Fun Facts About Rose Red (the Movie)

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Rose Red Facts, Trivia and Bloopers

Facts About Stephen King’s Rose Red You Didn’t Know

Technically, Rose Red (2002) is a TV miniseries. With that said, the film is frequently referred to as a movie, and is played nowadays pretty much like a movie. Still, however, the movie is split up into sections which are conveniently broken down for commercial spots. It is a rather long movie running a total of 254 minutes…but each scene is magic in its own right!  Today, Rose Red remains a gem among horror films, especially when it comes to haunted houses.  Without further ado, let’s go over a little Rose Red trivia and get our spook on!

Behind the Scenes Trivia & Fun Facts

  • Although they are divorced today, actors Jimmi Simpson and Melanie Lynskey fell in love and married after meeting on the set of Rose Red.
  • Rose Red is based on Sarah Winchester’s “Winchester Mystery House.”
  • Stephen King was strongly influenced by Shirley Jackson’s book “The Haunting” (also turned into a movie, and remade a few years before Rose Red in 1999.
  • Rose Red was a breakout role for actress Emily Deschanel, who played a psychic-type, Pam Asbury, in the movie.
  • Actress Nancy Travis, who played Professor Joyce Reardon, was actually pregnant during the filming of Rose Red, and can be seen in different weights throughout the film.
  • Rose Red was filmed in only 4 months!
  • Rose Red was made for TV as a miniseries and thus was not permitted to allow curse words in the script. Still, Kevin Bolinger is seen recording the words “BULL SH*T” on his notepad during his ease dropping on Professor Reardon’s slideshow about Rose Red.
  • Stephen King had super high aspirations for Rose Red being the best haunted house horror movie of all time, and ever. He planned it to be as unforgettable as it is, specifically citing the advantages of a miniseries format allowing for a larger audience and more story-telling time.
  • Actor Matt Ross, who played psychic Emery Waterman, is a very strong believer in the supernatural in real life, explaining that his mother has sworn to have seen a ghost (his real life mother, that is!).
  • Due to dance scenes, the cast needed dance lessons and attended Blue Skies Studios in Seattle to learn how to properly accommodate Glenn Miller.
  • A reference to Stephen King’s first novel Carrie is found in Annie, a girl with telekinetic powers and the ability to rain stones.
  • Rose Red was a breakout role for actor Jimmi Simpson.
  • Actor David Dukes, who played Professor Carl Miller (antagonist), died of a heart attack while playing tennis the night before returning to shoot the remainder of his scenes. He was already such a large part of the movie it were impossible to replace him (and would have been in terrible etiquette to do so). Instead, Craig Baxley Jr (a stunt coordinator) completed the scenes involving the zombie version of Professor Miller.
Guests arriving at Rose Red House from Stephen King's Horror Mini Series
  • The film had a promotional and marketing budget of $200,000.
  • The Rose Red script was delayed from finish after Stephen King suffered a car accident and required a little down time to recover.
  • Although Rose Red was released in 2002, the DVD would not be released until 2007.
  • Originally, Stephen King and Steven Spielberg were going to make Rose Red together, however, after a variety of creative differences…King decided to buy the rights to the movie from Spielberg…who wished it would have had more action-based scares.
  • Parallels can be made between Rose Red and an earlier Stephen King’s “The Shining.”
  • Although the original budget for Rose Red was a modest $3 million, which is a somewhat normal amount for such a project at that time…it ended up absorbing an astounding $35 million by the end of it’s shoot!
  • The sounds of hammers and construction throughout the house is based upon the sounds visitors report hearing within the real-life Winchester mansion.
  • There is a prequel to Rose Red, in book format only, entitled “The Diary of Ellen Rimbauer: My Life at Rose Red” (2001). This book provides a lot of backstory about Ellen Rimbauer and Rose Red itself which coincides with the movie. Ellen Rimbauer was Steve Rimbauer’s grandmother.
  • Despite being based upon the Winchester Mystery House, Rose Red was shot using the Thornewood Castle in Tacoma, Washington.
Young Girl Holding a Doll From Rose Red Horror Movie

Logical Errors and Goof Ups (Bloopers)

  • Rose Red, as polished as it may be (with a budget of $35 million for a miniseries, it should be), had a number of goof ups and bloopers, as well as logical contradictions. Some of the harder bloopers to spot include:
  • Kevin Bolinger’s graduation date is seemingly weeks away (insinuated by Professor Miller), though the year is supposedly 2001. During his public interrogation of Professor Joyce Reardon he states he is a part of the Class of 2003.
  • Ellen Rimbauer supposedly disappeared at age 70 in 1950, though based upon earlier information, she would have been 64.
  • Annie’s blood stained bandage becomes clean and then soiled again multiple times during perspective changes.
  • The color of the rose on the stained glass window of the tower changes color throughout the film.
  • During Kevin Bollinger’s public interrogation of Professor Reardon, Professor Miller is seen leaving the sound booth above the classroom and then reappears in the booth within the same scene.
  • The phone call from Steve Rimbauer to Professor Miller made from Rose Red is received by Miller’s cell phone within his car…though the movie receives the voicemail on his answering machine in his office.
  • Joyce must have smeared blood on the face of Professor Miller across a number of shots, as Professor Miller’s collar is seen with blood, clean from the blood and with the blood again in a continuity error.
  • Although the “spook hunt” planned for Rose Red is for Memorial Day weekend in late May, college football is seen playing twice in the movie as though it is live. College football season runs from September to January.
  • Although Steve Rimbauer states he will be tearing Rose Red down on the first of July, the end of the movie fast forwards six months and low and behold, Rose Red survived much longer!
  • Emery Waterman’s mother received a credit card bill that references an 11 digit customer service number, (800) 455 – 87653.
  • No one can enter Rose Red’s premises without a gate opener, however, a pizza delivery man seems to be able to get to the front door!
  • The roses placed at the front of Rose Red at the end of the movie change arrangement.
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History and Recommendations in Body Horror

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Despite its miraculous properties, the human body is an incredibly fragile vehicle for existence. The outdoor elements, other humans, animals, illness, an uneven sidewalk, and so on – there are many potentially dangerous factors to consider in our walk through life. And though all bodies are different, they share in the common pain of bruising, breaking, and bleeding – the results of which also elicit a sense of betrayal. Enter Body Horror.

This fragility and commonality are what make the body horror genre so effective. The books and movies may be filled with far-fetched concepts, but the trauma inflicted on the bodies within hits closer to home. Most of us haven’t experienced the torturous mutilation presented in Audition (1999), but many have experienced the sting of papercuts, accidental lacerations, and so on, all the way up to self-inflicted cutting and physical abuse. Likewise, many of us don’t have to worry about flesh-eating bacteria destroying us from the inside out (as seen in 2002’s Cabin Fever), but we know of the affliction of disease, deformity, decay, and yes, even flesh-eating bacteria for some.

Close up of bloody eye

In this article I will attempt to briefly trace the history, characteristics, and notable creators/examples of the body horror genre. So enjoy the read, cringing and grimacing through the fingers half covering your eyes. This genre is not for the squeamish.

[Side note: as in all horror genres, there is overlap between body horror and other spaces – in this case areas like eco horror, slashers, surrealist horror, psychological horror, cosmic horror, and more]

What is Body Horror?

In its most basic definition, body horror is horror and trauma that is visited specifically on the human body.

Nailed it.

Need more? Examples of these bodily violations usually include some form of dismembering, destruction, distortion, transformation, mutilation, infection, and so on. These acts are typically graphic in nature and meant to elicit powerful reactions from viewers and readers, though there are instances where the horror is quieter (and still somehow just as effective). Monstrous mutations, debilitating diseases, invasive aliens, alarming technology, and anatomical abuse are all par for the course when it comes to body horror. 

So body horror is visceral, but it’s also emotional. The fear of aging and our body decaying, of losing a limb or an organ, and of breaking down due to some invasive disease are all very haunting prospects. It’s a deeper level of fear because it involves some sort of degeneration and devastating change to who we are and how we identify. Horror is also ripe for works that deal with social or political themes and metaphors, and the body horror genre is certainly no exception. 

Werewolf transformation in An American Werewolf in London movie

Ostensibly, body horror has existed in some form or fashion for as long as humans have had bodies. The term itself appears to have originated in Phillip Brophy’s 1983 article “Horrality: The Textuality of the Contemporary Horror Film” – in which he cites specific examples like the marble slab scene from Deep Red (1976), the chestburster scene from Alien (1979), the numerous transformations in An American Werewolf in London (1981), and the shape-shifting, replicating horror of The Thing (1982). But the genre has roots that stretch back further than the 70s and 80s, reaching back into the Gothic tradition and even Mary Shelley’s seminal novel Frankenstein (also a landmark for kick-starting the sci-fi horror genre). 

But since this is supposed to be a brief look, we’re going to skip a large chunk of time and land closer to home. The modern era of body horror began in the 1950s, so we’re going to start there and move forward, looking at prominent examples in film and literature. 

Body Horror Films

Our current conception of body horror got its start back in the 50s with films like The Blob (1958) and The Fly (1958), and then skyrocketed from there. The 1960s saw films like Rosemary’s Baby (1968), and the 1970s had movies like Erasehead (1977) and the remake of Invasions of the Body Snatchers (1978).

Then came the 80s, which was truly a golden age for body horror. That decade produced some of the best films from giants in the field like David Cronenberg (Scanners and Videodrome), John Carpenter (The Thing), Stuart Gordon (The Re-Animator and From Beyond), Brian Yuznu (Society), and Clive Barker (Hellraiser). The 1980s also saw a rise in Asian body horror with such offerings as Akira (1988) and Tetsuo: The Iron Man (1989). Both involve humans melding with machines in increasingly gruesome and disturbing ways.

Videodrome movie cover
Rabid movie cover
The Fly Body Horror movie cover

It’s impossible to talk about this genre without going into more detail on the works of visionary director David Cronenberg. The most famous example is probably his version of The Fly (1986), where a misfortuned man has his cellular structure fused to that of a housefly. The transformation is a painful one, as he slowly becomes more insect than human, and it’s made even more so by the loved ones who have to bear witness. If you’re wanting more concrete examples of body horror, look no further than the genetically engineered parasites of Shivers (1975), the experimental surgery gone wrong of Rabid (1977), or the tech-inserted-in-body-orifices of eXistenZ (1999).

Though the 1980s were spectacular, the next several decades each had their own highlights in the genre. Woven into the 2000s was a surge of “torture porn” films like Saw (2004) and The Human Centipede (2009), but also other – and arguably better – examples of body horror like Slither (2006) and Teeth (2007). Some particularly good flicks from the 2010s include American Mary (2012), Under the Skin (2013), Tusk (2014), The Void (2016), and The Beach House (2019). And if Brandon Cronenberg’s Possessor is any indication, then the 2020s have exciting things in store for the genre!

Body Horror in Other Mediums

There is no lack of examples for body horror in other mediums as well, such as literature, comics, TV, and video games.

Pinhead from Hellraiser Body Horror Film

When it comes to literature, someone like Clive Barker is an easy pick. Beyond just The Hellbound Heart (1986), body horror also shows up in a lot of his short stories, such as “In the Hills, the Cities” or “Jacqueline Ess: Her Will and Testament”. Other literary giants sure to have dipped their toes into the genre are Edgar Allen Poe, Stephen King, Richard Mattheson, and Robert Bloch. But there are plenty of other fantastic authors with titles to make you feel queasy, from Nick Cutter (The Troop), Jeremy Robert Johnson (Skullcrack City), and Kathe Koja (The Cipher) all the way over to the extreme horror side with authors like Edward Lee, Wrath James White, Ryan Harding, and Jack Ketchum. A personal favorite is Scott Smith’s 2008 novel The Ruins, in which a group of vacationers are graphically tortured and invaded by a sentient plant.

And just to give you more examples, here’s a woefully inexhaustive list from a number of indie/small press releases: Greg Sisco’s In Nightmares We’re Alone (2015), Jonathan Winn’s Eidolon Avenue (2016), Gwendolyn Kiste’s The Rust Maidens (2018), Eric LaRocca’s Starving Ghosts in Every Thread (2020) and his later work Things Have Gotten Worse Since We Last Spoke (2021), Scott Cole’s Crazytimes (2020), Hailey Piper’s Unfortunate Elements of My Anatomy (2021), and Eve Harm’s Transmuted (2021).

Things Have Gotten Worse Since We Last Spoke by Eric LaRocca cover
Transmuted by Eve Harms cover
Crazytimes by Scott Cole cover

When I think of body horror in comics my mind immediately goes to writer Zac Thompson, known for such excellent offerings as 2019’s Come Into Me (co-written with Lonnie Nadler), Lonely Receiver (2021), and I Breathed a Body (2021). Other exemplary choices would be Charles Burns’s Black Hole (1995), Justin Jordan’s Spread series (2015-2018), numerous instances in the current run of The Immortal Hulk (2018-present), Jeff Lemire’s run of Animal Man (2019), Emily Carroll’s When I Arrived at the Castle (2019), Carmen Maria Machado’s The Low, Low Woods (2020), and basically any iteration of Swamp Thing.

Anime has an extensive output of body horror, with examples like Parasyte, Ghost in the Shell, Attack on Titan, and Dorohedoro. In the world of manga, writer and artist Junji Ito dominates the scene. Best known for his spiral-obsessed anthology Uzumaki (1988-89), Ito’s work is shockingly gruesome in it’s originality and creativity, and it ranges from the quietly unsettling to the outright grotesque. But other manga’s definitely worth checking out include Kentaro Miura’s Berserk and anything by Kazuo Umezu, as well as the manga versions of previously mentioned titles like Attack on Titan and Parasyte

Spiral man from Junji Ito's Uzumaki manga

For video games, the series Dead Space is the first property that comes to mind, where all kinds of nightmarish mutations and body horror oddities await engineer Isaac Claarke in outer space. Other contenders would include various entries in the Resident Evil series, the Parasite Eve series, aspects of the BioShock series, and several of the games from Frictional Studios like Amnesia and Soma

What’s Next?

The beauty and tragedy of mankind is that we will continue to live out our existence in these meat suits we call bodies, at least until the zombie apocalypse or the robot uprising. These bodies will continue to hurt, age, decay, and generally betray us in surprising ways. Diseases and infections will continue to appear and attack our vital systems (too soon?). Scientists and extremists alike will continue to search for new ways to improve the body, thereby altering and transmuting it into something unlike its natural state. What this morbid but factually correct information means then is that there will always be a place for the visceral and emotional fears of body horror in the popular consciousness. 

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In Search of Darkness – A Must See Horror Documentary Series

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When I came across CreatorVC Studios’ In Search of Darkness (2019) and it’s sequel my mind instantly split itself into two warring factions. While one side revelled in the idea of two documentaries totalling around nine hours of in-depth exploration of 80s horror films, the other side focused more on the fact that it hadn’t hitherto sat through more than the ninety-or-so minutes of Blackfish (2013) or Jesus Camp (2006). To the latter side, this was an intimidating feat, though a pure love of the horror genre prevailed and to the joy and reconciliation of both sides I sat glued to the screen for the entire duration of both parts. 

A documentary this lengthy has to be informative and, equally as importantly, entertaining. In Search of Darkness: Part II (2021) boasts a wide array of guests from all corners of the horror world, some returning from Part 1, others seemingly jumping on board after its success. From pace-breaking spotlights on gore-effects legend Tom Savini to insights from the nightmare-mongering Robert Englund and the prolific Barbara Crampton to name a few, stories from backstage tidbits to production revelations lurk around every corner. A variety of perspectives are included on most matters ensuring diversity and political correctness throughout, along with some very interesting and thought-provoking takes on different events and (the many) controversies of 80s horror production. 

In search of Darkness Movie poster featuring a child watching 80s horror movies

While paying respectful tribute to the stars and the brains behind each picture, In Search Of Darkness 2 offers detailed, chronological and spoiler-free looks into a positive maelstrom of b-movies, video nasties, cult classics and creature features. The sheer volume of films I had previously glimpsed but never deemed worth my time, only to have In Search of Darkness instantly sell me on is astounding. Not only are films featured and referenced but they are explored equally on a social and ethical level, which is often surreal when such films as Cannibal Holocaust (1980) and Nightmare in a Damaged Brain (1981) are made subject. Not only did I, as expected, add many titles to my IMDB watchlist throughout, I also had my perspective widened on more than one occasion. 

In Search of Darkness Indiegogo Trailer

Creator VC Studios built this epic series through the use of crowd funding and fan support. VC studies are self described as. “An independent producer of community-powered entertainment: long-form factual content that is funded, inspired, and shaped by a dedicated community of fans.”

Everything about In Search of Darkness is packaged brilliantly, from it’s neon look to its atmospheric synth soundtrack that combine to draw viewers into the hyper-nostalgic glow of the 80s, perfectly embodying a full decade of filmmaking. All bases are covered, from the Italian ‘Giallo’ pictures of Dario Argento and Lucio Fulci to full dives into longer series such as A Nightmare on Elm Street and Friday 13th. Though rather than simply acting as a grisly encyclopedic list it treats viewers to several actor spotlights, squashings of undesirable misnomers such as the reductive ‘scream queen’ moniker and conversations into several of horror’s dirtier and more questionable past avenues. Where Part 1 began the discussion, Part 2 picks up right where it left off and proves that ‘more of the same’ is not always a bad thing. 

In Search of Darkness proves unequivocally that I need to make more time for documentaries; I only hope that others can summon the same electrical interest that these two did for me. One thing is for sure: other documentaries will have to wait for the extensive list of eighties horror movies I now have on my plate. 

In Search Of Darkness Part 3

In search of Darkness part 3 coming soon poster with a skeleton and dark graveyard imagery

Subscribe here to follow the 3rd films progress.

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Mandy – A Phantasmagoric Horror Masterpiece

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Panos Cosmatos creates love letters to cinema. His films are packed with references, flagrant horror conventions and meticulous pairings of sound and imagery to invoke a plethora of emotions, generally soaked in an 80’s styled neon-nightmare of color. The 2018 Horror movieMandy is no exception.

If this style was wholly evident in his 2010 directorial debut Beyond The Black Rainbow then it applies doubly for his following film, 2018’s phantasmagoric horror film masterpiece Mandy. By the time of his sophomore effort, Mandy, Cosmatos had truly found his feet. After witnessing the trailer for Mandy I couldn’t have been more sold. It seemed to scream:  “Yep, this is everything you’ve ever wanted from a film. Look, there’s even a chainsaw fight!”

Armed with a similar scale of plot to his first film (this time stemming from a marathon of Charles Bronson’s Death Wish series) and a stellar cast including the likes of Andrea Risebrough and the legendary Nicholas Cage, whose horror credits range from cosmic horror to pure murderous rage is notable here. Mandy gives the impression of coming from a fantasy horror fever dream of uncanny nostalgia.

When a couple’s idyllic woodland existence is targeted by a psychotic pseudo-christian cult and shattered into cosmic terror, Red (Cage) sets out on a bloody rampage of revenge and crushed skulls. 

The film’s opening to King Crimson’s ‘Starless’ and a sweeping, grain-soaked shot over endless pine forests should send chills through any hyper-fan of the VHS age. Like Beyond The Black Rainbow, Mandy takes its time to tell its tale, though its ideas feel more fleshed out, its every frame feels more meticulously planned and its inspirational roots are worn as badges of honor. 

Mandy is dense with references; from the demonic bikers The Black Skulls appearing a combination of the cenobites from Hellraiser and a Mad Max-esque road gang to Bill Duke himself appearing to give Red some advice and arm him for his savage quest. The film’s ethos appears to be Heavy Metal (or love’s vengeance, if you like) against religion, or narcissism under religion’s guise, which may seem almost juvenile had it not been for the repeated self-aware references to rock and roll and heavy metal music throughout. (see: the film’s opening quote). 

Mandy Alternative horror movie poster featuring a man with an axe and another with a chainsaw

Music plays as big a part in Mandy as anything, boasting a rich and emotional score from Johan Johannson made all the more morbidly effective by his tragic passing not long after the film’s release. The score is an eclectic mix of heavy retro synth, moving orchestral passages and devastating guitar distortion from drone band Sunn 0)))’s Stephen O Malley which seems to have been written alongside the film’s creation to ensure their optimal convergence into a single cinematic force. 

To use such long, atmospheric takes to portray a story so devastating and emotionally charged requires acting talent. The entire cast of Mandy brings something new to the table, from Nicholas Cage’s halfway-point switch from content affection to savage insanity to Linus Roache’s seedy, delusional portrayal of Cult Leader Jeremiah Sands. It seems as though Cosmatos is content to roll the camera and just let the actors go with it, each scene feeling loosely organic alongside it’s detailed visual planning. Personally I rate this as Nicholas Cage’s best performance, and the one that solidified my place in the “Cage: good or bad?” argument. Though his balls-to-the wall approach is highly entertaining, it won’t be for everyone. 

Mandy is very ‘one man’s vision’ which does not necessarily equate to an accessible film. It’s a bold statement, even in structure where the films titles don’t even appear until around the halfway point, indicating that what you’ve just watched was a mere setup for the madness that is about to begin. 

Mandy is the story of a man who loses everything, allowing the darkness to fully envelop him into a world of brutally violent vengeance. It is a glorious leap from its predecessor and hopefully a preemptive look into a future of darkness from Panos Cosmatos’ mind. Beware the Black Skulls and remember: A psychotic drowns where the mystic swims.

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Must Watch Killer Christmas Horror Movies

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By the time November rolls around some of us just plain aren’t ready to let the Halloween spirit die. Either that or we’re so obsessed with horror that it inevitably bleeds into every seasonal holiday we take part in. Either way, the best remedy is undoubtedly the abundance of killer Christmas horror movies available today; from the horrifyingly effective to the downright laughable, and sometimes both. Killer Santa Clauses have been stalking the silver screen since the late 70s, and filmmakers are coming up with fresh new ideas on seasonal scares to this day. With the holiday fast approaching, I have compiled a list of what I consider the most notable holly-jolly slashers, and while not all can be considered cinematic masterpieces, all can definitely be considered a bloody good time for gore-hounds wanting to celebrate the festive season with a splatter.

Silent Night, Deadly Night (1984)

Silent Night Deadly Night Holiday Horror Movie with Santa Holding an axe in a chimney


This Charles E. Sellier directed slasher wasn’t the first time a maniacal killer donned a Santa suit, though it’s definitely one of the first that showed the true brutality the budding sub-genre had to offer. Silent Night, Deadly Night follows Billy, a troubled young man suffering from post-traumatic stress after being sole witness to the murder of his parents at the hands of a man dressed as Saint Nick himself. This, coupled with his subsequent abusive upbringing in a Catholic orphanage, picks away at his psyche until finally, in adulthood, he snaps and begins mirroring the man who brought about his parents demise. Billy dons a santa claus outfit and begins a spree of brutal murders in his hometown.

Silent Night, Deadly Night was met with its fair share of controversy over its depiction of a sadistic Saint Nick, being pulled from theatres a mere week after its release. Of course, as plenty of banned films do, it quickly achieved cult status and managed to spawn four sequels, with a reboot in the works for release this year.

Billy’s breakdown is, while dated in many regards, still a potent one. The eventual explosion of violence he undergoes is chock full of the mean-spirited dispatching of innocents that we have come to expect from slashers. Although, the personal dramas Billy deals with throughout the films runtime are just as endearing, and we are met with just as much human tragedy as we are mindless violence in this rough-but-ready Christmas horror movie relic.

To All A Goodnight (1980)

To All a Good Night Horror movie Poster with a demon over a house on the holidays


Interestingly enough, this slice of festive nastiness was directed by none other than actor David A. Hess, known for his own roles depicting gruff and often murderous villains. Some would argue that David may have been better in front of the camera for this low-budget slasher, and it’s easy to see why. To All a Goodnight flew under just about everyone’s radar at the time, despite coming out before the likes of Silent Night, Deadly Night and around the same time as the likes of “You Better Watch Out”. Even so, this is a particularly vicious and atmospheric Christmas horror slasher that should be on every genre fan’s watchlist at least once.

Like many slashers of its era, This one opens with a flashback to a prank going terribly wrong before moving to the present, where a group of wealthy students of a Finishing School for Girls plan to sneak their boyfriends in for a late night party. Their plans are ruined, however, when someone dressed in a Santa costume begins stalking the halls, dispatching them one-by-one.

There are some interesting kills on show here, and a suitably rough and unhinged electronic score permeating the festive filleting of surprisingly halfway decent actors. Each character manages to bring something distinct to the table, making this an under appreciated and worthy Santa slasher.

Sint (2010)

Sint Christmas Horror Movie Poster


Sint, also known as Saint in Europe and Saint Nick in the US, is a Dutch black-comedy about the legend of Sinterklaas, the character upon which our lovable modern Santa Claus is based. Sint distorts myth and reality, portraying Sinterklaas as a homicidal ghost who murders huge amounts of people when Christmas coincides with a full moon. The film was directed by Dick Maas, who gained critical acclaim with such horrors as De Lift (1983) and Amsterdamned (1988), and is seen widely as a return to form after a long absence.

Sint is a surreal and polarizing affair on the whole, some feeling the potential its concept set wean’t fully realized. That being said, the bizarre and action-packed spectacle we are left with is, while tamer than most yuletide horrors, more than entertaining and darkly funny enough to satiate the Christmas horror movie genre fans years down the line.

Rare Exports (2010)

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For our next look into crimbo carnage we head to Finland for the modern fantasy/action horror Rare Exports, directed by Jalmari Helander. The story centres around Pietari, a young boy living in the mountains of Northern Finland. He and his friend Juuso uncover plans of a secret mountain drilling project that they believe has uncovered a tomb. The tomb of Santa Claus himself. Of course this is a Christmas horror movie, so the Saint Nick that is uncovered and expectedly rises from his grave is not as jolly as one might hope. All hope may rest in an old wildman who becomes ensnared in one of Pietari’s father’s wolf traps, who may know more than he is letting on about the recent children’s disappearances and reindeer’s slaughter.

The story begins slowly, ramping up the suspense before the deliciously savage killing begins. Each character is given room to breathe and establish themselves, adding real weight to the carnage that follows. The end result is something beyond a simple b-movie slasher; a unique, unsettling and often hilarious Santa Claus origin story that reminds us that all fairy tales are truly dark if you dig deep enough.

Christmas Evil (1980)

Christmas Evil Horror Movie Poster 1980 with Santa holding an axe


Christmas Evil is a bit of a wildcard. This mean-spirited proto-slasher being more an exploitation film than anything would usually mean buckets of blood and some risque content that wider audiences would have difficulty with. This is by all means a nasty and uncompromising film, though it seems more concerned with mood and atmosphere than with shocking its audiences with gore and nudity.

Brandon Maggart plays a toymaker who has loves Christmas since he was a young boy. He is scarred when he realises Santa isn’t real and vows then to keep the Christmas spirit a reality, becoming obsessed with children’s behaviour and the quality of his own creations. He eventually snaps when people meet his efforts with a cold cynicism, causing him to begin a killing spree dressed as his lifelong hero, jolly Saint Nick.

Maggart plays Harry with an intensity that brings to mind broken characters such as Travis Bickle and even Michael Rooker’s ‘Henry’. This coupled with Christmas Evil being the first film to feature Santa as a killer elevated it above plenty of the Christmas horror movies of its era.

Tales From The Crypt (1972)

Tales from the Crypt 1972 horror movie featuring a skull


When a group of tourists become lost in a labyrinth of ancient catacombs, they come across the Crypt Keeper (played by Ralph Richardson) who tells each of them their fate in the form of five short films. Not only does Tales From The Crypt feature one of the scariest killer Santas in cinema history, but it manages to be a cut above other anthology horror films by a wide margin in terms of quality and overall scares. The tales include a murderous spouse, a man who becomes the target of nosy and suspicious neighbors, and an adulterer who may meet a fitting end if the keeper’s predictions are accurate.

This was arguably the first film to feature a homicidal Santa Claus, though not as its main crux.

A Christmas Horror Story (2015)

Christmas Horror Story with Santa fighting Krampus


The idea of a killer Santa is turned gleefully on its head in this fun action/horror from directors Grant Harvey, Steven Hoban and Brett Sullivan. The small Town of Bailey Downs is suddenly set upon by a maelstrom of Christmas chaos, including insidious spirits, zombified elves and none other than the anti-Santa himself, Krampus.

A Christmas Horror Story has something for everyone; the uninitiated will enjoy the simplicity and accessibility of the story while more hardcore fans will recognise references such as Bailey Downs from the film’s opening.

All in all this manages to be one of the stronger horror anthologies out there, especially since it is dedicated fully to modernising an old tale with a brutal new twist. Don’t miss it.

Black Christmas (1974)

black christmas movie poster 1974

And finally we come to one of the most influential and to-this-day unsettling of all the Christmas horror movies. Black Christmas set the stage for slashers in the late 70s and early 80s, creating many of the conventions we know and love them for today.

As winter settles in, a shout of sorority sisters begin receiving aggressive and sexual phone calls from an anonymous psycho. One thing we can tell from the squealing voice is that its owner is very disturbed and very dangerous. Margot Kidder does a great job as the unhinged and inebriated ‘Barb’, who gleefully eggs on the caller until he becomes threatening. When the girls hear of a local girls murder, and one of their own goes missing too, they begin to suspect the calls may have been more threatening than they appeared, and none of them have any idea just how close the danger is.

And as an audience we feel every bit of that danger. Because Black Christmas is from a time before established slasher tropes, there are no fixed rules for who will live and who will die. Not even a ‘final girl’ is guaranteed amongst the colourful group, making this nasty yuletide spree a worthy entry in any horror fan’s rotation. There’s a reason so many tried to emulate what Black Christmas did, and the templates it set in stone are still revered to this day.

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