The Scariest Things

The Scariest Things

Your Gateway to the Trends and Tropes of the Horror Genre

  1. 5d ago

    The PHFF Horror Short Film Director Roundtable

    The Horror Short Film Director Roundtable is one of the most important things that we did at the Portland Horror Film Festival. It provided an elevated platform for horror short filmmakers. Oftentimes, this is ground zero for original horror ideas. Unless you are a Hollywood nepo-director, short film creation is where you learn your chops. I wanted to give these creatives an opportunity to share their experiences in making movies, both good and bad, so that we can all learn a little more about the craft. Life as a short filmmaker can be an experience in the shadows. Your films are rarely seen outside of film festivals, but that’s not necessarily a bad thing. This is where most creative minds hone their crafts. Take a simple concept and do it well. Do you have something scary or funny to tell? Is there an idea that has been lurking in the back of your brain that you have to give life to? A short film will give you the opportunity to learn production, editing, budgeting, and team management. It also places you in a community of people who are open to sharing their work with one another. That’s where the round table fits in. After our discussion, I told the group that, even though I wanted this discussion to be a forum for them to share their wins and losses with each other, I selfishly set up this talk so I could learn more about horror moviemaking. Nine years in on being a small horror press journalist, and I still feel like I am only scratching the surface about what a director has to do. Just how do you do it? These discussions give me more talking points and access to better questions to ask. The Portland Horror Film Festival is one of the best curated horror film festivals in the country. Not only do Gwen and Brian Callahan select some of the best horror short films for their festivals, but they also provide opportunities for short film alumni to showcase their feature films. One of the questions I asked in our roundtable discussion was, “How many of you are looking to be feature film directors?” All of them raised their hands (with the exception of Patrick Hogan, who has already directed a feature film). For these directors, here is some encouraging data. This year alone had FIVE directors who previously presented short films at either PHFF or the H.P. Lovecraft Film Festival and later had their feature films shown at these festivals. Here are the PHFF Alumni filmmakers who presented a short film and then a feature: Anthony Cousins: Short Films – “The Bloody Ballad of Squirt Reynolds” and “Every Time We Meet for Ice Cream Your Whole F*****g Face Explodes” to Feature Films – Frogman (2023) and Frogman Returns (2026) Jeff Ferrell: Short Film – “Morella” to Feature Film – The Demonatrix (2026) Levi Buchannan: Short Film – “We Said Forever” to Feature Film Sitra Achra (2026) Krsy Fox: Short Film – “What the Spell” to Feature Film – Big Baby (2026) Masaki Nishiyama: Short Film “Smahorror” to Feature Film “The Invisible Half” (2026) Zack Ogle: Short Film “We Got a Monkey’s Paw” to Feature Film – It Needs Eyes (2025) Craig Ouellette: “Str$p” to Feature Film – Straight on Til Morning (2025) Andrew Bowser: Short Film – “Little Willy” to Feature Film – Onyx the Fortuitous and the Talisman of Evil (2022) Izzy Lee: “My Monster”, “Dark Signals”, “Rehomed” to Feature Film – House of Ashes (2024) Kenichi Ugana: Short Film – “Visitors” to Feature Film – Love Will Tear Us Apart (2023) Alice Maio Mackay: Short Film – “The Serpent’s Skin” to Feature Film T-Blockers (2023) Matthew John Lawrence: Short Film “Larry Gone Demon” to Feature Film – Uncle Peckerhead (2020) Justin Harding: Short Film “Kookie” to Feature Film – Making Monsters (2019) The PHFF Horror Short Film Director Roundtable Recording: Here is the roundtable discussion. It’s all about the lessons learned. The good, the bad, and the ridiculous. My past experience doing these round tables sometimes put the filmmakers on the spot, and I didn’t want this to be a “stump the directors” exercise. I prepared them with the following questions: Apart from financing, what was the biggest challenge in making your movie? What was the most interesting thing you learned while making this film? How many of you are filmmakers as a second career? What remains a mystery to you as a filmmaker that you think might be answered by one of your peers in this discussion? What piece of advice do you have for your fellow directors? This group really got into the discussion, and had the festival not started up, we could have gone on for quite a while longer. I had a great time, and I believe they did as well. The Horror Short Film Director Roundtable Films: Blindsided Directed by P. Patrick Hogan Starring Crystal Loverro Portland Horror Film Festival: Winner of the Devil’s Discord (Best Sound Design) A blind schoolteacher struggles to survive through a nightmarish night when an alien spaceship crashes and unleashes a monstrous predator. This unique horror short film features an all-low-vision cast and places the audience in the POV of a blind protagonist who is only able to hear what happens around her. Director Statements: “Blindsided is a riveting short horror film that takes a unique narrative approach, providing audiences with an immersive glimpse into the harrowing experience of Maria, a blind woman confronting the most terrifying ordeal of her life. The horror remains unseen, both to her and the audience, heightening the suspense and reminding us that sometimes, the most terrifying things are the ones we don’t see coming… This is an innovative short film that ventures into uncharted territory within the horror genre. The narrative unfolds in a tranquil neighborhood, abruptly disrupted by a crashing alien spacecraft and the horrifying monster it unleashes into the night. However, what sets this film apart is the unique perspective from which the story is told – the POV of Maria, a blind schoolteacher living alone. Maria’s desperate struggle to evade the otherworldly predator, guided solely by what she hears, will provide an experience unlike any other horror short. Additionally, to promote diversity and inclusivity, in conjunction with our Disability Authenticity Consultant Vanni Le and Casting Director Danielle Pretsfelder Demchick, all the characters in the film are played by low-vision actors, placing the spotlight on the often-overlooked talent within the low-vision community. We are very proud of Blindsided and look forward to enjoying it in theaters with an audience who doesn’t know what they are about to experience.” Scullion Written and Directed by Trevor Graciano Starring: Whitney Garner as “Samantha”, Cody Parr as “Greg”, and Jim Close as “The Maid” A playful couple test their household chore habits and unknowingly summon a vengeful presence. Director Statements: “We all carry habits inherited from our parents into adulthood. I grew up in a religious household where some of those habits were helpful, but many were not—and they’ve lingered in ways I don’t welcome. Some habits fade with time, while others remain, quietly shaping us in the background. This film explores the struggle to break free from those ingrained patterns, and the imaginative consequences of what happens when they refuse to let go. *It’s really just about how to load the communal dishwasher correctly.” Worst Thing You’ve Ever Done Directed by PJ Germain Written by Autumn Palen and PJ Germain Starring: Brady Gentry, Benjamin Nowak, Bix Krieger, Charlie N. Townsend, Cailyn Rice, Ethan Ahn, Emma Smith Watts, and Erin Rae Kykendall HIGH SCHOOL REALLY SUCKS… and no one knows that better than best friends Aaron and Keith. So when they set out to crash the last graduation party of the summer, emotions fly high, and the culture clash of teenagers finds them playing a simple game that has dire consequences. Director’s Statement: “Before he passed, screenwriter Gil Dennis told me during my time at AFI, “Write what hurts.” That idea has stayed with me; it’s the compass I use when choosing the stories I want to tell. When I first read Autumn Palen’s original draft of Worst Thing You’ve Ever Done, it hurt. It transported me back to moments in my own adolescence; memories filled with shame, ridicule, and isolation. But what floored me was its third-act twist. It was something I’d never felt so viscerally in a short script. I knew I had to direct it. What began as a contained character piece evolved into something more personal. I rewrote the script to reflect my own lived experiences, with every character, every event drawn from real moments that left a mark. I wanted to take a character that I felt so intertwined with, and make him someone that the audience would really relate to before reaching the moment where everything changes; the blood-drenched punchline to the twisted joke these high school kids played on each other. I set it during the 90’s, as it was a period of transition for me as an 80’s kid, being on the cusp of the old and new world. I needed the film to be an exploration of adolescent loneliness which dealt with the complexity of the friendships and social hierarchies that often defined who we were at that fragile age. We weren’t quite kids anymore, but we weren’t adults yet either, so how did we approach the consequences of reckless behavior? My team and I knew that casting would make or break the film. To capture that truth, casting was everything. I reviewed over 6,000 submissions, narrowing it down to a callback of who I thought could embody the characters. I needed authenticity, so at that callback, I ditched the script and asked actors, in character, to describe moments like first dates or getting asked to prom. It reveal

    1h 10m

  2. Jun 22

    Dracula: The Night Around Us (2026): PHFF Review

    This is an interview of the director of Dracula: The Night Around Us, following its world premiere at the Portland Horror Film Festival. This is a tight, focused film that concentrates on Dr. Seward, Mina, Renfield, and Lucy. Dracula is a looming presence, but us utilized here as a threat rather than the key character. You won't see an arrogant Count, taunting and regally imposing himself on the village folk. This is a modern tale, with strong psychological horror components. Listen, and learn!

    55 min

  3. Jun 20

    Rue Morgue Editor Andrea Subissati Interview at PHFF 2026

    Andrea Subissati, Editor of Rue Morgue and Podcaster for Faculty of Horror The Bloody Judge for the 2026 Portland Horror Film Festival was Andrea Subissati, the Executive Editor of Rue Morgue. She is one of the most compelling voices within the horror community, and is a powerful advocate for women within the genre. Andrea was kind enough to set some time aside to talk some terror with us between feature film showings at the festival. We at the Scariest Things take our work seriously, but let’s be real. Rue Morgue is the real shit. It is a top-shelf professional horror periodical, and Andrea is a charismatic pro guiding that ship. We dabble in the eddies of horror film criticism. Rue Morgue is the river of horror discussions and sets the standard for horror journalism. As Bloody Judge, she delivered the keynote address to the festival, interviewed George Mihalka on stage for his Q&A for My Bloody Valentine’s 45th anniversary. Most importalntly, she also applied her horror wisdom to pick her favorite film in the festival. She selected Alect Patchin’s short film, “The Bargain”, a short film involving child abuse, revenge, religion, and a summoning. Andrea Subisatti arrives on stage at the Portland Horror Film Festival to give the Keynote Address Interviewing George Mihalka for My Bloody Valentine’s 45th Anniversary Q&A I asked Heather Alexander, who is a huge Subissati fan, to write an essay about Andrea’s influence on her as a prologue to our interview: Andrea Subissati is among the luminaries of horror. As the executive editor of the Canadian horror magazine Rue Morgue, she not only has her finger on the pulse of all things horror but is also a profound feminist voice in the genre. I’ve been reading her editorials, celebrity interviews and articles since she began her Rue Morgue reign in 2017. Her voice and vision have made me laugh and cry. It’s given me perspective, made me feel seen, and inspired me creatively.  Andrea has a master’s degree in sociology and uses her big brain to analyze horror in relation to gender dynamics, culture, history, and the general state of the world. Her academics come into full focus in her intimidatingly brilliant and award-winning podcast, The Faculty of Horror, which she co-hosts with Alexandra West. It’s here that these two brainy horror queens have thoughtful, feminist, and incredibly researched discussions on horror movies and the impact they’ve had on the genre. I’m a lot late to the podcast party in general, so it’s only recently that I’ve been a listener, but believe me when I tell you The Faculty of Horror is highly captivating. I knew Andrea was scheduled to be a judge and interviewer at this year’s Portland Horror Film Festival. I didn’t dream of meeting her, but I sure as hell wanted to be in the audience when she interviewed director George Mihalka after the fest’s viewing of his movie, My Bloody Valentine. So I bought a ticket to that night’s event. On June 4th, I left work early to head over to the film fest. In the car, I received a text from Eric Li, my friend and fellow podcaster on The Scariest Things. He asked if I was interested in interviewing Andrea with him. I read this text and almost had a heart attack. The festival started in an hour! I had no time to prepare! I can’t embarrass myself in front of Andrea Subissati! But I also couldn’t say no to this opportunity. So I rushed home, got a pep talk from my husband, and set about writing a few questions.   Turns out, I could have talked to her for hours. The woman is rad as hell, and what an honor to meet her, if only for a brief time, in a strange and probably haunted backroom at The Hollywood Theater. Andrea – thanks for lending us your time, I hope our paths cross again. Until then, I remain an avid Rue Morgue reader, and your newest Faculty fan.  – Heather Alexander Heather Alexander is a guest podcaster on The Scariest Things Podcast. She is also a co-host on The Portland Horror Podcast Massacre, a co-host of The Portland Horror Trivia Massacre, a moderator and panelist at Cryptocon, and a bookseller at Powell’s Books. She writes horror movie reviews on Letterbox’d under HeatherA and occasionally at horrormoviesinthedark.blogspot.com. Heather Alexander and Andrea Subissati My Bloody Valentine Director George Mihalka and Rue Morgue Editor Andrea Subissati

    1h 38m

  4. Jun 16

    The Demonatrix (2026) Review: Portland Horror Film Festival

    Lita (Hannah Fierman) is a dominatrix looking to get some cash on the side in The Demonatrix (2026) ★★★1/2 out of ★★★★★ Intensity: 🩸🩸 out of 🩸🩸🩸🩸🩸 Written and Directed by Jeff Ferrell and Aurelio Voltaire The Demonatrix is a cheeky, lightly racy horror-comedy that reflects on the economic troubles of the time. A dominatrix looking to get some extra income turns to hosting fake séances to make ends meet. When things inevitably go awry, she turns to a priest working in a church across the street from her kink studio. It’s a silly, simple tale that features some great costumes and a couple of horror legends you will recognise. It’s hard to believe, but the film’s story is based on a true story. Unfortunately, the movie doesn’t open with that as a preamble, with that classic chestnut announcement. Aurelio Voltaire, a counterculture Renaissance Man, lived next to a dominatrix in New York, and there was a church across the street. This inspired him to lay the foundation for his first feature film. He ran into Jeff Ferrell, a director with a few independent horror movies under his belt, at a horror convention. The two agreed to combine their efforts, and The Demonatrix was formed. Voltaire is a charismatic showman, a musician, a stop motion animator, a comic book writer, and now a filmmaker. He looks like he stepped out of heavy-metal central casting, but in this movie, he plays Father Veto, a priest who seeks to banish a demon across the street from his church. The other part of the writing/directing duo, Ferrell, also stars in the film as Rhett, the submissive lackey. The premise of the movie is wacky, and the plot has some considerable limitations, but it is remarkable what these two filmmakers managed to pull off under micro-budget constraints. There are some familiar names who lend their efforts to the cause, elevating what could have been a strictly B-Movie. The production values are surprisingly impressive, and the movie features some components that would make other independent films jealous. Plus, there are two legendary horror actors whom you just might recognise in the cast. The Cast of The Demonatrix Hannah Fierman plays Lita, a dominatrix who, despite succeeding as a kinky dom, still needs a little extra cash to make ends meet. Aurelio Voltaire plays Father Veto, who is the head priest of a church across the street from Lita’s studio. Doug Bradley plays Edward MacGowan, a senior priest and exorcist, whom Father Veto confides in once it becomes clear that a demon has been summoned. Jeff Ferrell plays Rhett, Lita’s submissive lackey. He is very protective of Lita, and despite her demanding nature, is a loyal servant. Larry Fessenden plays Dino, a special-effects artist who assists Lita in setting up special-effects gags for her “fake” séance. Nivek Ogre plays The Incubus, a demon accidentally summoned by Lita. Nicholas Boeh plays Pablo, Father Veto’s assistant. Father Veto (Aurelio Voltaire) in The Demonatrix (2026) A Synopsis of The Demonatrix Lita has been running a successful business. Her business is inflicting humiliation and pain on those who want it. It’s a fun and rewarding job. She’s good at being a dominatrix and has a cadre of loyal boot-licking clients. But like many of us, money is tight, and even being a leather-clad dom isn’t quite enough to live comfortably. She informs her submissive servant Rhett that she intends to host fake séances. It would be a good blend with her current client base, and there are plenty of gullible potential yuppies and new agers with money to burn who might really be into a séance. To research how to communicate convincingly with the dead, she crosses the street to talk with the priest, who may know something about the spirit world. Father Veto tries to be understanding, but he warns Lita not to mess with such things. Entities can cross over, and you do NOT want a demon in the house. He has had experience with demons. He has a desiccated minor demon trapped in a wooden chest, and he is responsible for watching over the little abomination and keeping it in check. Lita does not heed his warnings, going so far as to steal the Satanis, a book of occult rituals, from his library when Veto is called away. Lita is undeterred from holding her sham séance. Rhett and his buddy Dino rig the house with speakers and wires like a Halloween fun house for a convincing show. Lita recruits some of her clients and friends for her first attempt. Two of Rhett’s friends also show up, and they are true Satanists. When Lita starts the ritual, the Satanists call her bluff and, spotting the Satanis on the table (which, for all intents, is merely one of Lita’s props), proceed to read an incantation from the book. This shifts the séance from fake to real, summoning an incubus demon. As a result, the demon forces a miscarriage from one of the attendees and sets up camp in Lita’s home. This demon intends to impregnate Lita and spread evil across the land. Father Veto senses the disturbance and consults with Father McGowan, an expert in demons and exorcisms. They will attempt to banish the demon, if only they can convince Lita that her visions of the demon are real. Evaluation of The Demonatrix: First things first. The incubus demon looks terrific. It’s a full costume designed by Norman Cabrera, who worked with Guillermo Del Toro on the Hellboy films and Ghostbusters: Afterlife. Put Nivek Ogre in the suit, and it is something to behold. Also, the little desiccated demon comes to life and evokes Ray Harryhausen. It isn’t stop-motion, but it is rendered as a puppet very convincingly. The battle between the little demon and Father Veto was a highlight of the movie. Ferrell has a good shooting eye. His colour applications are evocative, particularly in the dominatrix scenes, with their cyan-and-magenta combinations. Dario Argento’s colour palette never fails. The story is clever, though the dialogue often comes off as stiff. The banter between Lita and Father Veto is fun and charged with a charming spark, but far too often the dialogue reads like something off the page rather than a natural conversation. Voltaire attracts the camera’s eye. He still has a bit of the Goth look, but he shoulders the role of Veto well. Lita is a fun dominatrix and is a spunky, if reckless, protagonist. Hannah Fierman portrays Lita as a dom with good intentions and imbues her with an animating spark. Some of the best comedic moments come from Ferrell, who deadpans his role as Rhett. His reaction shots got some of the best audience reactions at the showing. He’s a better director than an actor, however, as several of his line reads come off as… line reads. Doug Bradley and Larry Fessenden aren’t in the movie that much, but they do leave their mark. Pinhead would be proud that Bradley is in an S&M-themed movie. Although this time it isn’t Bradley unleashing the pain, suffering, and rapture. The suffering doesn’t quite reach legendary proportions, but the movie’s ending packs a punch. The movie has a pretty simple plot, and it follows a straight line from introduction to conclusion. There aren’t any gotcha twists or diversions. It settles quickly into what it wants to do and delivers the story pretty directly. But it provides for a movie clear in concept, with lovely production values. This movie wears its heart on its sleeve, too. There is joy in the making of this movie. It isn’t going to turn the industry on its head, but it is an enjoyable jaunt with some well-realised demon action. Concluding Thoughts The Demonatrix is in the middle of its festival run. Up next is Spookarama in Phoenix, and then Days of the Dead in Indianapolis, followed by Creepy Con in Knoxville. If you are attending one of these festivals, catch The Demonatrix. For those of you who are the wait-at-home types, this is a movie worth renting for a popcorn-munching light viewing. It isn’t as raunchy as the S&M theme would suggest, and there isn’t anything that even approaches soft-core cinema. It’s cheeky but not lewd. The movie isn’t rated, but even though it doesn’t go full S&M or nudity, there are enough adult themes and violence to earn it an R rating. Trigger warnings for sexual assault… for there is an incubus involved! The Demonatrix claimed the Creature Feature award at the Portland Horror Film Festival for the best use of a monster in the festival films. Here is my interview with Jeff Ferrell, director of The Demonatrix: Aurelio dropped by the green room briefly and spoke into a microphone that wasn’t activated, but he does make a cameo appearance on the cast. https://www.youtube.com/watch?v=-RVdkzyVxmg

    39 min

  5. Jun 12

    LandLord (2026): Portland Horror Film Festival Review

    Adama Abramson is a bounty hunter turned vampire hunter in Landlord (2026) Intensity: 🩸🩸1/2 out of 🩸🩸🩸🩸🩸 Written and Directed by Remington Smith LandLord poses the question, “If vampires can’t come into your home without an invitation, what happens if they own your housing?” A bounty hunter checks her conscience in order to save an orphaned boy from the predations of a vampire landlord consuming the tenants of a run-down housing complex. This gritty and moody debut from writer-director Remington Smith was featured at the Portland Horror Film Festival. There is a proud tradition of horror movies couching sociological criticism in terms of monsters and villains preying upon the vulnerable. Race relations. Class struggle. Gender typing. Horror movies can place a mirror in front of us and force us to see some uncomfortable truths. George Romero made a living doing this, by way of zombies. David Cronenberg uses disease and body horror themes to shock and criticize. Remington Smith has picked up the baton and has delivered a gritty southern Gothic vampire tale, soaked in sweat and surrounded by chirping cicadas. Smith, who grew up in poverty, reflects on the plight of the rent-by-the-week class of citizens who eke out their existences in semi-shanties. These souls survive at the discretion of a blood-sucking landlord who controls their lives. He can come and go as he wants, because he owns the buildings they reside in. Their lives are his to control. Still, some of the oppressed are willing to fight back, even the youngest among them. Hope lives, even in the projects. Adama Abramson plays an unnamed bounty hunter, much like Clint Eastwood’s man with no name, who serves as a steely anti-hero working in moral gray areas and must commit to doing the right thing to save a community. The Cast of LandLord Adama Abramson plays The Bounty Hunter, assigned to repossess a briefcase with unknown contents. She wanders into a lower-income Louisville residential complex where she has tracked the package. Cohen Cooper plays Alex, a boy living in the housing development. He’s clever and a survivor, and he’s been taking notes on how to beat a vampire. William McKinney plays John William Lawrence, the vampiric landlord who owns much of the neighborhood and travels amongst his properties, consuming blood from his unfortunate, helpless residents at night. Lance Gerard plays Christopher, Lawrence’s manager of the complex, and his minion servant. Christopher desperately wants to be turned into a vampire. J Barrett Cooper plays Sheriff Conner, a crooked cop who provides legal protection for Lawrence and knows what the vampire has been doing in town. Patrick Mitchell plays Reverend Micheaux, who offers sanctuary to those in need as best he can. Meredith Frankie Crutcher plays Rachael, Alex’s mom, a victim of Lawrence. Alex (Cohen Cooper) and The Bounty Hunter (Adama Abramson) are on the move in Landlord (2026) A Summary of LandLord: Following clues about her assigned target, the Bounty Hunter arrives on foot at the Lawrence Apartments, a rundown slum, where she has located the man toting the package she has been hired to recover. While staking out the situation and waiting for her opportunity, she observes a number of violent domestic outbursts in the complex. Christopher, the manager, tells her not to worry about it, and she concedes. This is not her fight… but still, she observes and she calls the cops. These weren’t ordinary domestic disturbances, however. These folks were being attacked by their Landlord, and the cops are being paid off to ignore it. Alex observes the strange new resident, and he, in turn, questions her about the goings-on in the complex. He’s friendless and not good at defending himself. Even some of the girls in the apartment project pick on him. The Bounty Hunter spots Christopher leaving the premises. She hires a cab to tail him and discovers that he is delivering body parts to a pig farm to get rid of the evidence. When she returns to the apartments, she hears a commotion from Alex’s apartment. She breaks in to assist and finds his mother dying on the floor, and Lawrence pinning Alex to his bed. Three bullets into the assailant, and he’s down… or at least for a moment. Lawrence gets back up and bites The Bounty Hunter, but she manages to stab him with a pencil in the neck and gets free. She and Alex abandon Rachael and find a vacant apartment to hide in. But the vampire tropes start to kick in. The Bounty Hunter patches her neck wound and splints Alex’s arm, and they bolt before the cops come. Now on the run from the cops and a vampire, in a town he controls, the newly bonded pair are on the run. But she still has a job to complete, so she’ll have to go back and risk everything. And now, the powers that be are on the lookout for this mysterious woman and her orphaned charge. Evaluation of Landlord: This is a confident movie, with confident characters. It plays out like a detective story, and for me, this is a mash-up of Fright Night (a strong reference from Remington Smith) and The Wire. This is a slice-of-life look at the underbelly of a troubled neighborhood. It also reminds me of a little independent movie, The Transfiguration. Not so much in the story, but in the feels. Both films have a somewhat languid pace, but they never bore. There is an undercurrent of dread in both films, and they deal with the plight of underprivileged African American communities and how residents cope with their circumstances. Another good comp for this film would be The Angry Black Girl and Her Monster, for how it handles horror within an African American low-income community. Adama Abramson is a revelation. She is steely confidence personified. Her character reminds me very much of Michonne (Danai Gurira) from The Walking Dead. Also, there are strong Linda Hamilton Terminator 2 Sarah Connor vibes coming from her. Strong, lean, broad-shouldered, and watchful. Not only does this character exude confidence, but also competence. You firmly believe that she is a bounty hunter. She doesn’t trust anyone, and she’s hyper-aware of her surroundings. It is character derived largely from body language and action, and less so from dialogue. As noted before, she doesn’t have a name, just like the Clint Eastwood characters from the old Sergio Leone films. Cohen Cooper also delivers just the right notes. He’s a very young actor, but he delivers just the right amount of pathos, without becoming too cute for the role. Alex is trying to find his courage and wants to be helpful, but he’s clearly not ready for that role. Cooper walks that line deftly, and it makes for a good road-trip buddy pairing. Smith noted in the Q&A session that he was looking to have a big sister/little brother our Auntie/nephew relationship rather than a parent/child combination. It allowed for more sass, but kept the necessary bonds to be effective. The Production For a small-budget indie horror film, this movie delivers on the looks and sounds that let it punch above its weight class. A minor criticism could be made of this movie, which runs a bit long. This isn’t a constant action piece. It soaks you in the atmosphere. It resembles the True Detective series in that way. Smith, as a shot-maker, has gotten on to the Liminal horror train. The easy pace of Louisville comes through in close-ups of insects, flowers, trees, and, curiously, shoes. You can listen to Smith describe his affection for shoe shots in my interview with him. This attention to detail extends the movie’s runtime a bit, but it makes the film more immersive and doesn’t kill the pacing. Full credit to the sound design of this picture. The chirping of crickets and cicadas is expertly deployed and places you in the mid-South. It has the feel of summertime. The soundtrack has a pulsing charge to it and pushes and pulls at the right moments. There are nice Gothic nods, with a pipe organ in the score, but it doesn’t feel dated. Smith had a master film armorer on his film, and it really pays off. The gunplay in this movie is punchy and jolting. This is a horror movie that intersects with an underworld action showdown, and the authenticity of the action bolsters the shoot’s confident feel. Final Thoughts For a first-time feature, Remington Smith created an engrossing movie that succeeds in so many ways. The social commentary works. The character development is on point. It looks and sounds great. It borrows just enough vampire tropes to be recognizable to fans of the genre. What makes it all the more impressive is that it uses local cast and crew, showcasing the best of what this film community has to offer. The full ensemble cast felt like seasoned professionals, despite the fairly lean IMDb resumes on the ledger. I would have liked a little more of the vampire landlord in action, but overall, I had a great time with this film. I LandLord is currently in the middle of its film festival Run. If you see it showing up at a festival near you, put it at the top of your watch list. The movie is not rated, but it certainly would qualify for an R rating due to violence, some gore, and language. This is a serious film, and it takes familiar tropes and places them in a different context. Review by Eric Li The Scariest Things Interview with Remington Smith This is my interview at the Portland Horror Film Festival with Remington Smith in the green room of the Hollywood Theater. Following the interview is a recording of the Question and Answer session at the festival with the audience screening the film. Director Remington Smith William McKinney and Cohen Cooper in LandLord (2026) Cohen Cooper and Adama Abramson in LandLord (2026) https://www.youtube.com/watch?v=gTstlIdhZqU

    1h 15m

  6. Jun 9

    My Bloody Valentine at 45: An Interview with George Mihalka at PHFF 2026

    Harry Warden is here to see you! My Bloody Valentine (1981) My Bloody Valentine turns 45 years old this year. The director, George Mihalka, was the guest of honor at this year’s Portland Horror Film Festival. He was kind enough to speak with the Scariest Things, who are huge fans of the film. Lost cutting room footage was recently found when the producer was absorbed by Lionsgate, allowing some of the missing gory effects to be brought back into the movie. So, it’s time to revisit this movie and talk to the creator about why it remains important today. In my nine years of managing the Scariest Things, I have been honored to meet some of the best people in the horror movie industry. Mick Garris, David Dastmalchian, Darren Lyn Bousman, Ben Leonberg, Aaron Moorhead, Carter Smith, and Ted Geoghegan are all people whom I would consider friends of the Scariest Things, having met and interviewed them. But, after meeting George Mihalka, director of My Bloody Valentine (1981), I can firmly say that he is my favorite person in the genre. Talking with George felt like story time. He was warm and generous, and was eager to tell us all about how he did his movie. George is an outlier, as far as horror directors go. He produced a singular, momentous horror film and then had a long directorial career outside of the genre. His experiences with Jack Valenti and the MPAA, who censored his film, were a “death by a thousand cuts” quite literally. It may have scared him off from continuing as a horror specialist, even though he had the gift. Sadly, some of the most creative kills in the movie got edited to the point of bloodlessness. He likes to say that it became “My Anemic Valentine”. And that, “There is more blood in the title than there is in the movie.” Frame-by-frame slicing and dicing. The film became the fall-guy film for the industry as a reaction to random violence following John Lennon’s assassination. Somebody would have to be made an example of, and in this case, it was Mihalka and My Bloody Valentine. The Legacy of My Bloody Valentine Despite all the censorship, it still found an audience. And we can celebrate it 45 years later. It is a testament to the story, the amazing sets, and better-than-average performances that, despite having the most exciting parts of the movie excised, the film became iconic. It is the trope foundation for so many slasher films to come. I Know What You Did Last Summer comes to mind. Scream, with its multiple killer options, also owes a debt to this film. And those are just the big ones. Simply put, My Bloody Valentine is foundational horror. For me, it ranks only behind 1978’s Halloween for slasher movies of that era. You can see the family tree: Black Christmas, The Town That Dreaded Sundown, My Bloody Valentine, I Know What You Did Last Summer, Cold Prey, Heart Eyes. Silent human killers bent on revenge, in full costume, butchering their way through lots of pretty young adults. This is the model, and it works well when executed with focus and craft. My Bloody Valentine helped build the trope platform that so many slasher films have utilized. They may be cliches now, but along with Friday the 13th, The Burning, and Halloween, MBV established these themes: Masked killer (essential) The Hidden Villain Switcheroo Splitting up the group (OK, this one is as old as horror films have been around, but slashers really take advantage of this trope.) Sneaking off to have sex in the next room is really dangerous. Never leave a romantic interlude to get booze. Let’s go exploring a really dangerous place for the fun of it. A panicking mayor. The young people don’t listen to the cops. The cops don’t tell the people what they need to know. The mad prophet. (Happy, in this movie) The body in a cooler. (A nod to Rabid?) Childhood trauma made the killer. Remember. This is an early slasher film. MBV does all of these tropes better than most. Mihalka wanted to do Deer Hunter, slasher style. He knew what he was getting into and willingly admitted that this was a movie meant to be fun and make money. It wasn’t going to be an Oscar contender. But he took the ideas of The Deer Hunter and the disaffected blue-collar workers and crafted a story that, despite its drive-in bona fides, was as much about the community as it was about the killer. The film used a real mine in a wind-swept working-class Sydney, Nova Scotia. It has a simple, plausible story. And now that the film has recovered some of its cutting-room components, restored to a 4K Blu-ray Collector’s edition, it can be appreciated for the gory creativity that fans were denied in 1981. About George Mihalka George was a Hungarian immigrant to Canada, initially unable to speak English or French. He initially found it difficult to integrate into Canadian culture, but would eventually become a highly prolific director in both English- and French-language films. He has amassed over fifty credits. This includes long runs on Canadian TV shows: Crossbow, Scoop, Undressed, and 24-Hour Rental. However, he will always be known for My Bloody Valentine. You can find several of his interviews online, talking about this movie. (But of course, you found this one first, right?) Mihalka appears to be comfortable with his legacy. He’s had plenty of time to see his film first get threatened with an X-rating, then achieve moderate box-office success, receive a sequel, and become the moniker of a hugely influential post-punk shoegaze band. George genuinely seemed to glow at how much the fans appreciated his work all these years later. He isn’t a stranger to the festival and podcast interview circuit. His easygoing demeanor, combined with his wisdom and eagerness to share stories about the craft of filmmaking, makes for story time with Uncle George. This is why I love doing what I do. When you meet your heroes and they turn out to be wonderful people, it confirms that pursuing this hobby as a small-press horror blogger rewards the grind. The Interview: This is the recording from the Portland Horror Film Festival 2026 by Eric Li and Mike Campbell with George Mihalka. We recorded this in the green room for the Hollywood Theater before the big-screen presentation, with all the restored footage in 4K. I included an audio recording of the Q&A session with George, hosted by Andrea Subissati, editor of Rue Morgue and the Bloody Judge this year at the PHFF. More content!

    1h 39m

  7. May 26

    Trash Queen (2027) Pre-Production Interview

    Trash Queen Directors Emily Tullock and Gabrielle Rosson Indie horror filmmakers Gabby Rosson and Emily Tullock are creating Trash Queen, a sci-fi horror comedy, starring Tullock and legendary scream queen Lynn Lowery. They joined the Scariest Things to talk about what goes into developing a self-funded independent horror film. It is the journey of many an ambitious creator, and we talked about all of the joys and difficulties of crafting a horror movie. If you have ever wanted to produce a movie yourself, this may be an instructive conversation, so join us as we take a trip to the dump, for all the right reasons. Part of the Scariest Things’ mission is to provide an opportunity for independent horror filmmakers to reach audiences. Whether they are established short-film creators or launching their first feature film, independent filmmakers can struggle to build a fan base. Film festivals do a great job of this. But what about securing the resources to get the film made so it can screen at festivals? It’s a chicken-and-egg problem. You have to start somewhere. Creators Gabrielle Rosson and Emily Tullock found our Site through a recommendation from fellow filmmaker Luke Zwanziger, who participated in The Scariest Thing’s Overlook Short Film Roundtable in 2025. It’s all about building a horror community. A small horror press outfit needs to contact independent filmmakers. Movie folks need to get the word out about their movies. It’s like peanut butter and jelly. Gabrielle sent us a message, and the movie concept intrigued us. So, we arranged an interview. We had a chance to discuss their concept, their relationship to horror, and their creative process. Here is the elevator pitch for Trash Queen: Trash Queen is a blood-soaked, female-driven horror-comedy about what happens when a woman who’s spent her entire life being overlooked…finally becomes impossible to ignore. After a bite from a trash-dwelling alien cannibal leaves her craving human flesh, Sophia, a painfully underestimated office worker, spirals into a grotesque, hilarious transformation. When her washed-up musician boyfriend, Jack, is also infected and trapped in the Town Dump, she’s forced to chase after him and face off against the Trash King. To survive, Sophia must stop trying to fit in and fully become something else. Something powerful. Something terrifying. The Trash Queen. Both women have been in the film industry for about ten years. Rosson has several short films in her directing portfolio, and Tullock is a comedienne with several acting performances and a pair of directing credits to her name. This will be their first feature film direction for both of them. The two of them have finished their script, and, with a fair bit of chutzpah and moxie, they have assembled a cast. Emily Tullock plays Sophia, the film’s lead protagonist. Lynn Lowry (Shivers, The Crazies) plays Marcy, an off the grid resident of the woods. Kevin Keppy (Smile, Guillermo Del Toro’s Cabinet of Curiosities) plays Gordo, a monstrous figure. Jonathan Stoddard (The Roaring Games) plays Jack, Sophia’s boyfriend They are still casting for the movie, so if you are a Washington actor or actress and are wanting to be in a locally made horror movie, send your resumes to trashqueenfeaturefilm@gmail.com. The Fundraiser: If, after listening to them describe their project, you think this movie should be made, you can be part of their brand-new crowdfunding effort. In this day and age, it is the essential model for getting production off the ground. If you want to BE in the movie, there are pledge levels to be an extra in the movie, and even a speaking role! There are plenty of stretch goals, so if you’re feeling generous, there are plenty of rewards available. The Scariest Things will update you on the progress of making this movie. I hope we’ll be able to go up and visit them once the shoot is underway. We will update you with behind-the-scenes material and production footage! The Interview: Here is the interview link for the making of Trash Queen. You can also download this podcast from iTunes, Spotify, Google Play, or wherever you stream your podcasts.

    54 min

  8. May 15

    Crypticon Seattle: Comfort Horror Panel Recording

    Is there anything more comforting in horror than the relationship between Ripley and Newt in Aliens (1987)? Comfort Horror. It’s a thing. It keeps the fandom fed. We come back time and again to get scared, and we love it. Why? This is the third of my series of Crypticon Seattle convention panel recordings. Panels are the lifeblood of this annual horror gathering, feeding the fandom’s macabre knowledge cravings. Horror movies are the bonds this community shares, and to understand why, this panel examines the lure of horror for many of us. In Kim Douthit’s panel, Comfort Horror, she asks her panelists the question, “Why do we replay the same nightmares? What movies bring us comfort in a time rife with anxiety?” It seems antithetical that many of us crave the experience of being scared. For some, it’s a ritual. A rite of passage. We overcome our perceived fears. Building up the courage to soldier through a horror movie is a peak emotional triumph for many people. For others, the familiarity of the repeated horror experience becomes a form of comfort. There are a few horror movies that I know, frame by frame, and each story beat and moment. I’ll bet that you have a movie or two where you have seen it so many times, you can recite the dialogue when watching it. Several of those movies were discussed on this panel. In an era where most people don’t get to feed their adrenaline through hunting or exploring, horror movies can fill that need. Curiosity is a challenge. Mysteries are meant to be uncovered. Horror movies show us what might be hiding under the bed, within the mirror, or sneaking around in the woods. Kids demand answers. For many in the horror community, these youthful questions persist, and horror offers some shocking responses. Some adrenaline junkies chase thrills by going on roller coasters, skydiving, or downhill skiing. Horror movies can provide those thrills without the threat of injury. The Crypticon Seattle “Comfort Horror” panelists (L to R): Tony Gee, Kim Douthit, Kennedy Rainer, Heather Alexander, and Melissa Leigh. Comfort Horror, a Crypticon Seattle Panel Recording This is the third panel recording from Crypticon Seattle 2026. If you enjoyed listening to this panel, I have two others you can listen to. Tiki Terrors and Tropical Horror, hosted by Brian Callahan, and Good Boy: Pets in Horror Movies, hosted by Brien Gorham. For those of you who don’t go to horror conventions, this gives you a flavor of what it’s like, and hopefully, you will come out to Crypticon one of these years. The Panelists: Kim Douthit, Host: Ghoulish Tendencies, Cinemacraze Tony “SkeleTony” Gee: The Great Plot Podcast, Skeletony Art Kennedy Rainer: The Unorthodox Players Heather Alexander: The Portland Horror Movie Massacre, The Scariest Things Melissa Leigh: Seattle Horror Writers Association, Beneath the Rainshadow Movies Discussed within the Comfort Horror Panel: Hell House LLC (2015) Carrie (1976) Fright Night (1985) House of 1000 Corpses (2003) Friday the 13th (the Franchise) Midsommar (2019) Night of the Living Dead (1990) The Thing (1982) Ready or Not (2019) Sinners (2025) The Conjuring (2012) You’re Next (2013) Dawn of the Dead (2004) Would You Rather (2012) In a Violent Nature (2024) Shaun of the Dead (2004)

    1 hr
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4.8
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41 Ratings

About

Your Gateway to the Trends and Tropes of the Horror Genre

Information

  • Creator
    The Scariest Things
  • Years Active
    2018 - 2026
  • Episodes
    99
  • Rating
    Explicit
  • Show Website
    The Scariest Things

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