. I think it might be the last great John Carpenter movie.

Alison Stewart: My guest is Clyde Folley, curated the '90s Horror series for the Criterion Channel during the spooky season. Let's take some calls. Vincent, calling in from New Rochelle. Vincent, welcome to the show.

Vincent: Hi. Thanks so much. I don't know if y'all remember, but I called in and you put me on last year. I just want to thank Clyde for his programming. I really appreciate it. I've already watched Body Parts, and I think that's a gem.

Clyde Folley: I love Body Parts.

Vincent: [crosstalk] had near dark on there last year, right?

Clyde Folley: I did. Wait, Vincent, were you jogging last year? Am I remembering correctly, or was that a different caller?

Vincent: Yes. Yes, that was me.

Clyde Folley: You were.

Alison Stewart: What a memory. Wow.

Clyde Folley: I was like, "I can barely do this interview while sitting in a chair. This gentleman is jogging while calling in."

Vincent: Yes, totally. I shared a very personal anecdote about The Blob. I remember Alison saying, "I feel like I just got to know you really well," because I used to dress up as Brian Flagg as a kid. I was very--

Clyde Folley: That's extremely cool.

Vincent: Yes. Without keeping you too long, I was on hold. I came in when you guys were talking about New York set horror films. I don't know if you already mentioned it, but my favorite horror film of the '90s and one of my favorite films of all time is Jacob's Ladder.

Clyde Folley: Oh, we have not talked about Jacob's Ladder.

Vincent: Yes, it's so New York too. It's so Brooklyn. It feels on the heels of the '80s but totally '90s. Then it's also in the bargain period piece really because I believe it's set-- even the New York bits are set during Vietnam. I think it is set during the '70s.

Clyde Folley: The thing that I always think about in terms of that movie is just how desolate and haunted New York looks. I do think that's my favorite part of Jacob's Ladder.

Alison Stewart: Let's talk to Beth from Brooklyn. Hi, Beth. Thanks for calling All Of It. What's your favorite horror movie from the '90s?

Speaker 1: Hi. Yes, Candyman. Candyman is fantastic. It's based on a short story by Clive Barker, but it's updated. It's got real horror that was based on slavery. It's got more contemporary horror. The location is Cabrini-Green, which was a real place. It's got elements about a lot of social elements. Tony Todd was so compelling as a villain and maybe sympathetic to an extent. The score by Philip Glass is fantastic. It's wonderful.

Alison Stewart: Beth, that was a good sales pitch.

Clyde Folley: Candyman's fantastic. It's so smart, and I do love that Philip Glass soundtrack so much. It's not something you expect when watching a horror movie from this period. It really just elevates it in a way that I think is really special.

Alison Stewart: My guess is, Clyde Folley, we're talking about the Criterion Channels, '90s Horror Series. He curated it. Listeners, get in on the conversation. What's your favorite horror movie from the 1990s? Maybe it's something you love as an adult, or maybe it's a movie that terrified you as a kid, or you might have loved it as a kid too. Kids like to get scared. What's your favorite horror flick from the '90s? 212-433-9692, 212-433-WNYC. You can call in and get on the air with us, or you can text to us if that's a little bit easier for you. Another film from 1990 in this collection is a horror comedy that involves Samuel L. Jackson, New York City, and a demonic Ronald Reagan is this Def by Temptation?

Clyde Folley: It is indeed Def by Temptation.

Alison Stewart: Tell me a little bit about Def by Temptation. We're going to listen to a trailer in a minute but give us the basic plot.

Clyde Folley: Well, the basic Plot of Def by Temptation is that it is about a religious young man who comes and visits his buddy from North Carolina up in New York City and they encounter a succubus, and they have to do something about it. I feel like that's just one thread in this movie that is really just so funny, such a good hangout movie between Kadeem Hardison best known as Dwayne Wayne from A Different World. He co-stars with the film's writer, director, producer, James Bond III. I don't know this is a good moment to talk about, actually, I think one of the big developments of the horror films in the '90s is that Black people come back to horror in front of and behind the camera.

This is basically concurrent with New Black Cinema, and in a lot of ways, this film in particular wouldn't exist without Spike Lee's School Daze because it shares a lot of the cast. James Bond III is in it. Both films are shot by Ernest Dickerson, the great cinematographer, who also directed another film in this series, Tales From The Crypt: Demon Knight. It is also the ultimate Fort Greene movie in that it basically all takes place within four blocks of one bar in Fort Greene. I love it.

Alison Stewart: Well, let's listen to a little bit of the Trailer of Def by Temptation.

Speaker 1: His destiny had been foretold. Its fate had been forewarned. He did not know that something so sweet could be so evil. Now the fate of mankind hangs in the balance as Kadeem Hardison TV's Dwayne Wayne.

Speaker 2: This honey I met the other night was bad, bad, super bad.

Speaker 1: Bill Nunn from Do the Right Thing, get busy in the first contemporary horror thriller of its kind. James Bond III, Def by Temptation. She's every man's dream and your worst nightmare.

Speaker 2: She leaves with men, and you never see them again.

Alison Stewart: So good. So good. Let's talk to Katt, calling in from Manhattan. Hi, Katt. Thanks for calling All Of It.

Katt: Oh, thank you so much for having me on.

Alison Stewart: What's your favorite horror movie?

Katt: Oh, so my favorite horror movie has to be from the '90s, The Craft. I love it so much. I have such a soft spot for it because I was also coming of age, and I just love that it's about this group of girls in high school who are bond over being outcasts in some way and they become very powerful, but then they use that power to hurt each other and other people. It's very psychological as well, so I have to say The Craft.

Alison Stewart: Katt, thank you for calling. We got a text. This is right up your alley, Clyde. Can you explain horror's appeal? I don't understand it. That's one of our listeners. Can you explain to someone why someone would like to watch a horror movie?

Clyde Folley: Oh, I don't know. This is a question I've probably never considered because I've loved horror my whole life. I don't know. I think that there should be room in art and life for the macabre and for the fantastic. I think that as a genre, it's one of the most visceral. There's such intense feelings of terror when it works right. It's just a surge of stimulation and emotion that one hopefully doesn't normally experience on a daily basis, but in a safe way where you get to watch this thing, be terrified, and then go home or change the channel. I don't know. I think that there should be a place in that for life.

Alison Stewart: Let's talk to August from Bloomfield, New Jersey. Hey, August. Thanks for calling in.

August: Hey, thanks for having me, Alison.

Alison Stewart: I want to hear what scares you.

August: My favorite movie from the 1990s horror has to be Scream for sure, mostly because of the comedy aspects. I think it's very valuable in the slasher genre that they're able to make the characters, make light of the situation.

Alison Stewart: August, thank you so much for calling in. We're getting a lot of the-- there's a lot of comedy. We're going to talk about Frankenhooker in a minute. [laughs]

Clyde Folley: Can't Wait.

Alison Stewart: Frankenhooker begins with a medical student losing his fiance in a deadly lawnmower accident, but he manages to save her head. Two questions. What happens from there, and then what do you make of the way that horror embraces comedy?

Clyde Folley: Frankenhooker is about a disturbed young medical student who, as you said, loses his fiance in a horrible lawnmower accident, but then figures out how to reanimate life. He hits the streets of early '90s, 42nd Street, and basically starts cruising for sex workers trying to find the right woman in which to put the brain or the head of his fiance back on. It's Frankenstein. It's right of Frankenstein but with the most twisted twist imaginable.

Alison Stewart: It's right there in the title.

Clyde Folley: It's right there. It's one of those things where look, if you're not jiving with the title you know instantly this isn't for you. This isn't a film for everyone. I think it's so funny. To answer your question about horror and comedy, I think that it's a combination that one done badly can just be deadly. I feel like some of the worst movies I've ever seen are bad horror comedies. When it works, it's so unexpected and delightful. I think Frankenhooker falls into the latter, and it is the third Frank Henenlotter film that I've included in this series from the last couple of years. Previously it was an '80s horror Brain Damage and Basket Case. If you're curious about Frankenhooker, check it out.

Alison Stewart: My guest is Clyde Folley. He curated the '90s Horror Series for the Criterion Channel. Listeners, get in on this conversation. What's your favorite horror movie from the 1990s, and tell us why. 212-433-9692, 212-433-WNYC. We'll have more from Clyde's list, including Body Parts, as well as The Rapture, and we'll take more of your calls and your texts. This is All Of It.

[music]

Alison Stewart: This is All Of It on WNYC. I'm Alison Stewart. My guest in studio is Clyde Folley. He curated the '90s Horror Series for the Criterion Channel. We're going through some of the films on his list. We're also talking to you. Someone texted in why they like horror. This person said, "I love horror because it makes me feel more alive after being so terrified. Also, I always stay paranoid, it keeps you safe."

Clyde Folley: I agree with both these things.

Alison Stewart: That's a great one. Someone else said, this is Nikki, "I love horror because of the catharsis factor. It allows me to exercise my fears and anxiety, and for a lack of a better word, a safe space."

Clyde Folley: I think that there is a similar theme running through all of these answers, whereas feeling something and surviving it in a safe way.

Alison Stewart: Two of the most texted horror movies that we've got, people have been texting in about, one is Seven and the other is The Blair Witch Project.

Clyde Folley: Yes. Seven, continuation of the serial killer theme we're talking about. Blair Witch Project is a very important film for the genre, and it's something that I wondered if I should include in the series. I ultimately chose not to just because people know Blair Witch Project, and they can find Blair Witch Project. I'm probably due for a rewatch Blair Witch Project before this month is out because I haven't seen it for a very long time. It makes sense that they're texting about it.

Alison Stewart: Just curious what you thought about it. It's interesting that so many people have been texting you about those two. Let's move to Body Parts from director Eric Red from 1991. It's a body horror film with a bit of a unique premise. What's the premise?

Clyde Folley: The premise is that Jeff Fahey plays a psychologist who has this horrible car accident and loses his arm but undergoes an experimental surgery and gets a new arm from a donor who he later learns was a mass murderer. The arm starts to do things that Jeff Fahey does not want the arm to be doing.

Alison Stewart: Oh yes, that arm is bad news.

Clyde Folley: Bad news. While I was researching the series, this is maybe my favorite discovery of things that I've not seen before. It's just a very classical horror movie. Also features another great turn by Brad Dourif from Exorcist III. Also should be noted that Brad Dourif is the voice of Chuckie, so he is really already in the Horror Hall of Fame.

Alison Stewart: Wow. He's got a lane.

Clyde Folley: He's got a lane. Speaking of lanes, there are not one but two excellent car sequences in Body Parts. Check it out.

Alison Stewart: Let's listen to a bit of the trailer of Body Parts.

Speaker 3: You lost your arm in a car accident yesterday. We've transplanted another arm for you.

Speaker 4: How does it feel to have someone else's arm?

Speaker 5: Dad, it's sort of gross.

Speaker 6: Well, it's not how it looks, it's how it works, right? I think there's something the matter with me. Oh, it's the arm.

Speaker 7: Billy.

Speaker 4: What's going on?

Speaker 6: There's something wrong with the person who it used to belong to.

Speaker 3: You have this guy's arm. You don't have his personality.

Speaker 6: I want you to run my prints. Any past record I had would show up on the printout, right? You put a killer's arm onto my body and you didn't tell me.

Speaker 3: That arm can't do anything you don't want it to.

Alison Stewart: That seems like a detail you wouldn't want to leave out, except maybe that she would because she's the bad guy.

Clyde Folley: Can we just run Body Parts on the air in its entirety for the next hour and a half? I really think it'll be worth it.

Alison Stewart: Let's talk to Gary, calling in from Manhattan. Hi, Gary. Thanks for calling All Of It.

Gary: Hey, hi. How are you guys doing this morning?

Alison Stewart: Doing wonderful. How are you?

Gary: I'm good. I'm doing really good. I just turned on and happened to catch this and it caught my interest, of course. I'm the producer of what Shudder calls the most criminally unknown horror film of the '80s. It's called Madman. We made it coming out of '80 and '81, right alongside all of those-- We were in the middle of the craze. My favorite horror film from that period was Halloween, and that actually inspired myself and my partner to make it.

What I wanted to point out about Madman is, we haven't gotten our sequel and our continued stuff yet, but we have been around since 1982. We're hitting off 40-something year here. We're still playing all around the world. We're on all the streaming channels. We have 4K out. I just got a deal going with the UK, Arrow Films, for 4K to play there. We have fans everywhere. It's amazing how loving and how much they love the film and they keep coming back at the conventions. They all sing the opening song of the film, which seems to have become very popular. [crosstalk]

Alison Stewart: Oh, now you wait. Gary, I'm stopping you there. Now you have to sing it.

Gary: I have to sing it?

Alison Stewart: Yes.

Gary: Lore of the Campfire, telling of his horror, lost in the woods with the madman and the stars. Don't laugh at the tale. Heed if you call him, beware, beware of the madman, Marz.

Alison Stewart: Gary, thank you so much for calling in. That was a treat.

Clyde Folley: The callers are really bringing the firepower today.

Alison Stewart: Let's talk to Emily from Westchester. Hi, Emily.

Emily: Hi. That's a hard act to follow. [crosstalk]

Alison Stewart: It's okay. All opinions are welcome.

Emily: Oh, okay. This might be a weird one, but I love Deep Blue Sea with the smart sharks and everything that comes with it. Am I the only one?

Alison Stewart: I don't know.

Emily: You know that one with Sam Jackson giving one of the best monologs of his career?

Clyde Folley: It also has the--

Emily: Then it's got LL Cool J.

Clyde Folley: It's got the LL Cool J theme song, right? Deepest Bluest. Am I remembering this correctly?

Alison Stewart: I think so. I'm curious, how do you feel about the ones where it's something that's real-life like a shark? Does that qualify as horror for you, Clyde, or is that a different genre?

Clyde Folley: I think anything that can terrify you qualifies as horror. Although I was trying to remember. I took a seminar on horror films in college. I remember day one, our professor defined what horror was, what it had to contain. She said that it has to contain elements of the fantastic, which it makes sense. I also don't entirely agree with that because I think that Jaws and the serial killer films, these all qualify. I don't know. Does it terrify you? Is it horrific? Then it's probably a horror film.

Alison Stewart: The Dust Devil, or Dust Devil, from director Richard Stanley, description says, "This hypnotic supernatural thriller stands as one of the most ambitious and singular horror films of the 1990s." Why did this make your list? Why is it considered ambitious?

Clyde Folley: I think it's considered ambitious because it's a very strange movie that they filmed in the middle of the desert in Namibia. I think that it combines elements of the highway serial killer horror film with all these supernatural elements. It's pretty unique. It's almost more the acid trip vein of horror. Also, just shows what a filmmaker can get away with when they run off to the middle of the desert and the producers aren't watching the dailies, and they can just get away with it.

Alison Stewart: You have on your list When a Stranger Calls Back, from writer and director, Frank Walton.

Clyde Folley: Fred Walton.

Alison Stewart: Fred Walton. Sorry, Fred Walton. He did the first version as well.

Clyde Folley: He did the first one.

Alison Stewart: Where does this one pick up?

Clyde Folley: This picks up about 15 years later. It also opens with a babysitter that is being terrorized. Then Carol Kane's character, who was the babysitter in the original film, comes back as an older, almost Sarah Connor from Terminator 2-like person who had survived this horrific event and then just determined to make sure that no one else went through it. I think that this is one of the scariest films in the series. I think that the babysitter-in-peril film is almost like the lowest form of horror movie. There are so many bad ones. I remember watching this for the first time, having no expectations, and then about 20 minutes into it, I found myself asking, "Am I watching a masterpiece?" I think I was.

Alison Stewart: Let's listen to a bit of the trailer from When a Stranger Calls Back.

Speaker 8: It began like any other night.

Speaker 9: Hello?

Speaker 8: Until the phone went dead. A stranger stepped out in the dark.

Speaker 9: Who is it?

Speaker 8: Ana a reign of terror begins.

Speaker 10: He was inside the house with her.

Speaker 11: [unintelligible 00:28:39] isn't it?

Speaker 12: She was badly traumatized.

Speaker 13: And delusional.

Speaker 14: It's too much for her. She's coming apart.

Speaker 15: I believe her.

Speaker 14: Are you sure she hasn't created something that isn't there?

Speaker 15: What is happening is real.

Speaker 14: Explanations are getting pretty hard to come by.

Speaker 15: You don't mistake those things, and the terrifying thing is he knows you don't.

Speaker 12: He is out there somewhere. He will go after someone else.

Speaker 16: I'm sorry, sir. There seems to be some problem.

Alison Stewart: This is why when I babysit, every light in the family's house would be on. It's terrifying.

Clyde Folley: Smart.

Alison Stewart: Terrifying for a teen babysitter. Let's talk to Jeff, calling in from Brooklyn. Hi, Jeff. Thanks for calling All Of It.

Jeff: Hey, thanks. Love the show. I actually want to give a shout-out to a film you recommended in the '90s horror list, which was The Addiction, by Abel Ferrara with Lili Taylor doing an incredible job in that movie. Just excellent movie. I had never heard of it, and I wanted to thank you for recommending it. I also had a thought about why New York was so featured in a lot of these late '80s and early '90s films. I think New York had a big push to try to get filmmakers in if they started that program of promoting it. Plus, New York was still a bit run down. It hadn't gotten very Disneyfied yet. I think that contributed to why you're seeing New York in so many of these movies.

Alison Stewart: Jeff, thank you for the analysis, and thank you for calling in. We got a great text. "Horror can get away with more transgressive social commentary than any other genre. Using a monster to represent real things, horror can push more boundaries without getting censored by studios or audiences. Also, Army of Darkness is the best." We're closing in on the end of the segment. What films did you want to get to for sure, Clyde? I don't want to leave something off the list that you really wanted to talk about.

Clyde Folley: Oh, I don't know. I think we've covered some of my favorite films here. It's worth another plug for Abel Ferrara's The Addiction as one of the great New York movies in the series, as the only black-and-white film. It looks dynamite. Lili Taylor's so good in it. I think it's a very cool movie. It's worth watching for fans of New York movies, for fans of vampire movies, for fans of Abel Ferrara. It's worth checking out.

Alison Stewart: We've got Devil's Advocate with Keanu Reeves and Al Pacino is one of my favorite. I also love Ravenous with Guy Pierce. We've got The Hitcher. A lot of people have been writing in about The Hitcher. Somebody said I was the set decorator on The Addiction.

Clyde Folley: Really? Wow.

Alison Stewart: So glad you're listening in. We're going to squeeze in one more call because this is someone who's mentioning a film that no one else has mentioned yet. Steve from New Rochelle. Hey, Steve.

Steve: Hey Alison. Thank you again for a very scintillating show. One of the scariest films I've seen is The Rite with Anthony Hopkins as the exorcist. It's a more realistic, I think, portrayal of exorcism and the subplots. It is frightening.

Alison Stewart: Thank you so much for calling in. We're thinking that might not-- maybe it was made in the '90s but came out in the 2000s. I'm not sure.

Clyde Folley: I don't recall. I'm not sure.

Alison Stewart: We're not sure. Well, we know we have a 2000s list next year.

Clyde Folley: We'll see. I need to come up with a new routine here.

Alison Stewart: I don't know. You fill the phone lines every time you come on. Everybody check out Clyde Folley. He curated the '90s Horror Series for the Criterion Channel. Thanks to everybody who texted in. Oh, Events Horizon, that's another one people have been texting in about. We could do this all day. Thank you so much for coming to the studio.

Clyde Folley: Thank you for having me. I also just want to thank my colleagues at Criterion for letting me do this. It's a real treat to be able to get all these films on the channel, so thank you for having me on the show, and thank you, everyone, for listening.

Alison Stewart: Happy spooky season.

 

Copyright © 2023 New York Public Radio. All rights reserved. Visit our website terms of use at www.wnyc.org for further information.

New York Public Radio transcripts are created on a rush deadline, often by contractors. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of New York Public Radio’s programming is the audio record.