Sinners

As I write this, Sinners is 2025’s highest-grossing original film. It’s also written and directed by Ryan Coogler, one of Hollywood’s most revered and popular recent directors. That said, being popular doesn’t stop Sinners from being a cult film in the making. Like many cult films, Sinners constantly shakes things up with different genre elements. One minute it’s a 1930s gangster story crossed with a fun hangout movie, the next it’s a full-blooded horror film. All while peppering in a cast of brilliant characters, songs and musical numbers, and deep thematic topics. Such as cultural legacy, appropriation, ingrained power structures and America’s racism. Modern big-budget films are rarely this audacious. Considering Sinners’ success seemingly has studios spooked, we may not see another huge film this unique for a while. That’s why this film is destined for cult stardom. It’s too special and significant not to inspire a legion of fans.

I Saw the TV Glow 

Many cult films also speak to marginalised experiences, particularly LGBTQ+ audiences. This is where I Saw The TV Glow slots in. Its discussion of how media provides great outlets for young people to express themselves, along with its difficult but important discussion of how hard it is to break free from an identity that society expects of you and that you have internalised, holds particular resonance for trans audiences. Plus, it’s framing through a lens of 90s and early 2000s nostalgic memory and heavy psychological horror gives I Saw The TV Glow a distinct style and feeling. These elements and the film’s bittersweet message at such a horrendous time for trans people will ensure a devoted following.

Polite Society

Smaller action films are also prime targets for cult status, especially if they have an instantly iconic main character. Polite Society centres on Ria, a British-Pakistani teenager aiming to become a stunt performer. When her beloved sister, aspiring artist Lena, unexpectedly gets engaged, Ria tries to sabotage their relationship. Slowly, she discovers a dark plot involving cloning that will require all her skills to overcome. A loving ode to sisterly love, with two fantastic central characters, that surreally mixes martial arts and sci-fi trappings into a grounded family drama, Polite Society has all the right ingredients to become a fixture of playground conversations for a new generation of off-kilter action fans.

The Tales From Pandora’s Box Series 

Another proud cult film category is the so bad it’s good film. Tales From Pandora’s Box is a horror and sci-fi anthology trilogy with the same charm as The Room. The filmmaker clearly had big ideas for the stories, but a lack of budget and no care given to film production basics make the final products feel incredibly amateur. When the films feature an astounding amount of out-of-place nudity, hilariously bad dialogue, use of still images to transition between stories, the same actors popping up again and again, Windows Movie Maker transitions, and more, it’s impossible not to laugh a little. These films could definitely become Halloween roasting rituals for drunken friends.

Stopmotion

Cult films are also known for how they experiment with cinema as a medium. Stopmotion’s blend of live-action and animation is an unnervingly impressive reminder of how great smaller-budget genre films can be. Additionally, it has some hard-to-watch effects work, a layered story about the creative process and Aisling Franciosi’s outstandingly raw lead performance. While Stopmotion should be held in higher regard, it will undoubtedly become a future cult favourite.

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In this article, we will analyse why horror stories, even now, like to draw on these cultural touchstones, before looking at some horror films and the folklore and myths that inspired them.

Past Horrors

Older forms of storytelling like myths, legends, folklore etc. have concerned themselves with confronting our fears of the unexplained for thousands of years. Whether it be existential, rooted in the problems of a particular region/culture or often both. Many of these stories act as tales of morality or explorations of the fantastical, they are also seen as formative teaching moments for children to learn about the world and the moral frameworks through which to view it. But these stories also have a hint of horror about them. With the dire consequences visited upon those who are evil (e.g. burning to death or in hell) and villains being capable of scary/dark things (e.g. devouring people in their path). Thus these stories act as a foundation for horror stories by prominently using the fantastic and unexplained.

Since the beginning of cinema films have been drawing inspiration from this kind of storytelling. Allowing stories from across the Earth to be experienced in a way that foregrounds a sense of reality and immediacy. 

Horror and Myths

So why do horror films keep returning to these older stories? Well, one reason is that these types of stories value reinterpretation. These stories have been told differently in various regions with each storyteller giving the story a different spin. Providing filmmakers with a great license for creativity. 

Equally, these sources can provide production with an air of seriousness due to drawing on older traditions that those outside of the genre are more familiar with.

They also add an extra eerie factor. Due to the association of myths and folklore with formative childhood experiences and a time before cinema, it allows films using these stories to act as a dark confrontation of childhood innocence and evokes feelings of a time before modern technology which creates feelings of unfamiliarity and thus unease in viewers.

But most significantly horror as a genre has a habit of recontextualising these older stories. With many of these older stories attempting to explain the unexplained or offering definitive morals their use in a modern context, where many questions posed by these stories have been answered and morality is less black and white, refocuses the story’s meaning to show humanity’s fallibility. Notably folk horror, which focuses a lot on invoking folklore, takes the trappings of old tales and puts more focus on humanity’s capacity for self-destruction.

Folklore in Horror Films

To see how widespread the influence of older stories are in horror here are three horror films and the stories that inspired them:

Haxan

The groundbreaking silent horror essay film dramatises and analyses the folklore of witches and the societal factors that resulted in these stories being used to destroy the lives of women from the Middle Ages to the then modern day.

Midsommar

This film’s story has ties to several traditions and folk tales. For example, Midsommar’s Hårga cult is influenced by a folk story which concerns a group of villagers who are visited by the devil and made to dance to death – something at the heart of the dramatic displays of Midsommar. Plus there is the use of May Queen imagery. This symbolises someone being chosen to embody the coming of growth in Spring, with Dani representing the growth of the cult’s ideology.

Huesera: The Bone Woman

Huesera’s central threat is based on a Mexican legend. The story concerns a woman who collects bones. Upon having enough to form a skeleton she brings them to life. Creating a wolf which then becomes a woman. The story is said by scholars to be about restoring lifeforce, which does not want to be tamed. The movie updates this theme by making the central threat encompass how women are viewed by and harmed under patriarchy, with the main character Valeria’s visits from the bone woman revealing more about herself and how society views her.

Also Read: Animated Horror: The Overlooked Genre Fusion

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Today we will look at why animated horror is so overlooked. Before analysing why it can work incredibly well when done right. Then finally we will recommend some great animated horror for you to watch.

They’re For Children

Generally, there are three reasons why animated horror isn’t as popular in its presence or profile as its other genre counterparts. Firstly animation has a long-standing association with children’s stories. While animation has been telling darker and adult stories for years, see Ralph Bakshi’s work, Mary and Max etc. those works are overall a minority. Thus audiences still see animated horror as out of place.

Secondly, horror is often regarded as a quick and cheap genre in terms of what the films take to make. Given how much time and money animated projects can take to complete it’s easy to see why horror productions don’t really gravitate towards animated stories.

Lastly, with animation having less firm real-world grounding due to it inherently being more artificial in its content it can be harder for viewers to see themselves in these animated worlds and therefore be scared.

A Darker Side

That said animated horror can still be incredibly effective when done right. The medium has its own ways of creating a feeling of unease. Such as through the clash of images associated with child-friendly narratives against horrific imagery. Animation also has ability to frequently fall into the uncanny valley, creating something that whether through facial or body movements can create audience discomfort thanks to it being both close to reality and unreal.

Additionally, animated horror allows for scope that would not necessarily be achievable in live-action. With animation able to create whole new worlds and potential for different and interesting horrific imagery the medium is rich with possibilities for horror stories.

And with less inherent relatability due to its artificial content animated horrors also work very hard to get us invested through writing, atmosphere, sound design and more, ensuring that at least animated horror always tries something new to keep our attention.

Otherworldly Animation

Here are just a few must-watch animated horror films everyone should seek out:

Watership Down (1978) and Plague Dogs (1982)

These “children’s” animal films adapted from Richard Adams’ books aren’t classified directly as horror, but the stories of a rabbit colony trying to find a new home away from predators aiming to kill them at every turn and two dogs escaping an animal testing facility before being hunted across the country by humans have an unrelenting threatening air to them. They also feature horrific imagery. Like a dog tearing a rabbit open and a dog accidentally shooting someone. If that doesn’t make these films horror, what does?

Alice (1988)

Jan Svankmajer’s live-action, stop-motion hybrid adaptation of Alice in Wonderland is perhaps the most frightening version ever. With creations like the terrifying taxidermied White Rabbit, wind-up March Hare and many skeletal creatures, you truly fear for Alice’s safety.

The Nightmare Before Christmas (1993) and Coraline (2009)

Henry Selick’s work is the gold standard for stop-motion children’s horror. Whether it be Nightmare’s imaginative Halloween monster world or Coraline‘s unnerving world of the Other Mother Selick consistently creates spooky stories with a sense of childhood wonder and playfulness that keeps watchers of all ages engaged through all the nightmare fuel.

Perfect Blue (1997)

Satoshi Kon’s suspenseful masterpiece follows a pop idol turned actress as disturbing things start happening around her. All linking back to a fan unhappy about her career change. Though this idea could easily work in live-action the initially cute anime style of the pop group creates an affective clash as its story becomes increasingly darker and more surreal.

Mad God (2021)

In a post-apocalyptic landscape, we see grotesque creations, unending ruins and death all around. Is there a point to all of the suffering here? You’ll have to watch to find out. Mad God is a hard but rewarding watch full of unforgettable stop-motion terror.

Beyond these recommendations, we hope to see more attention to animated horror. The medium has so much to give and we barely seem to have scratched the surface of the horrific possibilities.

Also Read: Cartoons For Adults: The Rise of Adult Animation

The post Animated Horror: The Overlooked Genre Fusion appeared first on Big Picture Film Club.

This article will take a look at the real locations and events that inspired the book and the film. Before discussing how the use of these underpinnings helps make the story more powerful.

The Book

When it comes to the book author Stephen King mainly attributes the inspiration for The Shining to the time he and his wife stayed at Colorado’s Stanley Hotel as it was beginning to close down for the 1974 winter. As they were the only two people staying there, King found the isolation and long quiet hallways perfect inspiration. He then combined these elements with a dream and part of another novel idea he had, which created the story we now know.

That said the Stanley Hotel isn’t the book’s only real-life inspiration. Another true story, mentioned in the text itself, likely formed the basis for some part of the narrative. That of the Donner Party. The pioneer group were cut off from the world when they became snowbound in the Sierra Nevada mountains in 1846. Famously their entrapment resulted in them doing terrible things to survive. The tale of battling against the elements for survival as well as against violent and other disturbing aspects of human nature is easily seen in The Shining’s plot.

Finally, one other true story hangs over the writing of the book. King has spoken numerous times about how his own alcohol addiction helped to form the character of Jack Torrence. Showing him as a dark reflection of a path he could have gone down.

The Film

Meanwhile, The Shining film seems to have little real-world inspiration informing it beyond what can be found in the book. There are changes to the setting. The Ahwahnee Hotel and Timberline Lodge serve as the basis for the film’s setting rather than the book’s Stanley Hotel. But the film doesn’t really have a lot of documentary evidence about other real-world inspirations around it. 

The only exception is the film’s mention of indigenous people. The Overlook Hotel is said to be built on the site of an Indigenous burial ground (which wasn’t in the book) and the use of Native American iconography and designs across the film. While little is mentioned about this elsewhere it seems impossible for the genocide of indigenous people not to have at least been in the background of the minds of people working on a movie about supposedly civilised white men’s capacity for violence. 

Between Fiction and Reality

So what exactly do these inspirations do for the Shining story? Well, they mainly add tragedy, power and believability to the narrative. Knowing that the story of Jack Torrence’s alcohol addiction negatively affecting his family’s life comes from the writer’s personal experience (though King’s experiences were much less severe) allows people to see the story as much closer to reality itself, thereby adding to the tension. Similarly, the parallels to the Donner Party story remind us of the deadly possibilities of being isolated by snow. Also, while the story of King’s inspiration springing from a stay in a deserted hotel is less emotionally gripping than the two other inspirations it does further entrench the idea of how haunting isolation can be in the minds of the public thus making the narrative experience more believable. 

This is also true regarding the inclusion of material referencing the genocide of Native Americans in the story’s periphery. While it could be argued that this approach reinforces the trope of focusing on white people rather than talking about Native Americans themselves and reduces them to set dressing, it does provide a powerful layer to the story. Showcasing how normalised violence and oppression are in society.

To conclude, we see that real-world influences can be used to add another layer of engagement to a story. Forcing people to not just see a story, but also how it is informed by real world fears, experiences and horror.

Also Read: Horrors On Horror Sets

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In this article, we will look at several filmmaking techniques that were used in silent horror films. As well as how their influences can be seen in the modern horror landscape.

Jump Scares

Yes, even without sound some early horror films do feature proto-jump scares by having long build-ups to sudden cuts to images intended to scare audiences. Think of Orlok’s appearance outside the door (Nosferatu (1922)) and the Phantom’s facial reveal (The Phantom of the Opera (1925)). These scenes formed the beginning of a genre staple.

The introduction of startling loud sound stings to accompany the scare (Cat People (1942)) greatly added to the technique’s impact. Many modern horror audiences claim a dislike for jump scares, however, they can still be effective. With the best ones relying on building suspense and anticipation rather than using a loud noise for cheap shocks. Just like the old silent horrors.

Uncommon Shots

There was a lot of experimentation with how early films were shot. Some horror films used drawn-out wide shots to allow audiences to see everything in a film’s world (The Cabinet of Dr Caligari (1920). Other films used shots to place us in a character’s perspective or to break a scene’s standard framing (Nosferatu).

These techniques are now common in modern horror. Elongated shots help to build up tension. POV shots (among others) place us in a character’s perspective and build empathy or distrust. And the experimentation with shot types is done to promote a sense of unease. Additionally, the deployment of more mobile camera movement has enabled modern filmmakers more freedom to create shots that surprise audiences.

Shadows

Shadows have always been a great horror visual as they represent fear of the unknown. Thus they were a perfect tool for silent horror’s visual language. One of cinema’s most famous images is Count Orlok’s shadow ascending the stairs. Through the simple use of lighting to lengthen Max Schreck’s shadow Nosferatu makes Orlock into a horrifying unknown presence.

Shadows continue to be effectively used today. Whether it be indicating the imposing nature of villains like the Tethered or encouraging audience paranoia (The Woman in Black). But the advance in effects work also means shadows can be transformed in more ways than ever. Thereby allowing the cinematic fear of the unknown to be pushed even further.

Metaphorical Sets

German Expressionism was a huge part of early horror cinema. Among other things, it focused on creating art that externalised the anxiety permeating post-WWI Germany. Leading to set design that felt exaggerated, warped and unreal. Which helped to make viewers uncomfortable and allowed the more fantastical narrative elements of films like Cabinet of Dr Caligari and The Golem (1920) to feel less out of place.

Although many horror films now aim to capture a more realistic atmosphere the expressionist era still taught the genre that displaying internal emotions through the use of sets can greatly impact audience reaction. Think the expansive well-dressed sets of Hereditary invoking a doll’s house. Or Maud’s creepy, enclosed and dark apartment in Saint Maud.

Mixing Styles

Finally, silent horror also began blending stylistic devices to add a feeling of realism to their narratives with Haxan (1922). This film blended dramatised scenes with documentary techniques such as providing factual statements on title cards and showcasing historical artifacts in the manner of a lecture. Making the film’s subsequent dramatic parts feel like a dramatisation of factual material rather than a horror film.

Nowadays horror films utilise many other factual presentation techniques to make them appear more realistic. Such as using documentary footage (Dawn of the Dead (2004)), disclaimers/facts to invoke real people/events (The Conjuring and Tigers Are Not Afraid) and the employment of cinematography and performances meant to evoke news footage (found footage films). Techniques all stemming from Haxan’s inspiration.

Those are just some ways silent horror techniques have influenced the modern horror landscape. So if you think silent horror can never capture the scariness of modern films remember that silent horror helped pioneer many ideas modern horror films use to frighten us.

Also Read: Horrors On Horror Sets

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This year attendees saw another beautiful horror gallery (from Vice Press), an array of merchandise stalls from Arrow Video, Fab Press, Last Shirt on The Left, Killer Kultpins, FunkeeJunkeeMunkee and more, and themed food from Showroom Cinema. We also had filmmaker masterclasses, live Turbo Kid commentary from filmmakers François Simard and Yoann-Karl Whissell, plus a special 35mm grindhouse experience. 

So how did the films stack up? Here are my ratings and reviews of every film at the festival in 25 words or less. Accompanied by some recommendations for short films I saw.

Reviews

Where The Devil Roams: Beautiful imagery and good performances, though it would have benefited from being a short film (2.5 / 5).

The Origin: A slow, clunky Stone Age survival adventure made passable by a tense third act. Although the explanation behind the stalking force is anticlimactic (2.5 / 5).

The Chapel: The film’s central relationships and exploration of how children process death are interesting however it spins its wheels a lot before the climax (2.5 / 5). 

Pandemonium: This anthology has a fantastic introduction and a standout segment involving a mother and bullied daughter. It’s failed by an excessive ending and confused theming (2.5 / 5).

Freaked: Freaked has glorious effects work but goes for quantity over quality regarding jokes and its plot feels too throwaway (3 / 5).

What You Wish For: Suspenseful cannibal cooking, global south exploitation allegory voted the festival’s best film. Foiled by some bad “lying” performances and convenient plotting (3 / 5). 

It’s A Wonderful Knife: Mostly a predictable slasher riff on It’s A Wonderful Life enlivened by Justin Long’s, Jane Widdop’s, Jess McLeod’s, and Katherine Isabelle’s great performances (3 / 5).

Lady Terminator: Our grindhouse screening and the festival’s best theatrical experience. Bloody, fast-paced, unintentionally funny and so playfully poor taste it’s hard to get angry (3 / 5). 

#Manhole: A gripping simple premise quickly becomes so overcomplicated it detracts from the drama. Thankfully Yûto Nakajima’s performance and the over-the-top ending make #Manhole watchable (3 / 5). 

All You Need Is Blood: A fun amalgamation of other ideas explored during the festival. Unfortunately, it suffers from an uneven tone and trying to do too much (3 / 5).

Hellbound: Hellraiser II: Introduces great new characters and features excellent effects work but it lacks the original’s impact due to the peeling away of the villains’ mystery (3 / 5).

Turbo Kid: This slight coming-of-age story has a lovely central relationship, charming effects, and Michael Ironside is gloriously villainous. The live commentary was wonderful (3 / 5).

T Blockers: Packed with an envigorating liberatory message and affectionate characterisation (Sophie is among 2023’s best characters). The horror elements just needed better incorporation (3 / 5).

Falling Stars: The characters make this work. Everyone feels so genuine you get completely swept up in their journey and the tension is built masterfully (3.5 / 5). 

Killer Klowns From Outer Space: The schlocky genre affection radiates off the screen. Consistently funny with outstanding effects (3.5 / 5).

We Are Zombies: A zombie genre reinvigoration that loses its way by the end but has enough guffaws (insensitive moments aside) and guts to satisfy genre fans (3.5 / 5).

Loop Track: Thomas Sainsbury’s anxious performance and a masterful balance of serious and comedic tones make Loop Track an effective paranoid ride (3.5 / 5).

Stopmotion: A well-made nightmare about the creative process that features tremendous animation and a fierce performance from Aisling Franciosi (4 / 5). 

Shorts

Now here are the best short films.

Women’s Stories: Only Yourself to Blame and Incubus provide haunting looks at the consequences of sexual violence, meanwhile Vibrator Girl hilariously looks at how patriarchy frames women’s pleasure.

 Scary: Butterscotch and Stop Dead had some of the festival’s scariest monsters and moments.

Award Winner: You’re Not Home is a disturbingly real look at racism and the asylum system’s inadequacy. The 1st place jury prize winner. 

Conclusion

Celluloid Screams 2023 continued the high standards expected by attendees. The new additions were definitely welcome and the programming was as amazing as ever. Showing that come rain or shine Celluloid Screams will always give genre fans what they need.

Also Read: Horror Films To Enjoy During The Long Dark Winter Months

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Synopsis

Hollywood Dreams and Nightmares gives us a tour of Robert Englund’s life. From his beginnings as a child theatre actor who disappointed his parents by not becoming a lawyer through the many film and TV highlights of his nearly five-decade-long career in front of and behind the camera, and to his role as Freddy Krueger, which turned him into a legend. But the film also looks at his impact on those around him. Including the actors and directors he has worked with and his romantic relationships.

What Did I like?

I like the full picture the film gives of its subject and his impact on his colleagues. Near the film’s beginning, Robert says how fantastic it was to receive compliments for his early work. As it helped him feel confident in himself. From there, through the film’s many interviews, we see how that relatively little act helped create the Englund of today. He becomes someone always willing to give an assuring word to veterans and newcomers. And the love and care that Englund gives to analysing his roles, no matter how minor, really showcases someone who loves every bit of what they do. It helps that Robert is a naturally compelling interviewee. His laid-back manner and lovely voice make him a pleasure to be around. By the film’s end, we feel like we really know Robert. Additionally, the way it delivers its message about kindness and acting power is infectious, made even more brilliant by every other interviewee being engaging presence.

Highlights include Heather Langenkamp, Tony Todd, Kane Hodder, Corey Taylor, Gary Sherman, and partner Nancy Booth. Listening to them talk about how Robert helped them in their work/personal lives and how they are so close, particularly, Nancy’s retelling of their burgeoning relationship and Heather’s imparting of a personal tragedy, gives great insight into what kindness can do in a sometimes toxic industry.

And the film flows incredibly well. Editors Peter Appleyard and Christopher Griffiths give just the right amount of time to each subject to make it feel needed. Never allowing segments to overstay their welcome. Thus the runtime flies pleasantly by.

What Did I Not Like?

Being a Nightmare on Elm Street fan I have watched several behind-the-scenes documentaries concerning the series over the years. Unfortunately, a vast proportion of this film feels like it’s retreading old ground. It’s obviously unavoidable as Freddy Krueger is a hugely important part of Robert Englund’s life but I can’t help but feel a little tired. Though this may not be a problem for everyone.

That said another thing that holds the film back is its rather bland presentation. Despite the best efforts of the participants and the intermittent use of animations the film still doesn’t have the energy it needs to be cinematic thanks to odd framing, flat lighting, and bland music. It feels like a rather generic horror documentary more suited to being a NoES series home media bonus feature. 

Lastly, the film really seems rather lacking in diverse material. Mostly relying on old footage and talking heads to deliver a story. I feel like more could have been done to dynamically showcase Englund’s career. Like a home tour or a visit to the set of a current project.

Verdict

Hollywood Dreams and Nightmares is an average film about an amazing subject but features lots of heart. It suffers from its generic presentation and content style which doesn’t differentiate it from many recent horror documentaries, and its unfortunate need to discuss an already well-covered cultural touchstone. But it’s salvaged by its thorough focus on a fascinating, talented actor who brings out the best in those around him, some great interviewees, a good pace, and a fantastic central throughline emphasising the value of kindness. It’s amazing that the man who scared a generation is so nice.

Rating: (3 / 5)

Hollywood Dreams & Nightmares: The Robert Englund Story will be available on the Icon Film Channel from 2nd October. And will be available on Blu-ray and Digital Download from 6th November.

Also Read: The Horror Crowd: An Insightful Documentary For Fans of the Genre

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So now, with the news that Saw X is going to be released later this year, we thought we would have a little fun and look at 10 interesting facts related to the franchise. Let’s begin.

The Short That Changed Everything

The series was actually born from a short film that James Wan and Leigh Whannell made in 2003. It wowed producers Mark Burg, Greg Hoffman and Oren Koules that they decided to ask Wan and Whannell to make a feature out of the concept. The rest is horror movie history.

One of the Highest-Grossing Horror Franchises

Before the release of the supposed final film in 2010 Guinness World Records dubbed the series to be the most successful horror franchise in history. With the then 6 films earning around $733 million at the box office. While it has since been surpassed by other horror franchises the series’ overall box office today sits at just over $1 billion. Considering the total budget of every film adds up to $95 million, that means the franchise has made more than 10 times its collective budget in profit. Not bad for a bunch of small splatter films.

There Will Be Blood

While many critics view the franchise as solely exploitative torture porn the franchise did do one very good thing. Every film in the series, except for Saw 3D and Spiral, had a tie-in advertising campaign encouraging people to give blood to the Red Cross. The Halloween Blood Drive was a huge success and even helped to challenge the prejudice around LGBTQIA+ donations.

Sue-Saw

Actor Cary Elwes who plays Doctor Gordon in the original Saw filed a lawsuit in 2005 against his management company and the film’s producers over claims that he had not received all the money he was promised for starring in the film (including 1% of the producer’s profits). The suit was later settled out of court and he returned to his beloved role for the then series’ finale.

Bell and Chainsaws

Tobin Bell was a prolific character actor before the Saw series. However, according to IMDb the first industry award he was ever given was the 2006 Fangoria Chainsaw Best Villain award which he won for Saw II. Later he won the 2009 Eyegore Award for Best Villain in a Film Series and was inducted into Fangoria’s Hall of Fame in 2010. Cementing Jigsaw as the role Tobin will be best remembered for.

Leave Them Wanting Saw

Saw III currently has the longest runtime in the franchise at 108 minutes.

A Scream Queen

One of the better-regarded films in the franchise, Saw VI, has a number of memorable scenes. These include the opening trap where two predatory loaners must cut off parts of their own bodies to determine who survives. Simone, the survivor of the test, was played by Tanedra Howard, who won the role after competing in the game show Scream Queens.

Series Kill Count

According to the YouTube series Dead Meat the Franchise collectively has a body count of 104 people (including Detective Hoffman). Saw 3D had the highest number of victims at 27. While Saw and Saw V have the joint lowest with only 6 victims. 

Spiralling Out

Spiral is so far the only Saw film where Tobin Bell does not physically appear as Jigsaw. Though his photo does appear.

Unexpected Guiding Hand

Aside from James Wan another director has been credited on every entry in this series. Kevin Greutert directed Saw VI, Saw 3D and will direct Saw X. He also edited Saws 1-5 and Jigsaw and was an executive producer on Spiral. As an integral part of the series, it’s a shame he isn’t spoken of as highly as other key creatives.

Those are just some of the many intriguing facts about the series. With Saw X coming soon we will surely have even more bloody anecdotes to digest for years to come. Game over.

Also Read: The Terrifier 2, Cocaine Bear & Winne the Pooh Highlight A Changing Horror Landscape

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Scream (2022) Recap

When Tara Carpenter is attacked by a new Ghostface costumed killer, her half-sister Sam seeks help from Dewey Riley, as he helped with the investigations of all the prior Ghostface killings. Following the murder of several of Sam’s friends and Dewey, news reporter Gale Weathers (Dewey’s ex-wife) and Sidney Prescott (Dewey’s best friend) try to help solve the case. Eventually, the killers are revealed as Stab fans (films based on events seen in the franchise) wanting to provide better material for future Stab filmmakers by getting the oldest Ghostface survivors back together. After helping Tara and Sam defeat the killers Sidney assures Sam that, given time, she will heal from her experiences. Gale commits to eulogizing Dewey rather than publicising the killers before Sam accompanies Tara to the hospital. 

Scream Without Sidney

Many horror fans have asked why Neve Campbell is not returning for Scream 6? In a statement, Campbell said her exit was related to pay. After 25 years with the franchise and fighting hard to be valued in the industry she said she was not offered enough to justify her return. Which is entirely understandable. After all, Neve Campbell has given Scream she has the right to step away if she isn’t paid her worth. Especially given how much the series makes at the box office. But this raises the question, how can the franchise continue without its main star?

Not All Horror Heroes Return

Many of Scream (2022)’s survivors have already been confirmed to be starring in Scream 6. Courteney Cox will be returning as Gale, the only series mainstay, along with prior series cast members like Hayden Panettiere. This is an unusual angle for a long-running horror series to take. Usually by the sixth entry horror franchises have become about new characters fighting the series killer. But pivoting to lesser-known characters has worked in the past.

The Saw franchise for example was originally a mystery before turning its focus to Jigsaw (Tobin Bell) in Saw 2 and 3. Then after his death Detective Hoffman (Costas Mandylor), a minor Saw 3 character, became the lead antagonist. With Jigsaw remaining a constant fixture through flashbacks. And after Jamie Lee Curtis didn’t return as Laurie Strode for Halloween 4 the Halloween series made Laurie’s daughter Jamie (Danielle Harris) the series protagonist. Meanwhile, Donald Pleasence continued appearing as series mainstay Dr. Sam Loomis.

Although the choices of these series displeased some fans of the established leads they ensured that their series went on. These approaches provided series continuity. They also kept fans on board by including other beloved characters in their stories. And because the writers focused on making Jamie and Hoffman interesting they quickly became fan favourites. So as long as Scream’s good character writing remains intact and they don’t ruin Sidney’s legacy by killing her off-screen the series could go on with new leads.

Can Scream 6 Succeed?

Some may say continuing the Scream films without Campbell means the series will lose its unique identity. But both the TV series and Scream (2022) managed to shift the focus in whole or in part onto new protagonists. Despite mixed critical reception, the series lasted 3 seasons and Scream (2022) earned over $140 million worldwide. Proving that the franchise can continue and be popular without focusing on Sidney.

Unfortunately, the films have wrung every drop out of satirizing slasher films. So short of a full reboot if the series is to remain ongoing Sidney can’t be a constant forever. But with interesting new leads like Sam and Tara and legacy actors still on board the series has the potential to please fans old and new. Of course, Sidney could always return if next time the studio makes Neve Campbell a better offer. But why bring back one of the most beloved final girls when you can save some money?

Also Read: Carry On Screaming: Scream 5 Revives The Series

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With this list, we are going to try something different. Obviously, there are higher-profile releases coming up like Scream (2022) and Halloween Ends. But since these movies are part of big franchises they already have an inbuilt audience. Instead, this list is going to focus on original IP, or first adaptations to encourage us to watch a more diverse range of films. Now join us as we spotlight five horror movies that you should watch in 2022. 

Abruptio (????)

Puppets are creepy at the best of times. So the idea of a full-length horror film made using puppets sounds like a match made in heaven. Our story here follows Les Hackel who wakes up one morning with a bomb implanted in his neck. Though it is not clear when the film will be released it is predicted for some time in 2022. And with unique presentation at its core along with a great voice cast (including the talents of Jordan Peele, Robert Englund, the late Sid Haig, and James Marsters among others) this definitely feels like a production to keep an eye on.

Bed Rest (15^th July)

The first film from director Lori Evans Taylor (who is also writing the upcoming Final Destination 6). Bed Rest’s narrative is about a pregnant woman who tries to figure out if her house is haunted or if she is simply imagining the spooky occurrences happening around her. With a fresh talent behind the camera and a script that was on the Black List (a list of popular unproduced screenplays) in 2015, there is every possibility that this will be a creepy start for a new horror talent.

Nope (22^nd July)

Jordan Peele’s latest movie reunites him with Daniel Kaluuya and also includes Steven Yuen and Keke Palmer in the cast. Some people may need more details to be convinced to watch Nope, but when you have made movies as great and impactful as Get Out and Us, little information is needed for horror fans to get excited about Jordan Peele’s next project.

Dark Harvest (9^th September)

We all love having a new iconic villain to gush over, and Dark Harvest appears to be offering just that. Based upon a novel by Norman Partridge and brought to us by cult horror favourite David Slade (Hard Candy, 30 Days of Night & Black Mirror: Bandersnatch) this film concerns an annual tradition where a monster, called Sawtooth Jack, rises from a cornfield to scare and kill any residents of a midwestern town unfortunate enough to come across his path. One hope exists however. If one of the residents is able to kill him they can earn their freedom and escape the town. While the plot sounds interestingly subversive what catches our attention here is the prospective look of the antagonist, a monstrous creature with the head of a pumpkin (see the picture below). If done right Sawtooth Jack could join Jack Skellington and Sam as a modern Halloween icon. 

Don’t Worry Darling (23^rd September)

Like with Jordan Peele’s Nope, excitement for Don’t Worry Darling is largely based on the pedigree of those involved. This is Olivia Wilde’s sophomore directorial effort after the well-received Booksmart. It also stars the incomparable Florence Pugh alongside Chris Pine, Gemma Chan, Harry Styles and Wilde herself. But the story also looks intriguing, focusing on a 1950s housewife who slowly begins to uncover the dark secrets at the heart of a community that her husband is involved with. With an enticing premise and that kind of talent, there is no need to worry about the movie finding an enthusiastic audience.

And these are just five 2022 horror movies to add to your watchlist. Which films did I miss that you are looking forward to? Please get discussing and let’s get excited for horror in 2022. Happy New Year horror fans.

Also Read: Netflix Horror Movie Written Entirely Using Artificial Intelligence

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Today we will see if Silent Night’s following is deserved or if it is only memorable because of the uproar around it.

Synopsis

When Billy Chapman’s (Jonathan Best & Danny Wagner) parents are murdered by a man dressed as Santa Claus he is placed in St Mary’s Orphanage. There he receives cruel treatment from the Mother Superior (Lilyan Chauvin). Who punishes him for his “unruly” behaviour and witnessing a “sinful” act. By 18 Billy (Robert Brian Wilson) is seemingly a functioning person. But when his boss (Britt Leach) forces him to be the store’s Santa, Billy begins breaking down. Upon seeing an act of sexual violence, Billy snaps. Now believing he is Santa he starts “punishing” anyone who is “naughty”.

What Did I Like?

Despite some silly elements Silent Night, Deadly Night’s story is well handled. The writing makes Billy’s downfall feel relatable and plausible. Showing him to be a genuinely decent person who is tortured and let down because of negative societal attitudes towards sex and trauma. And while the film’s final part delves more into slasher silliness than the character drama of the first two-thirds, the film does enough to justify getting us to that point. Meaning that it gets to be a serious character study and a full-blown slasher at the same time.

The cast is also surprisingly good. Jonathan Best naturally sells the innocence and frightened nature of young Billy. Robert Brian Wilson is equally charming and terrifying as older Billy. And Danny Wagner excels as the troubled 8-year-old Billy. Additionally, there are some great supporting performances. Britt Leach is fun as foul-mouthed store owner Mr. Sims and Gilmer McCormick provides some much-needed warmth as Sister Margaret. Lilyan Chauvin however is the standout as the film’s true villain, the Mother Superior. Thanks to her understated delivery, enraging dialogue, and holier-than-thou attitude.

And a few other things help make SNDN a fun watch. Gorehounds will love the over-the-top kills. Like a person being impaled on deer head antlers and a sled ride decapitation. The effective off-kilter score and creepy original songs like “Santa’s Watching” also help to generate a great uneasy feeling. And the superb set design, props, and costumes create a nice Christmas atmosphere.

What Did I Not Like?

On the less fun side, this movie features several scenes of sexual violence which can be understandably hard to watch. What makes it more unpleasant though is that our protagonist kills a sexual abuse survivor as “punishment”. Although understandable because of the story’s themes about the destructive impact of repression, it still feels unnecessarily cruel and exploitative.

The film also has a few moments that feel out of step with its overall mood. Much of the film deals with dour subjects. Such as abuse and the impact of trauma. So a sudden light-hearted 80s montage or a scene of a man coming out of a catatonic state to deliver an ominous warning breaks the immersion and comes off as nonsensical.

Finally, because much of the runtime focuses exclusively on Billy’s journey the last act has to work overtime setting up a number of victims and a police presence to defeat Billy. Which feels forced and brings the pace down considerably.

Verdict

Silent Night, Deadly Night is certainly not for everyone. It features some quite nasty content around sexual violence. It’s also sometimes tonally uneven. And the final movement’s pacing suffers from needing to quickly introduce too many characters.

That said it has earned its reputation as a Christmas horror staple because of its gripping and generally well-thought-out story. In addition, it has strong performances, some fun kills, a great soundtrack and good design work. So give this festive frightener a watch. Just block the chimney first, so this Santa doesn’t pay you a visit.

Rating: (3.5 / 5)

Also Read: A Horror Fans Film Guide To 2021

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We of course had some nice extras to enjoy as well. Including horror merchandise stalls. And some in-person and online Q&As with filmmaking professionals.

But, how good was this year’s film line-up? Like in 2019 I managed to watch everything. To my delight, there were even some classic horror film screenings. However, this year I was also impressed by several short films. So, today along with reviewing and ranking every programmed feature film (in 30 words or less) I will also recommend 5 shorts to watch. Let’s begin.

Reviews

Tin Can: What could have been a thought-provoking Cronenberg-esque body horror is hampered by hollow characterisation, overdone cinematography, and dire pacing. Unfortunately, this can’s contents are rotten. (1.5 / 5)

The Deep House: This well-shot film with initially great atmosphere becomes unintentionally hilarious once supernatural elements are introduced. When combined with abysmal exposition and performances The Deep House sinks completely. (2 / 5)

The Advent Calendar: Get past the ableist messaging (the protagonist is a wheelchair user whose sole goal is to walk again to have a “normal” life) and the story is competent but repetitive.  (2.5 / 5)

Ultrasound: Full of twists and high aspirations. But the human anchors get lost in the confusing plot. Ultimately, this sound feels like background noise.  (2.5 / 5)

Hellbender: Teen angst and witchcraft is well-trodden ground for coming-of-age stories. Unfortunately, this movie brings little to the table beyond some ok performances. (2.5 / 5)

When I Consume You: This film juggles multiple genres, from supernatural horror to borderline sports movie. Sadly, this mashup lessens the impact of the film’s addiction theme. Which needed a consistent tone. (3 / 5) 

Offseason: Despite some hokey delivery and the unfolding cosmic horror being kneecapped by overexplaining everything the atmospheric sound design and visuals make this Lovecraft/Fulci tribute worthwhile. (3 / 5)

Event Horizon: Event Horizon has much to love. Like the set design, witty dialogue, and good performances. That said it never achieves greatness thanks to the ever-present obnoxious stingers and stock characters. (3 / 5)

We Need To Do Something: A single location film carried by dialogue, the central players, and a few standout set-pieces. Sometimes that’s all you need to do for a good time. (3 / 5)

Lamb: Is this film about humanity’s relationship to nature, or just the struggles of raising a human-lamb hybrid? Either way, the film remains oddly engrossing despite its slow pace. (3 / 5)

Antlers: Clunky exposition, a superfluous child character, and native American mythology appropriation aside, this sharp folk horror shines through its central performances (especially Jeremy T. Thomas), heavy story, and grisly violence. (3.5 / 5)

A Banquet: Using food as a metaphor for rebellion this mothers and daughters tale effectively explores how terrifying it is being a parent and knowing your child won’t always need you. (3.5 / 5)

Titane: Julia Ducournau’s latest is vicious, well-crafted, and perhaps overly daring. But the story is sometimes hard to engage with emotionally. Still, the audience saw it as the festival’s best film (3.5 / 5)

Broadcast Signal Intrusion: An eerie conspiracy thriller. It works more emotionally than logically but it builds a fantastic air of paranoia. And Harry Shum Jr. is impeccable. (3.5 / 5)

Nocturna: Intrusive music notwithstanding this film deals with ageing and dementia in an amazingly unique genre-defying way. And Pepe Soriano gave the festival’s best performance.  (4 / 5)

Mad God: My favourite movie so far this year. An insanely bleak post-apocalypse film that mixes stop-motion and live-action with little dialogue or conventional structure. It’s an incredible trip.  (4 / 5)

Little Shop of Horrors (Director’s Cut): One of the best movie musicals ever. (4.5 / 5)

Shorts

Of the short films screened at Celluloid Screams here are five you must see.

FREYA & Please Hold: Both disturbingly relevant shorts about how the system can use technology to control women’s reproductive rights and oppress the marginalised.

Guts: An over-the-top silly comedy that really runs with its ridiculous premise – a man with his guts on the outside of his stomach. Creating hilarious results.

The Moogai: Undoubtedly the festival’s scariest short. Creating an unrelentingly tense atmosphere through showing very little of the monster and the lead couple give some great performances.

You’re Dead Hélène: This year’s Short Film Jury Award winner is all-around great. It deals with the pain of letting go of love; is scary, funny and heart-warming.

Conclusion

That wraps up 2021 at Celluloid Screams. While some films worked better than others it was simply a pleasure to attend the festival again and hopefully you all found some films to watch. See you next year Celluloid Screams.

Also Read: Online Film Festivals Are Here To Stay

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