Episode #185 – Cemetery Man (1994)

Hosted by Bryan Kluger, a man who speaks fluent Freddy and Jason with the academic rigor of a TED Talk on gore, My Bloody Podcast is a weekly séance-slash-horror-symposium where no monster is left behind and no bloody boil goes unpopped. Preston Barta joins him like a vampire with a PhD, dissecting dread with surgical precision, while Chelsea Nicole; cultural critic, scream queen, and walking IMDb of feminist horror, makes sure every terrifying nuance gets its due.

My Bloody Podcast returns in 2026 the way any sensible, well-adjusted cultural institution should. It’s by diving headfirst into a movie about a man whose job description includes repeatedly murdering the dead. Episode #185 marks our first outing of the year, and rather than easing back in with something polite or familiar, we chose Cemetery Man (1994), a film so obscure, deranged, and strangely romantic that watching it feels like discovering a forbidden VHS behind a false wall in an Italian video store.

If you haven’t heard of it, don’t worry, most people haven’t. This is the kind of movie that inspires evangelical fervor in the few who’ve seen it. You don’t merely recommendCemetery Man, you urge people to see it immediately and then hoard copies like a doomsday prepper, just in case civilization collapses before it’s properly appreciated.

The film stars a pre–My Best Friend’s Wedding Rupert Everett as Francesco Dellamorte, a cemetery caretaker whose daily routine involves dispatching corpses that inconveniently refuse to stay buried. It was directed by Michele Soavi, who was a longtime protégé and right-hand man to Dario Argento, though this isn’t an Argento knockoff or a giallo remix. Cemetery Man exists in its own strange ecosystem, adapted from the novel Dellamorte Dellamore, and operates by rules known only to itself and possibly the dead.

What makes the film linger besides the gore, the nudity, and the unapologetic insanity, is its oddly sincere preoccupation with love, loss, and grief. It’s a slapstick existential romance, a philosophical zombie movie, and a meditation on loneliness that just happens to involve severed talking heads. Imagine if a Sam Raimi (Evil Dead) film and Peter Jackson’s Dead Alive had a beautifully unhinged Italian child that was raised on poetry, Catholic guilt, and very questionable taste. That’s this film.

Cemetery Man is nuts in the best, most committed way. It doesn’t wink at the audience or apologize for itself. It simply exists, gloriously, daring you to keep up. Which is exactly why we’re thrilled that My Bloody Podcast finally covered it. If this is how 2026 is starting, we may not survive the year, but we’ll die laughing, and possibly come back for seconds.

My Bloody Podcast is where horror isn’t just appreciated, it’s worshipped, flayed open, and lovingly stitched back together. Listen in. Just don’t blame us if you start sleeping with the lights on.

Listeners who crave more behind-the-scenes industry insights, unfiltered opinions, and plenty of laughs will find themselves addicted to My Bloody Podcast. You can catch the latest episode on iTunes or Spotify, or reach out to the team at mybloodypodcast@gmail.com. Whether you’re a seasoned horror fan or a casual viewer looking for something to spice up your movie night, this podcast is a must-listen for those who love their horror served with a side of humor, insight, and a touch of irreverence.

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Thank you for listening.

WRITTEN BY: BRYAN KLUGER

BRYAN KLUGER, A SEASONED VOICE IN THE REALM OF ENTERTAINMENT CRITICISM, HAS CONTRIBUTED TO A WIDE ARRAY OF PUBLICATIONS, INCLUDING ARTS+CULTURE MAGAZINE, HIGH DEF DIGEST, BOOMSTICK COMICS, AND HOUSING WIRE MAGAZINE, AMONG OTHERS.

HIS INSIGHTS ARE ALSO CAPTURED THROUGH HIS PODCASTS; MY BLOODY PODCAST AND FEAR AND LOATHING IN CINEMA PODCAST, WHICH LISTENERS CAN ENJOY ACROSS A VARIETY OF PLATFORMS.

IN ADDITION TO HIS WRITTEN WORK, KLUGER BRINGS HIS EXPERTISE TO THE AIRWAVES, HOSTING TWO LIVE RADIO SHOWS EACH WEEK: SOUNDTRAXXX RADIO ON WEDNESDAYS AND THE ENTERTAINMENT ANSWER ON SUNDAYS. HIS MULTIFACETED APPROACH TO MEDIA AND CULTURE OFFERS A UNIQUE, IMMERSIVE PERSPECTIVE FOR THOSE WHO SEEK BOTH DEPTH AND ENTERTAINMENT.