As Halloween approaches, so too does more and more news about the frights coming to the big screen. Horror fans, rejoice! Because an absolute embarrassment of projects covering scares both realistic and totally bonkers are on the way. Let’s dive in before we lose our nerve, shall we?
First up is a new horror movie from a familiar face. Screen Daily reports that American Psycho director Mary Harron is jumping back into the horror game with an adaptation of Grace Krilanovich’s cult novel, The Orange Eats Creeps. Working with writer Guinevere Turner (with whom she created the recent festival film Charlie Says -- a Charles Manson story), Harron will be tackling offbeat oddballs yet again.
“It’s a very underground, experimental novel that I thought was interesting,” Harron said of the project. “Young people travelling around the northeast [of America], living around the highways.” Young people... that happen to be homeless vampires (that possibly go feral over the course of the film).
The Orange Eats Creeps will come after Harron completes her Ben-Kingsley-as-Salvador-Dali project, Dali Land, which shoots next spring.
Another strange horror film coming from a festival darling is Marc Meyers’ We Summon the Darkness. According to The Hollywood Reporter, the film from the My Friend Dahmer director will star Alexandra Daddario and Keean Johnson alongside Maddie Hasson, Logan Miller, Amy Forsyth, and Austin Swift in a movie where metal and Satan meet up in a bloody killing spree.
Written by Alan Trezza, We Summon the Darkness has started filming its road trip antics in Winnipeg, giving plenty of atmospheric countryside to the tale of two suspicious friend groups -- one of which likely hides the killer.
A little more supernatural is Polaroid, a new (well, new-ish) movie coming to Netflix from director Lars Klevberg. Deadline reports that the haunted camera flick (whoever gets photographed meets a Final Destination-like end) will be hanging out to dry in the acquisition deal for a little bit as paperwork is finalized after an ownership debacle spurred on by Harvey Weinstein’s exposé and his company’s subsequent bankruptcy.
The film was so close to being in theaters that it had promotional material made (like the trailer above), but now that Netflix has stepped in as its savior, the marketing cycle will likely start up anew... once everything is signed and sealed, that is.