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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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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