Just when you thought it was safe to go back into your super-rabies-infested apartment building in Barcelona, directors Jaume Balagueró and Paco Plaza bring the horror back in a sequel to the groundbreaking [REC]. This time, we see more of the horror from a couple different perspectives, and even though it’s shakycam with subtitles, it’s easy enough to follow, even with a few drinks in you.

This week, on a very special episode of Reject Radio, Luke Mullen and Brian Salisbury stop by to dig into the problems of the MPAA, review three terrible awful no-good very bad films, and share with us 6 things they’ve seen on film that they can’t un-see. It’s incredibly effective, and you’ll be moved. Plus, we make jokes about Pepe Le Pew. En Francais.

After stunning audiences with their first two films, Plaza and Balaguero are each taking on a REC film of their own.

Goddamn I’m sick of making lists. Thankfully this is the last one of the year for me, and even better it’s the one I find most important.

As part of our epic, two week long Decade in Review, master of the Foreign Objects Rob Hunter lays down his picks of the best foreign language films of the decade.

Robert Fure takes a trip down memory lane and examines the most entertaining, most violent, and most significant horror films of the past decade.

1960 changed horror filmmaking forever. Don’t believe me? Read on.

[REC] is another 2007 import (as was this week’s 31 Days feature Inside), but this time: it’s from Spain, 2) it’s the mother-film of the 2008 American remake, Quarantine, and 3) it is straight-up terrifying.

This week’s Culture Warrior talks fake movies that look real but are fake, from Paranormal Activity to Blair Witch to old people getting in it with garbage.

Coming off of the sealed-off apartment of REC, the story begins mere moments after the last film ends as a S.W.A.T. team prepares to enter the building with a mysterious man from the Health Department. What they find is the truth behind what’s been going on and, of course, a ton of still-starving victims of the virus chomping at the bit for human flesh.

Paranormal Activity follows the Hitchcock 101 school of filmmaking like it’s scripture: show as little as possible and let audience imagination fill in the rest. It’s a rule most horror films could implement a bit more, and it works in this film to an astoundingly effective degree.

Rob Hunter loves movies. He also loves working as an assistant at the Tyrell Corporation. These two joys come together in the form of cash money payments that he receives every week and immediately uses to buy more DVDs.

While the handheld camera may have revolutionized porn (we give thanks!) it may have ruined Robert Fure’s day in other ways.

Foreign Objects travels the world of international cinema each week to look for films worth visiting. So renew your passport, get your shots, and brush up on the local age of legal consent, this week we’re heading to… Spain.

Horror movie fans can enjoy the visceral experience presented in Quarantine.

Critics are always quick to point out that certain films aren’t shown to critics – often the first signal that it’s going to suck. Robert Fure says that sucks.