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Grab your axe, get the dog and stay off the beaten track; we're discussing The Hills Have Eyes.

In this live episode of The Horror Cut, we head into the desert to take on Alexandre Aja’s The Hills Have Eyes (2006), the brutal remake of Wes Craven’s 1977 survival horror classic. It’s a sun-scorched nightmare packed with brutal violence, relentless tension and some seriously disturbing moments.

Joining us for this live show is special guest Layna Frankenstein as we dig into the film’s grim atmosphere, uncompromising gore and twisted take on the American family holiday.

Recorded live in Glasgow, this is The Horror Cut at its most savage. So settle in, keep your eyes on the hills, and remember: if you see something moving out there... RUN!

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Love is in the air… and so is the smell of blood.

In this episode of The Horror Cut, we’re getting caught up in the bloody business of romance as we dive into Heart Eyes (2025), the slasher horror-comedy that turns Valentine’s Day into a date with death. With a masked killer targeting couples, nobody is safe from Cupid’s deadly aim.

We discuss the film’s blend of slasher thrills, dark comedy and romantic tropes, exploring what happens when a classic meet-cute collides with a masked murderer.

So grab your other half, keep your eyes peeled, and maybe think twice before booking that romantic date.

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Lock the doors, draw a circle, and prepare to cross the threshold. This episode, we’re dabbling in the dark arts.

We delve into A Dark Song (2016), Liam Gavin’s atmospheric occult horror that follows a grieving mother willing to endure an extraordinary ordeal to contact her dead son. Blending ritual magic, psychological torment and creeping dread, this is a film that takes its time, where every step towards the supernatural comes at a price.

Joining us as a special guest is Scott Walker, a Glasgow-based sound recordist and designer, as well as co-host of the Sh*t You May Not Have Seen* podcast. We explore how the film’s unsettling soundscape, restrained approach and suffocating atmosphere help build its sense of unease.

We discuss the film’s approach to occult horror, its patient storytelling, and why sometimes what you don’t see or hear is far more terrifying.

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