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Exclusive: Adam Robitel Brings Us Back to Classic Slashers in Wicked New Script

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Warning: This article contains graphic imagery…

Campfires were made for scary stories.  The dark surrounds us as the shadows flicker in firelight, and invariably, someone knows a story.  It may be a story we’ve heard a hundred times, but something about the looming trees and primal sounds of the woods still puts chills in our bones and shivers in our spines.

Some of those stories last forever and a mere mention of the name puts us back into those woods.  For many who grew up in the northeastern part of the United States, a singular name is synonymous with campfires and scary stories:  CROPSEY.

In one of his newest scripts, Adam Robitel, writer/director of The Taking of Deborah Logan and director of the upcoming Insidious Chapter 4, has teamed with Old Lime Productions to breathe new life into the terrifying urban legend and, they hope, into the slasher sub-genre of horror films.

Old Lime approached Robitel with the legend and asked him to see what he could do with the infamous story.  They were a newly formed company at the time with an exciting slate of ideas that they hoped would provide content for a variety of the new streaming platforms now available.

“We feel like there is such a need and want for content out there with all these new streaming services coming out practically every month,” says Raymond Esposito of Old Lime, “and we are looking forward to playing in that sandbox.”

However, when faced with the Cropsey legend, the writer/director was, to say the least, stumped.  This was a story that had been told before and had provided inspiration for classic genre films like The Burning and Friday the 13th.  They were great movies, but the story had definitely been “done”, and he admits that the task ahead was daunting.

“I felt like the slasher genre had to come back because it’s all cyclical,” Robitel says.  “Still, I struggled for a long time to find a different way in with the Cropsey legend that felt fresh.  I kept looking at it as the essential cautionary tale and its play on vengeance as a theme.  We’re in a new age, now though, where violence is an internet click away.  It has to be violent but also engaging.  How do I do that?!”

For those unfamiliar with this particular urban legend, it is essentially the granddaddy of all campfire stories originating in Catskill summer camps and dating back to the 1950’s.  Cropsey is essentially the story of an adult male (often a doctor, lawyer, judge, etc.) who was driven to madness when his family was killed (sometimes by accident) in a fire set by a group of teenagers. Most versions of the tale include the fact that Cropsey, himself, was severely burned during his attempt to save his family.  In a state of total blood lust and revenge, Cropsey dons some serious head gear, picks up an ax, and begins tracking down the boys who set fire to his home.

As if often the case with these sorts of tales, Cropsey could not be satiated by his revenge and so he continues to stalk the woods, preying on those who stray too far from the safety of camp.

Does it sound familiar, now?  Pick a slasher out of the 80s and tell me it doesn’t relate…go ahead, I’ll wait.

In most of the stories about him, Cropsey wore an old school gas mask like one might see miners wear…

Still, Robitel did not want to follow the outline of that urban legend completely.  In fact, he toyed with several different plotlines before he finally felt like he’d hit the bull’s eye.

“I went through all kinds of crazy ideas,” he admits.  “I had an alien craft landing and the alien was telepathically enslaving townies and causing them to do crazy things.  I had a period piece set in the 60s that involved an inner city Catholic school group on a camp outing in the Catskills where they ended up being tracked by a wendigo.  Yeah, I might have gone off the edge a couple of times.”

Ultimately, however, Robitel settled on a more basic idea that took the script back to the roots of what the Cropsey legend was all about, and he found the perfect setting in those same Catskill Mountains, now an eerie ghost town of massive abandoned hotels and resorts.

The deserted beauty of the Catskills. Top photos by Walter Arnold; Bottom photo by Andy Milford

A man and his wife, in the midst of marital problems, decide they need a fresh start.  They pack up their family and head into the Catskills intent on restoring one of the old abandoned resorts that still dot the countryside to its original splendor and hopefully do the same to their marriage.  Unbeknownst to them, however, an entire tribe of drug-addled, almost feral people have chosen to squat on the land where their new start sits.

It’s their drug of choice, Krokodil, which makes this tribe so dangerous and so unbelievably terrifying.  I admit I’d never heard of it before speaking with Robitel about the project, but he was quick with details and with pictures to back up his claims.  A derivative of morphine, Krokodil may be the nastiest synthetic drug known to man.  It has a solid 50% morbidity rate and is almost entirely addictive for most after one use.  Unfortunately for those addicts, their flesh begins to become necrotic and most end up dying of sepsis.  The drug, borne in Russia, is now making its way into America and Robitel found that grounding the film’s world in a very real horror was the scariest way forward.

Victims of Krokodil

Of course, these two worlds do not collide easily, nor can they coexist.

“The violence in the script is almost operatic in scale.  I’ve always appreciated that kind of ratcheting violence,” Robitel points out citing Sam Peckinpah, Wes Craven, and the French film Ils (Them) as major influences.

Operatic is exactly the right word for the story he’s telling.  John, the patriarch of the family, slowly sees his own humanity stripped away by the assault of this primitive tribe of addicts in a way that would make Shakespeare’s King Lear or Job from the Bible wince.

“The dad is somewhat complicit in the sin, so to speak,” he says.  “He could have chosen not to react the way he did on their first meeting.  He could have made different decisions, but he’s human and his choices fail him.”

With a completed script that is, in my own opinion, quite terrifying, Robitel and Old Lime are on the lookout now for a director to helm the piece.  Robitel intends to produce alongside the company, and he says his dream would be to find a young director who is capable of handling the violence and tension of the script while preserving the fact that at its core, this is the story of a family faced with a set of circumstances they could never imagine.

Cropsey could easily be the film that sparks a slasher revolution with Old Lime and Robitel at its helm.  It’s the perfect combination of something old mixed with something new and revitalizing, and iHorror will be at the foreground, keeping you posted every step of the way!

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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