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This week we look at the second Morgan and Wong joint of the season, the first of their tendency toward egregious ripoffs of horror movies you've probably seen. In this episode, Mulder and Scully investigate a series of deaths surrounding a woman who had a terribly unhealthy relationship with her boss, whose spirit might still be hanging around her, thwarting an Islamic terror cell and the corporate stooge who's supplying them with unspecified parts with which to carry out terror. It's all a little too much like The Entity but who are we to complain? In a wobbly first season, desperately trying to find its legs, it's one of the better early episodes.

This week Bryan and Dave wind down the year and celebrate the holiday season with a look at a movie that can only be called horror in the most charitable of terms. Christmas Evil is the tale of two parties: Lewis Jackson, a director whose ideas were too weird for commercial Hollywood and a wall of exploitation producers who saw potential in his weird little character movie to be exploited in the wake of Halloween. The result is a movie that's more like Taxi Driver than Friday the 13th, a comedy so black that most people miss the goofs. But it's a wonderful piece of Holiday weirdness carried almost entirely on the shoulders of its star, Brandon Maggart. It is a movie so well-made and off-beat that it's a real shame that its director became so disenfranchised from the film making experience entirely that he never returned.

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This week, Bryan and Dave take a trip back to 1984 for a look at one of the top box office draws of 1984 and one of the most toyetic pictures of the decade, Gremlins. It's one of Chris Columbus's first movies produced and Joe Dante's first feature with Steven Spielberg. It's got adorable little cuddly guys, nasty little monsters, Phoebe Cates, gleeful puppet carnage, and a powerhouse score from Hollywood's musical swiss army knife, Jerry Goldsmith. In a year packed with some of American pop cultures most enduring classic titles, Gremlins is among the most iconic of the decade.

It's not all fuzzy feelings, though. As much as it's a lot of Loony Tunes fun and mayhem it's a movie that hasn't exactly aged well and we'll tell you all about it; the good and the bad.

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