NOTE: This week Ambler's Cut decided to go a different route: less data more personal notes. This is a one-off article, but I really wanted to get this off my chest. I fear the worst for Horror in Hollywood.
A few years ago, during my time at Emerson College, I had just finished a late-night thesis workshop with my peers. As I was biking back to my apartment in Allston, I noticed the halogen lights emanating from the Coolidge Corner Theater. The marquee read: ‘Midnight Feature: Blood Diner.’ Glancing at the time, I saw it was a quarter to midnight. I had just made the cut off. So, why not? I bought a ticket and settled in. For the next hour and a half, I laughed, squirmed, and enjoyed every moment of this quirky 80s horror flick. Leaving the theater, it made me wonder:In 25 years, will horror screenings only showcase classics from decades past? Will audiences still be watching films like ‘Blood Diner,’ enjoyable as it is, instead of experiencing what I would dub, 25 years from now, as ‘updated classics’ stemming from the 2010s and 2020s?
(In case you were wondering about 'Blood Diner': here's a funny scene from the film to give you an idea: https://www.youtube.com/watch?v=ozCauxA6BY8 )
There's a certain allure to low-budget horror films that push the boundaries of creativity. Horror films that crack the whip in terms of creativity. It asks the question: why indulge in classics when recent releases offer similar thrills? The answer lies in their scarcity.
Looking at the last few years, the horror genre has seen very little movement in terms of original thinking. And what I want to stress is that it is not because 'every good idea for horror has been done.' Full stop. That notion is completely false. As long as the hands of the clock keep ticking, human creativity and the endeavor behind the Canadian/American spirit will continue to create.
In 2023, A24 secured the rights to 'Talk To Me' for a reportedly 'high seven-figure range.' The film subsequently became a breakout success, amassing $91.9 million at the domestic box office during its theatrical run. Notably, it boasted a 52.4% domestic box office share, a 4.62 multiplier, and reached a maximum theater count of 2,340. Remarkably, its production budget was a mere $4.2 million.
More recently, IFC Films' 'Late Night With The Devil' enjoyed a stellar opening weekend, raking in over $2.83 million. While the exact production cost remains undisclosed, estimates suggest it falls within the million-dollar range. However, the film has proven to be a financial triumph, grossing $9.3 million domestically. Despite minimal fanfare in terms of promotion and advertising, it garnered significant word-of-mouth and earned high ratings on prominent film review platforms. Despite its modest debut in just 1,034 theaters, its momentum has steadily increased, achieving a domestic multiplier of 3.26.
It is evident that there exists a robust market for such films. However, the industry continues to grapple with self-inflicted obstacles. The challenge lies not in the lack of financial resources or audience interest in the horror genre—both of which are abundantly clear. Instead, the crux of the issue lies in the final product and strategic decision-making within the genre. Specifically, two interrelated factors compound the issue: Hollywood's short-sightedness and over-reliance on established intellectual properties (IPs), leading to a misalignment in the selection of projects for remake and remastering within the horror genre.
Hollywood And The Long Game
Mike Flanagan's 'Hush' stands as a modern masterpiece in the realm of late-night slashers, earning widespread critical acclaim with a 98% rating on Rotten Tomatoes and garnering fervent praise from audiences. Despite an estimated budget of nearly $1 million, its impact resonated deeply within the genre.
Conversely, the release of 'Ouija' the same year proved disastrous, failing both at the box office and among critics. Despite a generous $7 million budget allocation from Universal, the film faltered, highlighting a stark contrast in success.
On April 7, 2023, Netflix removed 'Hush' from its library due to the expiration of its acquisition license, opting not to renew it. In stark contrast, 'Ouija' is set for its third remake this year. This disparity underscores two key points: studios often underestimate the lasting appeal of creatively driven films, while also demonstrating a strong inclination toward familiarity and established intellectual properties (IPs).
As 'Hush' fades from Netflix's lineup, their upcoming horror slate, now under the stewardship of Ori Marmur and Dan Lin, appears laden with potential misfires. 'Under Paris,' for instance, seems destined for mediocrity or outright failure, resembling a CGI-laden spectacle more suited for post-bar viewing than genuine engagement. Despite its questionable prospects, the film receives substantial financial backing due to its perceived ability to appeal to broad audiences and capitalize on the allure of trilogies (Enter: Hollywood’s obsession with the ‘everything comes in threes’ theory). In contrast, 'Hush' lacks such marketability, yet it is the film you will see at midnight screenings in the future, and mark my words,‘Ouji’ will not be on that docket.
This narrative underscores a troubling trend in Hollywood's mindset, wherein closed-mindedness prevails over innovation. While independent, creatively driven horror films continue to exceed expectations and resonate with audiences, mainstream offerings often fall short of delivering similar experiences. However, mainstream horror is highly marketable and can be produced repeatedly, unlike the innovative type, which struggles to compete in that arena.
IP In Horror and The Misalignments With Remakes
Blumhouse has consistently been a formidable presence in the horror genre, boasting a string of successful films such as 2009's 'Paranormal Activity,' 2017's 'Get Out,' and 2017's 'Happy Death Day.' These films enjoyed substantial box office success, largely attributed to Blumhouse's advantageous first look output deal with Universal Studios, facilitated by a pact with Donna Langley.
However, even Blumhouse has encountered its fair share of setbacks, albeit with understandable explanations. Case in point: their recent 'The Exorcist' reboot, which proved to be a financial disaster. Despite a staggering production budget of roughly $400 million for the trilogy, the first film grossed a mere $193 million at the box office. This underscores a crucial point: relying solely on existing intellectual property (IP) does not guarantee success in the horror genre. In fact, it can engender audience resentment even before the release of a trailer or teaser. Successfully navigating the delicate balance of leveraging IP requires finesse and creativity.
Consider the 2017 reboot of 'IT,' which achieved both commercial and critical acclaim. Director/writer Andrés Muschietti skillfully reimagined the story, diverging from the original narrative while incorporating meaningful callbacks. By intensifying the violence, amplifying the fear factor, and imbuing the film with a darker tone, Muschietti succeeded in crafting a memorable and impactful horror experience. This approach resonated with audiences, highlighting the importance of innovation and calculated risk-taking in the genre.
In contrast, the 1973 classic 'The Exorcist' is revered as one of the greatest horror films of all time, underscoring the need for any reboot to be handled with utmost care and reverence for the original artwork. Studios renowned for their commitment to artistic integrity, such as A24 and NEON, would be better suited for such endeavors.
Ambler’s Cut:
So, what conclusions can we draw from these two looming issues? The trajectory we choose in the coming years will significantly impact the future of the horror genre. If we opt for a path characterized by bold risks, a long-term vision, and a commitment to fostering innovation and originality, then perhaps in a few decades, you'll receive a call from your daughter or son gushing about this late-night horror flick they saw last night called, “'Late Night With The Devil' - or something like that.’”
Conversely, if we continue on our current course, that same phone call may involve your child discussing a screening of Bob Clark's 1974 Canadian classic 'Black Christmas.' The concern here is not the quality of the film itself, but rather its age.
Hollywood would do well to heed the message conveyed by Margot Kidder in this clip:
Her words resonate deeply, emphasizing the importance of taking risks with original horror concepts. It is these bold and inventive films that endure, continuing to captivate audiences during late-night screenings at local cinemas. Skip ahead to the timestamp: 00:00:45 second mark. Just 45 seconds in and she summarizes everything.
“When you did Horror movies, you’d sort of thought that no one would see them. And, in fact, here I am twenty or thirty years later or whatever, and those are the ones that everyone remembers.”
-Margot Kidder.
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