After years of writing for various websites and publications, I, along with Carla Davis, my former editor at 1428 Elm, launched The Horror Lounge! The site will feature horror news, reviews, lists, deep dives, and more. We’re fortunate to already have a small team of writers in place who have started helping with our coverage. For the most part, we plan to post at least one new article daily, and so far, we’ve been sticking to that. So if you’re into horror, make sure to check the site frequently. We also have a Facebook page, which can be accessed here. We’ll slowly spread out on other social media platforms, too.
In the meantime, I’ll continue utilizing this blog and posting some articles from The Horror Lounge, or other writings. I hope that everyone has a fantastic 2026!
Writer/director Kurtis David Harder’s 2023 film Influencer is a tight thriller with a dose of social commentary. His sequel, Influencers, is much broader in scope, especially regarding its characterization, commentary, and the overall stakes. It’s rare for a sequel to match the original, but Influencers breaks the mold in that regard. Though the film has some flaws, it’s an entertaining romp that leads to a knock-down, drag-out finale.
At the end of Influencer, the villain, CW (Cassandra Naud), was left for dead on an island, while Madison (Emily Tennant) barely escaped. The sequel picks up a few years later. CW somehow survived and moved to southern France. She masks her past, tries to bury her homicidal tendencies, and falls in love with Diane (Lisa Delamar). Initially, CW succeeds in starting over. That all changes, however, when Diane and CW meet a British influencer named Charlotte, played by Georgina Campbell, at a posh resort. CW doesn’t like the attention Charlotte bestows upon Diane, and well, anyone who has seen the first film likely knows that CW can’t subdue her murderous impulses for too long.
Madison, meanwhile, was arrested by police in Thailand and blamed for the murders that CW committed. Eventually, she, too, tries to start over and buries her online persona. However, that doesn’t stop the harassment or stalking. She’s even questioned about the murders on a true crime podcast. Madison just can’t quite clear her name or escape her past. Eventually, she realizes that CW survived and tracks her to France to finish things off once and for all.
In the meantime, there’s another subplot regarding a right-wing bro influencer, Jacob (Jonathan Whitesell), and his girlfriend, Ariana (Veronica Long). It’s she who tells Jacob that he has to be more radical online to drive likes and subscribers. It’s a bit of a half-baked commentary on the rise of the Joe Rogan-type podcasters and the white male insecurity and radicalization crisis. Eventually, Jacob and Ariana get swept up in Madison and CW’s crossfire.
It can’t be understated just how damn good Naud is once again as CW. She’s makes for a sly and cunning villain. But in the sequel, she’s given far more backstory, and for the most part, the film is shown from her perspective. In this film, CW has grown far more savvy, utilizing all sorts of technology and tracking to avoid culpability for her previous actions and to keep tabs on Madison. Tennant’s Maidson, on the other hand, is far more vulnerable this time around, facing increased online backlash, before developing a steely determination to stop CW.
One of the film’s major flaws is the suspension of disbelief it requires. For instance, it’s never stated how exactly CW escaped the island in the first place. There’s no plausible explanation for it, and it’s a gaping hole that the script never fills. At one point, Diane asks CW about it, but CW skirts around the answer. It’s simply a little too unbelievable. Additionally, though the film touches upon the explosive rise of far-right bro influencers, not enough is done with this, despite Jacob and Ariana’s storyline.
That said, the film reaches an explosive conclusion and a bloody showdown between CW and Madison. It’s one hell of a payoff, too. There’s also potential here for yet another sequel. Maybe a trilogy? I wouldn’t mind seeing that. Overall, Influencers maintains the tension of the first film, while pushing the characterization deeper. There are some major plot holes, but still, this is a worthy follow-up that addresses the pressure of influencer culture, before arriving at a fisticuffs finale.
Influencers will stream on Shudder beginning December 12.
Something sinister is afoot in the small town of Larkin, Texas, and popular YouTuber Lucas Page (William Magnunson) is determined to unravel the eerie mystery. That’s the general premise of co-directors/writers Paul Gandersman and Peter S. Hall’s feature debut Man Finds Tape, a film that combines found footage, mockumentary, and even cosmic horror. For a first film, the directors crafted an unsettling narrative, and though the movie is a bit uneven overall, it’s worth the ride.
Early in the film, we learn that Lucas found a tape with his name on it after cleaning out his parents’ home and old barn. It should be noted that his parents died of a mysterious illness, but prior to that, they passed on their love of filmmaking to Lucas and his sister, Lynn (Kelsey Pribilski). The tape shows a stranger entering Lucas’ childhood bedroom. It’s a hair-raising sequence that drives the rest of the film and leads to a much larger plot. Lucas wants to discover who the heck the stranger is, and he consistently enlists the help of Lynn to unravel the mystery, though she’s reluctant at first. The popularity of Lucas’ YouTube channel, Man Finds Tape, earned Lynn unwanted attention. Lucas made a name for himself by showing graphic videos.
For the most part, the film is shot in a mockumentary style, with Lynn handling most of the voiceovers and narration. The feature shifts to found footage and analog when Lucas or Lynn show off what they’ve filmed or what they’ve discovered on older tapes, like the recording of the stranger entering Lucas’ bedroom when he was a kid. These grainy videos avoid the shaky, handheld effects of other found footage movies, most notably The Blair Witch Project. The old tapes also show everything, and I mean everything. They don’t cut away. There’s one video Lucas constantly shows on his channel of a van running over and killing a person
By the halfway point, Lucas and Lynn draw a connection between the stranger, played by Brian Villalobos, and Reverand Endicott Carr (John Gholson). For years, the reverend hosted a public access, faith-based TV show. Lucas and Lynn’s parents filmed the show for a while. During parts of his taped sermons, viewers, including Lucas, nod off. The feature does a stellar job keeping the viewer in the dark until the last act about who’s responsible for what’s going on in the town. It’s not clear if the stranger or the reverend is part of some larger diabolical plan to control the town and infect its residents.
The constant shifts between mockumentary-style filmmaking and found footage can be a little bit jarring, and the film’s ultimate explanation doesn’t quite land, including a convoluted plot regarding Lucas’ ex-girlfriend, Wendy (Nell Kessler). That said, the final 30 minutes feature some impressive special effects and veer into cosmic horror territory. Meanwhile, Pribilski and Magnunson’s performances really sell the film, especially when the premise grows more and more bonkers. Pribilski’s character is not quite the believer that Magnunson’s Lucas is, and the dynamic between the two characters strikes some conflict early on.
The film also touches briefly on internet fame and YouTube influencers, especially within the first 20 minutes. The more Lucas’ channel grows in likes and subscribers, the harder it is on his mental health. It even has ramifications that affect Lynn, since it brings her unwanted notoriety, including people filming her on the street. That said, a lot more could have been done with this premise.
Man Finds Tape, though uneven at times, is still an impressive feature debut from Gandersman and Hall. If you like found footage or cosmic horror, this is definitely worth a watch. It’s a slow-burn mystery that eventually evolves into an otherworldly nightmare.
Man Finds Tape is now playing in limited theaters and available on VOD.
Osgood Perkins has been on a real winning streak lately, with the massive success of Longlegs and The Monkey. His multi-picture deal with NEON has paid off so far. The director’s latest, Keeper, contains some of the most chilling imagery out of any horror film this year. Perkins spins a dark fairytale and a warning about toxic relationships. Yet, for all of the frightening imagery, the movie feels a bit too paper-thin, especially in its second half.
Keeper stars Tatiana Maslany as big city girl Liz and Rossif Sutherland as her boyfriend Malcolm. Hoping for a romantic weekend, Malcolm takes Liz to his remote cabin in the woods, and well, because this is a horror movie, things go horribly, horribly wrong. Before the horror kicks into overdrive, Perkins spends some time with Liz and Malcolm, and I’d argue the film’s first act may be its strongest. There’s unspoken tension between the two, though the source of it isn’t quite clear. Maybe it’s simply the different lifestyles and Liz’s love of big cities. Maybe she simply distrusts men. Regardless, she doesn’t fully embrace Malcolm, and this is most evident when they’re alone together, be it sipping wine over dinner or driving to the cabin. Something about the relationship feels off, though the source of Liz’s suspicion isn’t quite clear. Malcolm seems like a sweet enough guy.
The film enters typical Perkins territory once Malcolm’s reclusive cousin Darren (Birkett Turton) shows up, with an Eastern European girlfriend who Darren claims doesn’t speak English. This deepens Liz’s discomfort and rightfully so, especially when she warns Liz that the chocolate cake Malcolm purchased for her “tastes like shit.” Yet, once Darren and his latest arm candy leave, Liz devours the cake, even though she tells Malcolm that she hates chocolate.
At that point, the film gets really weird, even by Perkins’ standards. It feels like a fever dream into hell, as Liz grows increasingly paranoid and continually sees strange women in the background or out of the corner of her eye. Even worse, Malcolm, a doctor, claims he has to return to the city to suddenly see a patient, leaving Liz alone with her hallucinations and creepy cousin Darren next door.
By the film’s second half, Perkins barrages viewers with a series of unsettling imagery and a brooding atmosphere. There’s even a woman with multiple faces crawling around in the basement. Trust me, you don’t want her to remove that bag from her head. The film also edges dark fairytale territory once the source of the scares is explained, all involving Malcolm. This is where the film falters. The lore isn’t built up enough and some of it comes across as too absurd, even for a horror movie. The film works better when it’s more grounded in reality and when Perkins explores the growing tension between Liz and Malcolm. The film’s main weak point is the script, penned by Nick Lepard. There’s too much explanation suddenly crammed into the film’s second half, and a lot of it is given by one of Malcolm’s monologues.
All of that aside, the film does ramp up to quite a great ending. I’ll never be able to look at honey the same way again. Overall, Keeper isn’t quite as strong as Perkins’ last few films, or even his earlier work, like The Blackcoat’s Daughter, but it continues to prove he’s one of the most effective directors at creating nightmarish sequences and atmospheres that invoke dread. Keeper succeeds when it’s more based in reality and explores a strained relationship. Its second half is hampered by poor explanation and weaker writing.
Chris Stuckmann built a fan base over the years as a YouTube horror critic. He also used a Kickstarter campaign to raise money for his debut horror feature, Shelby Oaks. Because of the impressive fundraising campaign and Stuckmann’s built-in fan base, Shelby Oaks earned buzz almost from the get-go, to the point NEON scooped it up for distribution.
Prior to the film’s October 24 release in theaters, I had the chance to chat with one of its lead actresses, Camille Sullivan, who plays Mia, a character reeling from the eerie disappearance of her sister, Riley (Sarah Durn). Shelby Oaks combines found footage, mockumentary-style filmmaking, and juxtaposes old YouTube videos, online discussion posts, and grainy footage to tell a missing person story. The film also has a LOT of narrative twists and will likely generate discussion once it’s out. This is the type of movie to see in a packed theater during opening weekend.
Camille, what, in particular, drew you to the role of Mia?
Camille Sullivan: When I first read the script, I was really drawn to the relationship between the two sisters and the way that Riley’s disappearance has affected Mia and the weight she carries with her through her whole life and how that’s affected her relationship to her husband and how that’s affected all of her choices. She can’t move on from it. I thought that was an interesting place to start a character.
Can you comment more on Mia’s relationship with her missing sister, Riley, and how that drives the film’s initial narrative?
Camille Sullivan: The bond between the two sisters is so strong. The movie is set up so they lost their mother and there is no father in the picture. They were each other’s family. I have two sisters, and I’m very close to them. The love was easy.
There’s a really chilling scene where Mia comes across a tape showing the minute Riley disappears and the man responsible. As viewers, we see the tape and Mia’s reaction to it. How did you prepare for that sequence and did you also watch the tape in real time?
Camille Sullivan: From an actor’s perspective, the way we filmed it was perfect. Chris set it up so that I had the real tape from start to finish. It was a 15-minute take, and I could just watch it. I had not seen it before. I think we only did one take, and we switched angles so I could do a couple of pick-ups. I was able to just really take it in in real time, and then they were able to pull out the moments. This was really a dream.
Can you comment on the film’s narrative structure? The film is told through old tapes and YouTube videos featuring Riley, online discussion posts, and Mia’s commentary in front of the camera, almost like a mockumentary at times.
Camille Sullivan: It was really fun, actually. The way I look at Mia is that she starts us in this one place, and then her life cracks open. Something changes for her. Then, she gets to take off in an entirely new direction. It’s almost a renewal of hope. For me, as an actor, that helped me with the changes in different styles. For me, the changes in style seemed natural because I could follow the flow of story.
Shelby Oaks – Courtesy NEON
The film takes another turn in the last act where it veers into a totally different direction. Without spoiling anything, what was your reaction to those additional narrative turns and some of those creepy set designs?
Camille Sullivan: The set designs were amazing. We shot, during that last section, in a warehouse at night. It was completely dark in there. I was feeling pretty beaten down at that point in time. [Laughs]. It was sort of perfect for the script. It just takes off again in a whole new direction, something unexpected. The secret that Mia uncovers is something that the audience uncovers at the same time. It’s not at all what you expect.
What was it like working with Chris Stuckmann, and did you give him any tips or advice, since it’s his first film?
Camille Sullivan: I really like working with first-time directors. It’s their baby, so all of their heart is in it. I love it, and that’s how I like to approach a film, too. We were able to collaborate. He knew exactly what he wanted, and he was super prepared. However, on the day, if I had ideas, he was really open to them. We had good conversations. Sometimes, things would change a little, or maybe they wouldn’t. The dialogue was there back and forth. He’s a really generous director.
How did you prepare for the role of Mia?
Camille Sullivan: I did a little research on people who had loved ones go missing. There’s quite a bit out there, and it’s heartbreaking when you really delve into it. There’s a very good documentary called Who Took Johnny about this child who goes missing. I started with that place of realism because I figured, if you’re on the path to find your loved ones, anything that comes at you, you keep moving forward. Nothing can stop you, no matter how crazy or dangerous. I knew that if Mia had that focus the whole time, it would be believable.
Is there anything else you’d like to add?
Camille Sullivan: I just want to give a shoutout to the locations. We shot at some really cool places in Ohio, including the Shawshank Redemption prison. It was fun. We were in there at night. I was wandering around, looking for ghosts. I thought I found one.
Can you talk about that more, specifically your search for ghosts?
Camille Sullivan. I did a scene where I was running into the darkness. I heard a little voice go, “No, no, no.” I asked if someone was there. I heard someone say, “It’s just me.” That wasn’t reassuring. It was terrifying. It turns out, it was one of the PAs. For like 30 minutes, I told people I saw a ghost. [Laughs].
The Toxic Avenger is undoubtedly a cult classic that built Troma Entertainment into an indie horror powerhouse. It also spawned sequels, toys, and even a cartoon. Instead of remaking the film beat by beat, writer/director Macon Blair added to the general narrative. Peter Dinklage stars as Winston Gooze, whose terminal diagnosis and lack of comprehensive health insurance only further strains his relationship with his foster son, Wade, played by Jacob Tremblay.
Once Winston turns into Toxie, he goes toe to toe, in a tutu and with a toxic mop, against punks, weirdos, and street gangs, but most of all against a corrupt company, led by a malicious CEO played by Kevin Bacon. Blair’s remake has some dazzling set designs, a bigger budget, and lots of nods to Troma, including a cameo by its CEO and co-founder, Lloyd Kaufman.
I recently interviewed Blair for 1428 Elm about the challenges of remaking such a beloved film, working with Dinklage, and receiving Kaufman’s blessing. You can read the full interview here, but I included some of it below. Following its recent theatrical release, The Toxic Avenger is currently available on VOD and will see a physical media release on Oct. 28.
What made you want to remake such a cult classic and what would you say to Troma fans that may be skeptical because they love the original Toxic Avenger so much?
Macon Blair: It was something that the studio approached me with to write the script. I did have to think about it for probably the same reasons I’d say to the fans. The original is so singular, and it’s so its own thing. What would the new version be? I was hesitant that they would maybe ask for a PG-13 version or a dark and gritty version.
I ultimately went in and went through the process of pitching the script with the idea that the way to approach it was to find what was special and singular about the original. To me, that’s about tone and a sense of humor more than plot points. It’s a dude in a tutu fighting bullies with a mop. It’s silly and sweet and fun. It doesn’t take itself too seriously.
I feel like it’s not going to please everyone, but my hope was to make something that the fans of the original would be seen first. Hopefully, beyond that, we attract a larger audience, but I really wanted to make sure the original Troma fans would feel like the spirit, fun, and sweetness of the original was something we preserved.
What was it like working with Peter Dinklage as Winston/Toxie? This is a side of him we typically don’t see.
Macon Blair: It’s why I thought he would be great for that role. He has this charisma and likeability, even when he’s playing vaguely sinister characters. People are drawn to him. He has that on-screen charisma. I thought it would be funny to employ that in a character who is unlike a lot of his other characters, not self-assured, not super smart, not super capable. He’s [Winston] totally out of his depth in a lot of ways.
I thought he could bring a lot of weight to that kind of character. I thought having a really strong actor in that central role would help ground it and keep it from flying off into something so silly with nothing you can emotionally connect to.
I felt very grateful when he said yes. With an actor like that, anchoring the whole thing, you could be silly but have an emotional clarity to it that keeps people hooked especially as the story gets more ridiculous.
Troma Entertainment’s co-founder and CEO Lloyd Kaufman has a cameo near the end of The Toxic Avenger. What was it like working with him, and did he give you any advice about the remake?
Macon Blair: He was great. Even before I knew what the story would be, I knew there would be a Lloyd cameo in there. I knew I wanted the nature of the cameo to be him yelling at me and telling me to shut up, which is why I put myself in that character so I could be there at the end for him to chastise. That was the whole point. I felt like we needed to have him in there. It’s his baby and his legacy.
He was very supportive and very kind. He was the first person, when I got hired to write it, that I checked in with. I wanted him to know my intentions were pure. I wanted to do right by him and his legacy. I asked for his blessing, and he was very kind.
He would pitch gags every now and then and call to check in and offer support, but it was really mostly him being a cheerleader. He really did stick to that. He would check in to give support and high-fives.
Indie horror star Sarah Nicklin (Popeye the Slayer Man, The Black Mass) really wanted a role in the latest V/H/S installment,V/H/S Halloween, to the point she almost landed a smaller role in another segment. Eventually, directors Micheline Pitt-Norman and R.H. Norman cast her as Nancy, a mom whose husband and son bring home a cursed L.P. that transforms their home haunt into a murderous and blood-thirsty scene. “Home Haunt” closes out the anthology, and it’s one of the strongest segments, complete with 80s Halloween vibes and killer set designs.
Recently, for 1428 Elm, I interviewed Nicklin about her relationship with the horror genre and her part in V/H/S Halloween.You can read the full interview here. I included some of it below. V/H/S Halloween is currently streaming on Shudder.
How did you become involved with V/H/S Halloween?
Sarah Nicklin: The directors of my segment are Micheline Pitt-Norman and R.H. Norman. I’ve been friends and fans of theirs for a long time. They did a short film a couple of years ago called Grummy that’s absolutely incredible. Besides loving them as people, I wanted to work with them.
They were selected as some of the directors for a segment. They said that they had in their script a role for a mom that I could potentially be a fit for. I was super excited. I also tried to hedge my bets a little. Just because they say they want you for something doesn’t mean it’s going to happen. The producers might want something specific or someone else. Things happen.
In this case, when they said they wanted me, it actually came through and worked out really well. I think that says everything about who they are as people. They’re very loyal and generous people. It also says a lot about the producing team of V/H/S. They trust the directors.
I did also audition for a different segment before I even realized it was V/H/S Halloween. On the audition notice, it just said the name of the segment. I did book a smaller role in a different segment. They treat each segment as their own movie. When I found out I had booked that first one, a couple weeks before “Home Haunt,” which was the last one to be filmed, I had to turn that one down before I had gotten the official offer for Nancy, which was really scary. As an actor, you never really want to turn down work. Luckly, it all came through the way it was meant to. I got to work in the role and segment I really wanted
You have an impressive list of horror movie credits. Other than the anthology format, what makes V/H/S Halloween different than your previous projects?
Sarah Nicklin: V/H/S is different because it has a big following. There are fans who really love these series of films, which I’ve learned since becoming part of it and going to conventions. There’s a good amount of pride and also pressure that comes with that to ensure you’re doing a good job, not that I didn’t want to do a good job on previous projects. It’s one of those things where you know there will be eyes on it. Other films I’ve done were very indie. They don’t have a name like Shudder behind them. You hope they’ll get picked up and be seen, whereas this one is coming out on Shudder no matter what. There was definitely some pressure that went into that.
I also think doing the found footage format is more unique, as opposed to other films, like Popeye, that are more standard. With found footage, even though you know where the camera is going, you have to be on all the time. The camera moves around so quickly and it can catch you when it’s not really meant to. It’s almost more like you’re doing a play and you forget about the camera. If the camera gets you, great. If not, you keep going. With other films, like Black Mass and Popeye, if you know you’re not on camera, you can dial it down a little bit. With this one, there wasn’t really an option to do that.
Your segment is about a family’s haunted house that comes to life and kills. What was it like walking through those haunted house rooms on set?
Sarah Nicklin: It was a dream, honestly. I’m a big fan of fantasy films. This felt like being in Labyrinth orThe Dark Crystal. I also felt like this really captured the essence of Halloween, but also that fantastical quality. There was a moment when I looked around and thought it was so cool and that it’s everything I ever wanted when I was little. It’s an incredible, magical set. I got to do a cool horror movie with people I really respect. That’s the dream. I loved every second of being there and working with the cast and crew. It felt so nostalgic, especially growing up in the 80s. It was a really special project for me in a lot of ways, especially to interact with those production designs.
I love the scene where your character takes an axe and then kills an executioner in one of the haunt rooms. What was it like filming that? Was it as fun as it looks?
Sarah Nicklin: It was very fun to do. I really like doing physical stuff, and any chance to fight monsters. is always great. All of that stuff was also very difficult, too. It’s very specific with found footage. With that sequence, they built a specific rig with the camera. It could be kicked on the ground and twisted to ensure it captured everything. All of our movements were very technical to ensure we were where we needed to be so the camera could catch it. There was also the strobing of the lights and carrying an axe, trying to make it look heavy. It was a foam axe. There was a lot of choreography that went into it.
How much say did you have over your costume design, and did you push to have the puffy 80s hairdo?
Sarah Nicklin: The look of everything was really Micheline’s vision. She has a wonderful eye for aesthetics and for detail. With the hair, she said she wanted me to have an 80s perm. She found a wig she wanted me to wear. That was all her.
We did do a series of costume fittings. A lot of the costume options for me were actually from Micheline’s personal collection. She really wanted it to be period accurate. She has a lot of her own vintage clothing from that time. We did go through a couple of different outfits. I did get to have a little bit of say in terms of what I was wearing. The sweater that I’m wearing with the hair feels very 80s mom. They went ahead with the pants that were the most 80s. [Laughs]. You had to go with the 80s mom jeans and the waist all the way up.
What’s next for you, and what keeps you coming back to the horror genre?
Sarah Nicklin: I really love horror because it’s such a great community of people. When I first wanted to be an actor, I didn’t set out specifically to work in horror. That just kind of happened. Horror is so loyal, and there’s such a community around it. That kind of snowballed, and now, I’ve been working in horror for a long time.
I go to other sets, and I feel out of place. I’ve been to sets where people look down on horror. They say it’s gross. I think that’s the most fun part, getting to do all the gore. Horror sets are the most fun. With horror sets, because such gruesome stuff happens in front of the camera, the sets are very lively. The people love the genre and put their hearts into it. I like to work in that kind of environment.
Recently, for 1428 Elm, I had the chance to interview Madison Lawlor and Orion Smith, who play a young Ed and Lorraine Warren in The Conjuring: Last Rites. The two talked about the research they did before stepping into the roles as the famous paranormal investigators. They’re also open to reprising the roles, should the series continue beyond this fourth movie. You can read the full interview here. I also included some of it below.
The Conjuring: Last Rites focuses on the Smurl haunting. The Smurls were a family from West Pittston, PA who claimed they were haunted by demonic spirits. The case drew a firestorm of local and national attention. Because The Conjuring: Last Rites made so much money this past weekend, and surprisingly had the highest opening weekend out of any of The Conjuring films, it’s unlikely this is the end for the franchise. That said, it does seem likely Verma Farmiga and Patrick Wilson are done with that universe. We’ll see.
First of all, what was it like to play the younger versions Ed and Lorraine Warren?
Madison Lawlor: It definitely felt like big shoes to fill. The Conjuring universe has built this amazing fanbase and so much of that is due to the relationship between Ed and Lorraine and Vera and Patrick. I just wanted to do it justice and honor them and the world they built.
Orion Smith: I remember that even just getting the audition for this was so cool. Then, we got the callback and got cast for the parts. There was so much excitement, but we realized we had to deliver on this. It was such an honor to play the younger versions of them. There was pressure there, but I was so glad everything turned out well, and the movie is being acknowledged as it should. I just feel so grateful.
How much research into the Warrens did you do prior to this film?
Orion Smith: It was a mixture of the real Ed Warren and what’s been created in The Conjuring universe by Patrick Wilson. I spent a lot of time watching their interviews and reading their real cases and trying to get a grasp of who they were as people and what they were like growing up, especially since we played the younger version of them. I then let all of that go and honed in on what’s been created in previous movies and appreciating the incredible relationship that Ed and Lorraine have in these movies and really honing in on who they are in that way.
Madison Lawlor: The production sent us a ton of footage and interviews that we could watch beforehand, which was very helpful. As Orion said, the version that a lot of people know of Lorraine is the version that Vera has beautifully brought to screen. I spent a lot of time studying her, the way she moves, the mannerisms, and the way she speaks, so hopefully the younger version would have a sense of familiarity with the audience.
Were you able to talk to Vera Farmiga and Patrick Wilson at all while filming? If so, did they give you any advice about inhabiting the lives of these famous paranormal investigators?
Madison Lawlor: They were incredibly kind, warm, and generous. Vera sat down with me. She has so much knowledge about Lorraine and this world. She was an open book. She taught me how to do the rosary wrap the way that she does it. She was also incredibly encouraging. She said to have ownership over this and to bring a freshness to it. She was incredibly cool, kind, and generous with her time.
Orion Smith: Same with Patrick. He sat down with me. We went through, beat by beat, my whole sequence. We talked about the voice, Ed Warren, and all these different things. It really gave me a grasp of who Ed is and how he loves Lorraine more than anything.
What was it like shooting that nerve-jangling birth scene at the hospital? Was it as intense as it comes across in the film?
Madison Lawlor: It was incredibly intense. We shot, even just the end part of that scene, over three days. It takes a lot of physical stamina that I think is hard to play around with. It was draining and exhausting, but also beautifully satisfying. It’s such a team sport. You’re in that room with all of these other amazing actors and amazing sets. I was able to work with a midwife who talked me through the reality of what a traumatic birth feels like. There was so much support there, but at the same time, it’s physically uncomfortable. You’re on a hard, tiny, medical cot. You’re in this crazy position, and it was very exhausting. My body was physically sore. I was really concerned about losing my voice, but it was a trip. It was crazy.
Orion Smith: The physical, mental, and emotional exhaustion was real. I felt like my job was to be there for Madison, and as Ed, to be there for Lorraine and to be present as she went through this immensely traumatic experience.
This is supposed to be the final Conjuring movie, but if you’re asked back, would you return as Ed and Lorraine? This is hypothetical and nothing has been announced yet.
Madison Lawlor: I’d be grateful to be part of any of it. They built this incredible world, and it would be so fun to explore.
Orion Smith: Even from the perspective of a fan of the franchise, it’s so interesting to think about how they began. Their origin story is such an interesting concept to me. I’d be honored.
Three years ago, during the Fantasia Film Festival, I interviewed Alex Phillips about his feature debut, All Jacked Up and Full of Worms, one of the festival’s buzziest feature debuts, in part because of the shock value and the awesome practical effects. Phillips returned to Fantasia this year with his second film, the steamy erotic thriller Anything that Moves.
His second movie is a love letter to 1970s filmmaking, with its grainy aesthetic, its use of 16 mm film, and the inclusion of adult film actress legends, including Ginger Lynn Allen. For HorrorBuzz, I interviewed Allen and Phillips about the movie. You can read the full interview here. I included some of it below.
Alex, this movie, like your first feature, is so wild and crazy. Where the heck did you get the idea for this film?
Alex Phillips: The seed of the idea came from my work delivering sandwiches. I was a bike delivery kid. I did that when I was in my 20s. I encountered a lot of fun, strange regulars that I would see all the time. I’d get to know them. I was their point of contact in a lot of ways. I did have some shut-ins and some people who were excited to see me. I wanted to expand upon that personal experience and take it to new heights and take my own personal relationships and use genre and poetic imagery and storytelling to link these experiences together.
Can you talk about the film’s aesthetic, especially the fact you shot this in 16 mm? The whole thing feels like a love letter to 1970s filmmaking.
Alex Phillips: I kind of obsessively watch movies and they become the lens of which I see the world. While it is a love letter to the 70s, I think we come by it in an authentic way. We’re trying to engage with real life but do it by recognizing the history of film at the same time. Being able to shoot on 16 was awesome. With this being an erotic thriller, we get this real physical, literal texture to every image. We could sense it in every way. We could smell it, taste it, and feel it. It was great to shoot on film.
Ginger Lynn, what was your experience like being on set for this film and working with a young cast? It seemed like you had a lot of fun. Did you give the younger cast members any advice?
Ginger Lynn Allen: I was lucky because during the beginning of my adult career, everything was shot on 35 mm. I love the feel of film. I love what Alex and everyone put together to make this so amazing.
Ginger Lynn Allen: I’m a bit older these days, as we all get. I didn’t specifically sit anyone down. I tried to make them feel as comfortable as I do in their own skin and just their skin. The movie isn’t about sex for me at all. There’s so much more to it. I think every actor in this movie nailed it. Working with Hal, he was so easy and so comfortable.
There’s a photo that someone took on the set, after we finished filming. There’s a refrigerator, and I have my breasts out, no panties on, and a little apron. Hal has everything out. We’re sitting up next to each other, drinking bottles of water, with all our parts hanging out. I hoped that my comfortableness fed other people’s comfortableness and got rid of their insecurities. I’m going to sound like someone’s mom here, but I was so proud of everyone in this movie. They pulled it off. It was one of my favorite sets to work on. A lot of young people don’t take things as seriously as my generation did, but everyone on this set was pro. I think we all fed off of each other.
Was it difficult balancing the tone of this movie? It’s steamy, funny, and at times, a horror movie. It really mashes up genres and tones.
Alex Phillips: I think that’s what a movie should do. It was in the script, and we shot it with that intention and found it in the edit also, to really nail those shifts. Every element was driving towards these turns that will feel both character-driven and emotional to bring the audience along on this otherwise crazy ride.
Ginger Lynn Allen: It was really interesting to sit with so many people [at the Fantasia premiere] and listen to when they laughed or jumped. I don’t watch my films a lot, but I loved the reaction from the audience. They got it. Don’t’ laugh here, but I think this is a really beautiful film.
Alex Phillips: We really feel for Liam. Hal did a great job of opening up the world of the film. We can access all of this insanity because he’s so grounded and so open. It’s easy to fall in love with him and worry about him.
I’ve probably watched at least 15 movies from this year’s Fantasia’s Film Festival, and The Undertone just may be my favorite. Nina Kiri plays podcaster Evy, who self-medicates to deal with daily stresses, including caring for her ailing mother. Evy and her podcast partner listen to 10 audio files that follow the haunting/possession of Mike and Jessa. The film is a true auditory nightmare with a heck of a performance by Kiri. This feature has the creepiest sound design that I’ve heard in a long time, and the film draws inspiration from the likes of Paranormal Activity and The Exorcist.
As part of my festival coverage for HorrorBuzz, I interviewed the writer/director, Ian Tuason, and Kiri. You can read the full interview here. I also included some of it below. I also reviewed the film, which you can read here.
Can you talk a bit about the experience of shooting this film, since so much of it relies on the audio and sound design and Evy’s reactions to those factors?
Nina Kiri: During the first week, we did most of the podcast stuff and the entire length that’s part of the podcast. We did it in chronological order, which was really helpful. She [Evy] slowly starts to descend and unravel, and it was helpful to do that in chronological order, to be honest. Once that was over and a lot of the dialogue was over, I felt more relaxed. I could live in the scenes more.
Michele came the second week. I think that was really nice for everyone. It brought a new energy that was so much more than what we expected. It didn’t really feel like acting on my own because the person playing Justin [Evy’s podcast co-host] wasn’t yet cast, but someone was on location, in a different room, speaking to me live for every take. It really didn’t feel like I shot the movie on my own and didn’t have any scene partners.
Regarding the audio recordings, I didn’t hear them until the day we shot the scenes. That created an organic response. I never felt alone in the parts where it’s just me, which is a lot of the movie.
Ian Tuason: I didn’t really direct Nina specifically about what to do when she’s listening or even speaking to Justin. She could be looking at anything.
Nina Kiri: It starts nonchalant, with the first audio file, but then it gets creepier and creepier. There’s a weight to it that felt more specific. Instead of just looking around, there’s a lot more concentration. She has to hear things correctly because she’s not sure what’s going on. I think keeping things small until it merits being bigger was a really good choice. I remember thinking that so much of this movie is listening. I don’t want to act while listening. I don’t want to try to make it interesting at all. I want to do what feels right. Then there are moments I realized, while watching it, where it becomes a bigger performance and it really pays off. There’s a lot of stillness, and I think there’s a lot of fear around stillness. But with everything else going on in the movie, it’s enough to be authentically listening.
Talk about the eerie narrative regarding the audio files and the characters of Jessa and Mike. Where did that idea come from, and Nina, what was your experience like hearing those audio files for the first time?
Ian Tuason: Three films creep me out. The Exorcist is number one. Number two is The Blair Witch Project, and number three is Paranormal Activity. Paranormal Activity is what the audio files are. It’s the couple in bed. They’re recording themselves asleep, and that scared me.
Undertone started off as a radio play, something that I was going to publish as a narrative podcast. Then, all of a sudden, life events happened, and I became the caregiver to my parents. I had this script written already for the podcast, and I thought it would be perfect to make into a film. Then, I added my first favorite film, The Exorcist, in between recordings of the podcast. I feel like I combined my two favorite horror genres, which are possession and found footage, except, in this case, it’s found audio, not found footage. That’s why I think people are going to get creeped out. I think everyone will be scared when they watch this movie.
Nina Kiri: It was basically kind of what I said before. It allowed me to have the experience. Because so much of it is me listening and because listening doesn’t have to involve movement or performance, hearing them for the first time felt like a genuine reaction and not put on in any way. It kind of took my brain away from having to think about being compelling or interesting. I was really listening, and they’re so good. Those recordings are incredible. I don’t think there’s much acting involved when you hear something that good. It always makes me feel better as an actor knowing that the director is trying to help me and support me by helping my performance be genuine.
Ian, can you address the film’s incorporation of folklore and the female demon Abyzou?
Ian Tuason: It’s based on an actual demon from the Book of Solomon. I did some research because I wanted to do the same thing that The Exorcist did regarding an ancient entity. When I was writing the story and needed to find a female demon, and one that threatens pregnant women, I found that one. I used it, and then weird stuff started happening in my house. But I saged my house, and it’s fine now.
Brian Fanelli 