Mike, Mary, Justin, and Jake discuss Cabin in the Woods and Until Dawn, two titles that pick apart horror in their respective media.

If you’re a horror enthusiast–whether it be horror movies or video games–chances are you’ve heard about Cabin in the Woods. It’s known for deconstructing horror tropes and archetypes, and challenged us, as viewers, to see the horror genre differently. And then there’s Until Dawn, a horror game that’s approaching cult classic status since its release last year. It isn’t as introspective as Cabin in the Woods, but shares a lot of the same self-aware tropes. As a sort of special edition episode, we decided to compare, contrast, and wax poetic about both titles.

The long road home.

In the alternate history of Homefront: The Revolution, America is on its knees, utterly dominated by a foreign invader–its landmarks destroyed, its resources pillaged, its people subjugated. This unsettling future makes for an evocative, ambitious premise, but the resulting shooter can’t quite live up to that potential, in part because it suffers from a larger than average number of mild but persistent technical issues. In the interest of providing a fair and thorough review, we’ve decided to hold our final verdict until I’ve had more time to test the game on Xbox One and PC, as I spent the majority of my time playing on PS4.

More blood for the Blood God!

Screeching gears, rhythmic boot steps, and the soft crunch of fresh snow. These were the first notes of my invasion. I sought the Dwarfen capital of Karak Varn. The Dwarfs, hardy and resilient though they may be, were a thorn for my new allies, the green-skinned Orcs and goblins. I held my siege for weeks, and while my foes’ numbers dwindled, mine grew. After each clash, I wrenched the newly dead from the earth and added them to my fiendish, Vampire hordes. Siege engines ready, and carried yon by fresh Dwarfen zombies, I steeled my undead warriors for the final assault.

If you’re going to see one movie based on a gaming franchise this year…it probably shouldn’t be this one.

The Angry Birds movie is not funny. It maintains a frantic pace, and it never lets up from desperately wanting you to laugh–there’s hardly a second that goes by without some form of over-the-top slapstick, clumsy pun, or ineffective background visual gag. The themes and juvenile humor are clearly aimed at a very young audience, but some jokes are a little too edgy to recommend for the very young, while none of the ideas have enough bite to register as subversive satire. Angry Birds is instead, an unintentional copy of the mobile game it’s based on: a short, forgettable time-waster.