Consider this your spoiler warning!

Little Shop of Horrors (1986)

Based on the stage musical of the same name, the theatrical ending sees Seymour (Rick Moranis) survive his encounter with the carnivorous plant Audrey II, and whisk Audrey away to an idyllic suburban life, with a small Audrey II plant in the garden. This ending differs from both the original musical and intended ending, where the plant eats the leads, and, along with other Audrey II’s, goes on a War of the Worlds style rampage. Despite being beloved by theatre-goers, test audiences were not as keen on the segment, which reportedly cost around $5 million. Although long since thought lost, it was eventually restored and can be viewed on the blu-ray version, as originally planned

Army of Darkness

The third Evil Dead film sees Ash trapped in the Middle Ages. After defeating the evil dead once again, Ash is given a potion that will allow him to travel home. After reciting an incantation, he arrives back in the present day and tells his story to a fellow S-Mart employee. In the original ending, it is explained that the potion allows him to sleep for a hundred years for every drop he consumes. While Ash needs six to return home, he accidentally consumes seven and wakes up in a post-apocalyptic future where humanity has been destroyed. The studio found this ending to be too negative and dark, so the ending was changed for the theatrical release.

I Am Legend

Based on the book of the same name, it follows Robert Neville as he tries to find a cure for an infection that has turned most of the population into vampire-like monsters. In the theatrical ending, Neville sacrifices himself to allow two other humans to escape with the cure, in the hopes they may eventually create one. The alternate ending is slightly closer to the book, which reveals that the monsters are intelligent, and have come looking for him in revenge for all of the ones he has kidnapped or killed, viewing Neville as the monster. With the announcement of a sequel, this may now become the canon ending.

Clue

One of the great things about the board game is that the ending changes every game. This means that you don’t know who the answer is just because you’ve played it before. When Clue was originally released in theatres in 1985, it actually had three different endings, so neither did the audience! A fourth ending was also filmed, in which the butler Wadsworth was behind all the murders, but it was removed.

Scott Pilgrim Vs The World

One of the challenges of adapting a story that is still ongoing is not knowing how it ends. While the graphic novel series had started in 2004, the final volume was still being written while the film was being made. In the original ending, Scott let Ramona go, instead of getting back together with Knives. Creator Bryan Lee O’Malley disliked this ending, as he felt it wasn’t right for Knives. After the release of the final graphic novel, which has Scott end up with Ramona, the ending was redone to match this change. Ellen Wong, who plays Knives, approved of the change, with the character pointing out “I’m too cool for you anyway” in the final film.

Get Out

While not exactly cheerful, the original ending is cathartic. As Daniel is choking Rose, a police car shows up, and Chris realises how this looks, resigning himself to his fate. In the theatrical cut, Rod gets out of the car, and Chris (as well as the audience) breathes a sigh of relief. In the alternate ending, it’s the actual police that turns up, and Chris is promptly arrested. When Rod visits him in prison, trying to help release him, Chris is resigned to his fate, content that he stopped the family. Peele later decided that the film needed a happier ending, but wanted to preserve that initial moment where the car pulls up.

Terminator: Salvation

Although this ending hasn’t officially been released (if it was ever filmed) the leaked original ending has been confirmed several times. During the final battle with the T-800, John Connor is mortally wounded. In the final version, Marcus sacrifices himself to keep Connor alive with his cybernetic body. However, the original plan was for Connor to die of his injuries, and the resistance would graft his skin onto Marcus so that he could live on as John Connor and lead the resistance as a reformed terminator in disguise. Another version had the now Terminator John Connor call his closest allies, including his wife and Kyle Reese, to his bedside before killing them all. While it may not have improved the film, it would certainly have been an interesting twist

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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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