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It Came From Streaming: Camp HORROR PRESS Edition

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Rise and shine, goblins and ghoulies; it’s another horrendous day at Camp HORROR PRESS! Today, we figured you’d want a break from the daily struggle of enduring the summer heat while counting down until nightfall. Archery lessons with Counselor Voorhees – who so generously procured targets from the camp across the lake – and arts and crafts with Captain Spaulding and Baby Firefly are, unfortunately, canceled.

Instead, the day’s itinerary will have you padlocked inside the cool, damp walls of the estate for a horror movie marathon like no other. A selection of delicacies for you to munch, crunch, and guzzle will be suggested, and be sure to keep your wits about, as there are alternate routes along this macabre adventure. Strap in, campers, and when the credits roll, we hope to find that at least a few of you have taken a wrong turn or two – sorry, but we need some open spots for next week’s Out of Darkness retreat with Sidney Prescott.

*All streaming titles are as of this writing

Morning Smoothie

No matter the weather, it’s always Halloween at Camp Horror Press, and what better way to kick off the festivities than with a nutritious blended beverage? The Tropical “Candy Corn” Smoothie from Boulder Locavore will put some pep in your step after rising from the wrong side of the bed. Who knows, maybe it’ll even inject a sprig of life into some of the more dead-eyed delinquents around here. You’re all gonna need it!

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Death Proof (2007), 1h 53m – streaming free on Tubi

Quentin Tarantino’s back half of the double-billed feature, Grindhouse, an homage to 1970s exploitation flicks and the sticky theaters that screened them, is a slow burn of hot cars and fast women. You’ll reflect on whatever you were up to in the woods last night after lights out as tension ramps up around the jukebox at a roadside dive stalked by the devilish Stuntman Mike (Kurt Russel). Before long, you’ll be Googling Dave Dee, Dozy, Beaky, Mick & Tich and rooting for revenge as the action heads onto the open road and into the blinding sun. It’s the perfect film to start things off and get your blood pumping.

‘Gator Bait (1973), 1h 28m – streaming on Shudder

This literal exploitation flick from the 1970s takes a shallow dive into the swamps of Louisiana and makes you appreciate how much the world has changed for the better, no matter how dark things may sometimes seem. Cajun Queen Desiree Thibodeau (Claudia Jennings) is wrongfully accused of murder, but predators soon become prey as they seek Desiree out on her turf. It’s crude, lewd, and quite rude, yet while there are some uncomfortable depictions of non-consent as per the genre, that and the film’s violence remain surprisingly brief. Don’t worry about all those bayou boogers because soon we’ll be going for a refreshing swim.

Afternoon Grill

As they say in The Hills Have Eyes, it’s fun to play with your food. Monster Burgers from Belly Rumbles are easy and make deliciously cute #Summerween social media content. Remember to refrigerate your raw remains and leftovers for a special late-night treat we’ll get to later.

Choose Your Own Adventure: Infested Waters

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Anaconda (1997), 1h 29m – streaming free on Tubi

Please read in the voice of Don LaFontaine, the movie trailer guy:

If you’re feeling a classic 90s adventure movie starring JLo, Ice Cube, and Owen Wilson set in the Amazon rainforest. If you want to see some gutsy gore that somehow made it into a PG-13 movie. If you don’t mind hearing Jon Voight impersonate Scarface while saying “anacondas” approximately two dozen times. Choose Anaconda.

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The Shallows (2016), 1h 26m – streaming free on Tubi

While monster movie #1 has a man-eating snake, this path in the proverbial fork has Sully the Seagull! A taut shark attack thriller starring the chronically underrated Blake Lively, these waters are gorgeous, and the film’s emotional editing will hit you like a rogue wave. It’s undoubtedly one of the better single-location nail-biters out there, and we’d much rather spend 86 minutes on the beach than buried in a box (hi, Ryan!). 

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Choosing between JLo or Lively for your aquatic adventure may be challenging, but you’ll always have Sully by your side.

Choose Your Own Adventure: A Sweaty ’05 Afternoon

The Devil’s Rejects (2005), 1h 50m – streaming for free Tubi and Pluto

We’re leaping out of hot water and into the oven, so there’s no need to reach for disinfectant or a towel. This road trip movie from Hell is objectively one of director Rob Zombie’s better outings. It’s wickedly sadistic and downright sassy, and everything about its production screams summer filth. So, if you’re curious about our resident Fireflies’ run-ins with the law between fleeing their House of 1000 Corpses and setting up camp at the Horror Press estate, think about putting on your best Lynyrd Skynyrd tee and joining in on the fun.

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The Skeleton Key (2005), 1h 44m – streaming on Starz

True Blood has been absent from our lives for far too long, but if you’d rather its steamy Southern Gothic supernatural drama vibes over Zombie’s unrelenting gore, Kate Hudson and Gena Rowlands have you covered. Miss Hudson – another criminally underestimated actress whose talents measure far beyond romcoms – leads the charge as a hospice nurse working in an old plantation house who can’t help but ignore the age-old “don’t go in there!” adage. It may not have the deft touch of a filmmaker like Jordan Peele at its helm, but we can’t help but imagine its subversive ending inspired Get Out at least a little bit.

Choose Your Own Adventure: Summer Horror Classic

We could easily tie you to a chaise lounge, press play on a more traditional lineup, and head back underground as you enjoy what are – rightfully so – undisputed champs of the genre. And while we don’t do things by the book here at Camp Horror Press, that doesn’t mean we will entirely ignore the season’s forefathers and newly celebrated hits. 

Whether you’ve seen them a thousand times over, love the remake more, or missed out on a recent addition to the crew, now’s the time to get basic with a single summer horror classic to round out the middle of our marathon.

The Texas Chainsaw Massacre (1974 / 2003), 1h 23m / 1h 38m

Jaws (1975), 2h 4m

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The Hills Have Eyes (1977 / 2006), 1h 30m / 1h 47m

Piranha / 3D (1978 / 2010), 1h 33m / 1h 28m

Friday the 13th (1980), 1h 35m

The Burning (1981), 1h 31m

Sleepaway Camp (1983), 1h 24m

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I Know What You Did Last Summer (1997), 1h 40m

The Cabin in the Woods (2012), 1h 35m

The Final Girls (2015), 1h 31m

Midsommar (2019), 2h, 28m

Evening Libation

At this point in the day, a refreshing breeze has begun to waft over the estate as dusk’s bugs and boos stir. The grill should still be prepped and ready to go, so when it comes to dinner, that’s on you, but we suggest accompanying it with a crisp concoction to calm your nerves and loosen your inhibitions. The May Queen Lemonade from our friends at Geeks Who Eat is infused with chamomile to chill you out as you get your buzz going, and of course, it’s easy to make sans spirits for those who don’t imbibe.

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Influencer (2023), 1h 32m – streaming on Shudder

This Shudder exclusive has something to say about the “fauxotic” lives of the social media elite while setting itself in the truly exotic Thailand. Madison (Emily Tennant) learns the ropes of the lonely life of an influencer while vacationing in the lush locale and, as a result, is perhaps too willing to trust a friendly face that appears IRL. Shudder isn’t afraid to push out fresh concepts, and – like the duality of its subject matter – it’s the perfect transition from day to night in our lineup.

Summer of ’84 (2018), 1h 45m – streaming on Shudder

Another Shudder original is here to make us question what’s real, and this time it’s a throwback to a decade saturated with summer horror. A pleasant nostalgia trip about a group of friends who are convinced their neighbor is a serial killer, it’s very The Goonies by way of Stranger Things. Its young cast shines just as bright as those of the pop culture behemoths. We wouldn’t want you caught up in the happy-go-lucky feels for too long, so don’t be surprised if the third act gets dicey.

Choose Your Own Adventure: Favorite Friday

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Friday the 13th: Part 2 (1981), 1h 26m – streaming on Showtime

Moving on from hypothetical serial killers to the real deal, the original summer camp slasher from 1980 birthed this franchise and countless more copycats. Yet, after you wipe off the gore-tinted glasses, it becomes clear that a few of its sequels commit patricide. For starters, even though Pamela Voorhees is a horror icon in her own right, it’s Part 2 that introduces Jason as the ultimate baddie of midsummer stalking. The sequel does away with the Giallo-like mystery of the killer’s identity to show us Jason’s hulking form in all his glory, boasting gorier and more exciting kills. We’re also treated to a competent final girl to root for in Ginny (Amy Steel), who uses her brains to outwit Jason’s brawn. The final showdown between the pair will have you gagging at Ginny’s implementation of Pamela’s crusty blue sweater as a critical component in her escape plan.

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Friday the 13th: The Final Chapter (1984), 1h 31m – streaming on Showtime

What is arguably the best in the franchise due to its strong narrative (for a slasher, anyway) and a plethora of excellent kills, The Final Chapter is anything but the last nail in Jason’s coffin. It’s got decently fleshed-out characters, Crispin Glover dancing like only Crispin Glover can do, ties to its predecessors, and an ending that’ll leave you speechless. By all accounts, the infamous killer should have gone out on a high note after this outing. Still, if he did, we wouldn’t have been blessed with sequels that introduce telekinesis, an inexplicably long ferry ride into Manhattan, and a literal trip to Hell that has fans arguing online to this day. Whichever Friday you choose, the night is only getting darker.

Late Night Snack

This one’s an original creation of yours truly. Bring out that leftover Monster Burger meat and crack open some crunchy taco shells. Add lettuce, shredded cheese, and top it off with this recipe’s secret ingredient: ketchup. That’s right, your mind has just been blown at the revelation of Meatloaf Tacos. It tastes just like a bite-sized version of the home-cooked staple! And if there’s no more fresh meat to spare, grab some value tacos over at your Mexican fast-food joint of choice – no other toppings, though – and ask for a few packets of ketchup. Oh, the things we come up with when we run out of hot sauce…

Choose Your Own Adventure: Sleazy Slasher

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The Texas Chainsaw Massacre 2 (1986), 1h 40m – streaming on Max

Horror icon Tobe Hooper decided the follow-up to his legendary 1974 film would be as deranged as the cannibalistic Sawyer family at its center. A twelve-year wait for the sequel allowed him to take some liberties with the tone, and while it may be too weird for some, it’s absolutely our brand of freaky. Campy, unhinged line deliveries by final girl – and Sookie Stackhouse lookalike – Stretch (Caroline Williams) and Sawyer family reject Chop-Top (Bill Moseley) provide giggles and gif-able moments galore. It should come as no surprise that this mayhem served as inspiration for Rob Zombie’s filmography. Sprinkle in a second-act jump scare for the ages, and it’ll be a miracle if you can close your mouth long enough to swallow a Meatloaf Taco.

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(2022), 1h 46m – streaming on Showtime

The first film released in Ti West’s surprise slasher trilogy is the sexier option for your dose of summer sleaze dopamine. In 1970s rural Texas, a crew of hot-bodied youths are on a mission to make the ultimate in elevated pornography, but instead, sacrifice themselves to the horror movie gods and produce a modern classic. The story boasts an excellent cast – rounded out by two killer scream queens (Jenna Ortega and Mia Goth) and an unexpectedly cunning new villain. Horror isn’t typically family-friendly, but this one has certainly seen some pearls clutched. Take note, campers!

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The Lost Boys (1987), 1h 37m – available to rent on Amazon

The perfect late-night blaster, it’s all moody sand and fog in this beachside teen vampire smash hit. There’s a reason this one stands the test of time despite being so entrenched in its 80s roots; between its iconic cast, outstanding punk rock costume design, and entrancing synth-rock soundtrack – you can’t look away. And vampires, everyone loves those! If you’ve lasted this long, the witching hour draws nears, and there’s no better way to celebrate than with some creatures of the night.

Slumber Party Massacre (2021), 1h 26m – streaming on Shudder

A meta requel of the cult classic, it not only lampoons genre tropes but also finds a way to reverse engineer them. Nothing is what it seems, and it manages to juggle tone and terror with surprising agility until the bitter end. And for those who can’t help but cringe at the rampant over-sexualization of women while watching some of horror’s greatest hits, know that the inverse of that trend is also explored here – teehee.

Do you hear that humming noise? It’s the Driller Killer! Just kidding, it’s only Jennifer Love Hewitt sawing off the padlocks – every year, she volunteers here for a week as penance for I Still Know What You Did Last Summer. 

Anyway, the slumber party’s over! You’ve survived a full-day marathon of the season’s slimiest and zaniest films, and we hope you had a hell of a time doing it. Now scurry back to your cabin, and watch out for rogue machetes…Jason’s a little peeved that we canceled his mom’s archery lessons.

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Alex Warrick is a film lover and gaymer living the Los Angeles fantasy by way of an East Coast attitude. Interested in all things curious and silly, he was fearless until a fateful viewing of Poltergeist at a young age changed everything. That encounter nurtured a morbid fascination with all things horror that continues today. When not engrossed in a movie, show or game he can usually be found on a rollercoaster, at a drag show, or texting his friends about smurfs.

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‘Queens of the Dead’ Took a Bite Out of Brooklyn Horror Fest

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Brooklyn Horror Film Fest kicked off its 10th year with a screening of the highly anticipated Queens of the Dead. This sparkly and zombie-fied night was presented by Horror Press and set the tone for at least two after parties. As a good queen does.

Before the movie began, director and co-writer, Tina Romero, took the stage to share that she isvery proud to be my dad’s kid, and proud to carry his torch, and super super proud to do it in a way that shows queer joy and queer resilience.After watching the film, it’s clear Romero meant business as she expanded on the zombie world built by her dad, the genre icon George A. Romero.

A Scrumptious Evening

The opening night film was also unforgettable because it was followed by a Q&A afterward moderated by New York’s baddest emcee, Xero Gravity. Tina Thee Romero took the stage with cast members Samora la Perdida, Julie J., Tomas Matos, and Nina West. They kept the vibe fun but also addressed why this movie is especially important in dire times like these.

Nina West said,I’m really proud that this movie is coming out specifically right now.West explained,We talked about how important this film is right now. How queer people, I think, are going to have the opportunity to grab onto it and hopefully feel a sense of community, a sense of self, and a reminder of how vital it is to have chosen family and the ability to have space. Watching it tonight with an audience, that’s what I’m reminded of.”

The Romero Legacy is Very Much Alive and Well

Gravity opened the talk by addressing Romero’s dad’s work,So, Tina, your father’s legacy is invaluable to the horror community, especially the horror community of marginalized people. When I look into the audience, I see a bunch of queer people, a bunch of different skin tones, I see people with disabilities, and for that, I know we all appreciate George A. Romero’s legacy in terms of allyship.”

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When the applause died down, she asked Romero what Queens of the Dead has to say about our current state in society. Romero said she felt incredibly grateful that Shudder and IFC Films are putting this movie out in 2025.

Romero elaborated,It’s not easy to get a little indie movie out into the world. It’s so important that it’s coming out this year because what a year we have had. Holy shit.” 

Romero continued,It feels so good to have a big queer movie coming out in a time when our community is feeling really under the threat of erasure and under attack. I feel like what our movie says is we are here and we are wonderful, come along for the ride. I really hope that this movie brings a little bit of empathy. A little bit ofI can’t help but laugh at and love these characters.” 

Romero concluded, “I really love my father.  I love the films he made. It was very important to me to make sure his legacy continued in a way that said some shit and with queerness on screen.” 

A Night of Glitter and Gore

During the talk back, Romero shared a lot of cool facts. One being that her and co-writer Erin Judge worked on this film for ten years. She also shared that Dawn of the Dead is her favorite movie in her dad’s franchise when Gravity pointed out a couple of nods to the movie in Queens of the Dead.

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The Q&A went by entirely too quickly as the audience fell in love with this amazing crew. However, the love and community spilled into the bar area afterward. People were given the opportunity to thank everyone for their work and tell them they loved the film. People were offered penis-shaped cakes, which is a fun gag from the film. Attendees were also given a chance to get a little bloody at the hands of local makeup artist Dime. They applied bite marks and blood to everyone who wanted to feel like they were a part of the hottest zombie movie of the year. 

It was another scrumptious evening in Brooklyn. It also left many of the audience with an axe wound right in the heart. I’m excited to see how Brooklyn Film Fest follows this movie, and I will be in the bar area this weekend, waiting to see. 

Queens of the Dead will slay in theaters on October 24. 

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The Worst Blumhouse Movies and Why They Miss the Mark

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I feel like I’m always taking swings at Blumhouse Productions and would like to explain why I’m usually frustratedly screaming into a mic, “For whomst?!” My relationship as a horror fan with most of the movies this company produces cannot be summed up in quick, snide comments and eyerolls. It’s bigger than that because when Blumhouse gets it right, they get it right. Get Out, Us, Creep, Creep 2, Happy Death Day, Freaky, M3GAN, and Drop are some of my favorite movies from the last 10 years. The Paranormal Activity franchise is the reason I show up for found footage films today. 

However, while the mission to seemingly greenlight anything is good on paper, it does lead to some questionable films. Some projects feel irresponsible to fund, and some that are just bad make up the majority of their library. For every diamond, we get a bunch of movies that leave us scratching our heads and wondering if the obvious conversations were not being had. Which is why I picked four Blumhouse movies I have legitimate beef with. I think these are prime examples of why I have a hard time getting excited when the company’s PR starts up for a new project. I’m also respectfully asking if there are things in place to avoid these issues and concerns in the future.

The Exorcist: Believer

Two girls disappear in the woods and return to their families, who soon learn they are possessed by an evil entity. My surface problem with this Blumhouse movie is that they learned nothing from greenlighting the Halloween trilogy and put the cart before the horse again. However, my main grievance is that I was led to believe this would be a Black-led Exorcist movie. That would have been groundbreaking in this almost exclusively white franchise. More importantly, Leslie Odom Jr. and Lidya Jewett were more than capable of leading this movie. So, why were they shoved into the margins? We had a double exorcism and gave the non-Black child most of the cool things to do. The film also made Odom Jr.’s character the chauffeur for Chris MacNeil, who was shoehorned in for fan service and given nothing important to do. The Exorcist: Believer was unbelievably bad to boot.

Dashcam (2021)

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Two friends livestream the most terrifying night of their lives while on a road trip. This movie would have done fine because it was from the team that brought us Host. As we were still in pandemic mode, many of us were curious to see what they would do next. So, there was a lot of face cracks when it came out that problematic Twitter personality Annie Hardy would be basically playing herself in the film. From her political stances, COVID denial, racist rants, and that time she turned a pride flag into a swastika on Twitter, she’s very blatantly a person who does not need a bigger platform.

It’s irresponsible to allow a movie to use her as stunt casting in a Blumhouse production. Again, this movie would have been better off without her because it would have ridden the steam of Host. Instead, it turned people off, and some refused to see it or review it.

They/Them (2022)

A group of teens at an LGBTQ+ conversion camp suffer psychological torture at the hands of the staff while being murdered by a masked killer. I feel there were too many cis people weighing in on this movie. I personally watched an awful person who masquerades as a journalist leap into Twitter conversations where Trans and non-binary people were discussing why this movie wasn’t it. So, I chose to keep my thoughts to myself and listen to the community, who should get a say.

I encourage you to do the same. Here is the Horror Press review by Bash Ortega. I also encourage you to read Kay Lynch’s essay at Bloody Disgusting. Consequence of Sound also had a review that is worth reading. While this was one of the movies under the Blumhouse banner that had its heart seemingly in the right place, we know intention and impact are not the same thing.

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Soft & Quiet (2022)

An elementary teacher meets with other white supremacists and then commits a hate crime. This movie felt like a bunch of shocking events strewn together, and I wanted my money back for this rental. I have no idea how this film came to be what it is. Personally, I hope there is a version that doesn’t feel like racial trauma porn somewhere, but this is not it. I kept wondering who this movie is for, and the internet confirmed it wasn’t for POC. With all the ways to capture white supremacy on film, this is what they did? I feel this is the most irresponsible movie Blumhouse has subjected me to. It’s the reason I no longer get excited when I hear a filmmaker I am rooting for is working with the company. 

In Closing…

I know I come across as flippant when I drag most of Blumhouse’s films. However, it stems from a place of concern and frustration. Bad movies like Firestarter, Unhuman, Night Swim, and Imaginary are one thing. These movies that clumsily handle important topics that are the reason I’m usually waiting for their titles to hit streaming. Whether they’re putting Black leads in the backseat, greenlighting movies where internet trolls are being given roles, or adding to the canon of racial trauma porn, I’m tired. I don’t know how to fix it because I don’t know if it’s a lack of support or interference regarding the writers and directors.

I don’t know if it’s just quantity over quality leading to some messy and unnecessary movies making it through the cracks. However, if Jason Blum can unpack why M3GAN 2.0 flopped, then it would be cool for him to unpack what he’s learned from the movies that should actually be cause for concern. As a film girl, I would love to see these Blumhouse choices laid out like case studies. Whatever lessons learned and actionable items taken to not make these mistakes again, could be beneficial to other production companies that are also struggling. All I know is an honest investigation is needed if they’re going to keep yeeting films out at this rate. We want to root for all horror. However, it’s hard to do that if we’re wondering who is (or is not) in the room for so many important conversations that need to happen.

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