Send us a text

A grizzled hunter on his knees in a burning yard, a house ripped open like paper, and an outback that hums like a live wire—Razorback doesn’t just show a monster, it makes the landscape complicit. We kick off spooky season swapping first-scare stories (The Shining’s dread vs The Exorcist’s evil) and then zero in on why this cult Aussie horror film still hits: uncompromising atmosphere, muscular sound design, and images that lodge in your brain.
We unpack Russell Mulcahy’s music-video precision and Dean Semler’s scorching cinematography, where lens flares, silhouettes, and low angles turn heat and dust into threat. The boar is unforgettable not because it’s constantly on screen, but because tusks explode through walls and a windmill rattles like a dying star. Practical effects do the heavy lifting; partial reveals and offscreen violence keep your imagination on a leash it can’t break. Ivan Davies’ score and the cannery’s metallic grind sharpen the suspense until the finale becomes a lesson in how to stage a monster kill with timing and geography.
Under the pulp, there’s story. Jake Cullen isn’t comic relief; he’s Ahab in a battered ute, fueled by grief and proof-seeking. Beth’s investigation and Carl’s fish-out-of-water stumble through a town propped up by poaching, where the Baker brothers hide human cruelty behind a convenient beast. We challenge aggregator scores and paid-bot noise, arguing Razorback’s craft-forward approach earned its cult following on VHS shelves and HBO loops, not on tomato meters. If you care about horror that privileges mood, blocking, and sound over cheap shocks, this is a feast.
Queue it up, then tell us: which first got under your skin—The Shining or The Exorcist—and where does Razorback rank in the creature-feature canon? Subscribe, share with a horror friend, and leave a review to help other genre fans find us.

Support the show