Maybe Not Every Public Domain Character Needs Their Own Horror Film?
Photos via Jagged Edge Productions
As Paste’s longtime resident genre geek, it should probably go without saying that I love horror cinema. I also love schlock, whether we’re specifically talking about cheapo, exploitative horror fare or so many other little niches of the film world that qualify on a schlocky front. But even as someone who has produced literally hundreds of horror essays for Paste over the years, often on films that can’t reasonably be labeled as anything other than trash, there’s something about the modern, low-budget horror cannibalization of the world of public domain children’s fare that I can’t help but find inherently distasteful. Not because these filmmakers have committed some unforgivable act by daring to stick a knife into the hand of a childhood icon, mind you, but because the exercise is then recycled and repeated in such trite, lazy, repetitive fashion. From the depressing precedent of Winnie-the-Pooh: Blood and Honey, through a deeply confusing wave of Mickey Mouse-baiting trash horror, to the upcoming, newly unveiled Bambi: The Reckoning, what starts as a fleetingly amusing, edgy joke (for about half a second) immediately bogs down into a morass of bottom-of-the-barrel, cynical imitation. Do I blame horror geeks for being a little curious when they see one of these posters? Not really. They’re well-made posters! But who exactly is amused by this gag not just once, but dozens of times?
The baseline aversion I feel looking at these films is notable in and of itself, given that the horror genre is not exactly opposed to repetition and the embrace of familiar tropes: Repetition is in the genre’s DNA. Most of us horror geeks still can’t resist well-constructed slasher fare, or the done-to-death familiarity of possession horror, or even the bargain bin of B-grade shark movies, which I once referred to as horror’s lowliest but most unkillable subgenre. But with any of those films, which are so often independent, low-budget features, one can at least typically put themselves in the headspace of the filmmaker in an earnest enough way to imagine how the result you’re watching could be a passion project, or an expression of that filmmaker’s genuine fondness for the material or the genre–anything other than a purely commercial enterprise. Try doing that for Blood and Honey or any of the last year’s crop of Mickey horror cinema, and it’s borderline impossible: This is pure, cynical commercialism that has been transplanted to a small scale, attempting to pass itself off as a critique of large-scale commercialism while also appealing to audience nostalgia. These movies aren’t being made by renegade filmmakers thumbing their noses at Disney’s business practices; they’re being made by guys who envy Disney resources and profit margins, who want some small piece of that pie for themselves, no matter how meager the piece might be. The guy rushing a Mickey Mouse horror movie into production in the hopes of beating half a dozen others to market? He’ll take what he can get; nor does he care much about what he’s throwing onto the screen.
That’s the problem with these films: They can’t justify their existence without the IP they’re tied to at the hip. If Blood and Honey had been produced without the ability to use the term “Winnie-the-Pooh” and described as “a killer bear man and pig man kill some people,” would anyone have bothered to make the time to watch the exact same film? Of course not. If a killer deer movie was called White-Tailed Rampage rather than Bambi: The Reckoning, who would make the time to take a second glance? No one. The quality of the films themselves are entirely incidental; only the IP ends up mattering.
This kind of public domain dumpster diving has always existed, but it was really 2023’s Winnie-the-Pooh: Blood and Honey that codified how filmmakers could hope to make a quick return on investment with this sort of millennial nostalgia-baiting horror premise. The key, as they quickly came to realize, was a particular form of “oh my, isn’t this so transgressive?!?” faux outrage, which media outlets were all too happy to provide when writer-producer-director Rhys Frake-Waterfield first unveiled his “killer Winnie-the-Pooh” creation, the 1926 Winnie-the-Pooh book from author A. A. Milne having entered the public domain in the U.S. the prior year. Film industry outlets that typically would have had nothing to do with some cheapo, $100,000 budgeted slasher movie were breathless in their headlines, helping Blood and Honey to generate awareness stretching far beyond the typical genre blogs and news aggregators. “Did you hear about that Winnie-the-Pooh horror movie?”, people would excitedly ask me throughout 2023. “I heard that it’s, you know … dark. Apparently he kills people, which is well outside his typical behavior in the cartoons I fondly remember from my ‘90s childhood. Perhaps now as a jaded 35-year-old, his knife-wielding antics will give me a brief moment of ironic joy?” The film bowled its way into theaters, and despite scathing reviews even from inveterate horror geeks, generated an absurd $7.7 million gross. All in all, it was a triumph of marketing making up for an entirely lackluster actual product, one that has now launched an entire cinematic universe.
No really, they have a logo and everything.