April Ghouls Drive-In Monster-Rama is back at The Riverside Drive-In Theatre in Vandergrift, PA on April 24 and 25, 2026. Admission is still only $15 per person each night (children 12 and under free with adult) and overnight camping is available (breakfast included). You can buy tickets at the show, but get there early and learn more here.

The features for Friday, April 24 are Prince of Darkness, Popcorn, Fade to Black and Evilspeak.

Saturday, April 25 has Halloween 4, Halloween 5, A Bay of Blood and Funeral Home.

Oh, Canada. Your horror movies are so strange, so unlike anywhere else. You remain such a polite country, our neighbor to the north, yet you’ve given us Cronenberg’s body horror, a black Christmas and more tax-shelter slashers than one human can possibly consume. What strange horrors have you brought to me today? Oh look—it’s 1980’s Funeral Home, otherwise known by the much better (and far more Giallo-esque) title Cries in the Night.

Heather—played by Lesleh Donaldson, the quintessential Canadian scream queen who also graced Curtains and Happy Birthday to Me—is spending the summer in a small town with her grandmother, Maude (Kay Hawtrey). Maude has turned her home, which was once a funeral home, into a quaint inn. It’s the kind of business plan that only works in horror movies or if you’re looking to attract the kind of tourists who find the smell of formaldehyde rustic. Maude’s husband has been missing for several years, so she also makes ends meet by selling artificial flowers. She even has her own handyman, Billy (Jack Van Evera), who is mentally challenged in that way that 80s horror movies always portrayed: wearing overalls and acting as a giant, walking red herring.

The only problem is that when people check in, they end up missing. Like that unmarried adulterous couple—because in 1980, checking into a motel for a tryst was basically a signed death warrant. And that real estate developer who wants to buy the land. You know the rule: if you have a briefcase and a suit in a slasher movie, you’re getting a sharp object in your chest before the first act is over.

And when Heather comes home at night, she hears her grandmother talking to someone who isn’t there in the basement. It’s like Psycho, but with more maple syrup and a much slower pace.

Director William Fruet—who gave us the absolutely harrowing Death Weekend (AKA The House by the Lake) and went on to direct episodes of Goosebumps and Friday the 13th: The Series—keeps things atmospheric, even if the “shocker” ending feels like it was lifted directly from Mother Bates’ diary.

Well, it seems like Heather’s grandfather was having an affair with Helena Davis, a fact her grandmother denies to everyone, including Helena’s husband, Mr. Davis (played by Barry Morse, the Inspector from TV’s original The Fugitive). Unfortunately for the Inspector, he doesn’t find the “one-armed man” here; he just finds a pickaxe to the head.

Heather and her boyfriend Rick start investigating, finally finding the corpse of her grandfather in the cellar. Turns out, Maude hasn’t been lonely at all. She’s been keeping Grandpa’s remains in a box and developed a split personality to keep him alive. Now, Maude speaks with his gravelly voice and comes after them with an axe. It’s a total Grand Guignol moment that reminds us that grandmas in horror movies are never just baking cookies. Luckily, the police arrive just in time to stop the family reunion from getting any bloodier.

As the credits roll, the cops explain the entire plot to us in an exhaustive monologue. It’s such a weird ending, with an overly long explanation fighting for screen time with the names of the gaffers and best boys. It’s like the movie didn’t trust you to understand that “Grandma is crazy,” so they brought in the local PD to give a PowerPoint presentation.

And if you’re a purveyor of films with ripped-off artwork—and let’s be honest, who isn’t?—then check out the 1988 supernatural flick Through the Fire. It steals the Funeral Home theatrical and VHS artwork of the screaming face in the window almost pixel for pixel. In the world of regional horror and budget distribution, why pay for a new painting when you can just trace someone else’s nightmares?

Funeral Home isn’t going to change your life, but for fans of slow-burn Canadian creepiness and Lesleh Donaldson’s lungs, it’s a solid double-feature pairing with The Hearse. Just don’t go in the basement. Or the garage. Or Canada.