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Indie Movie Review: ‘Headless’ (The Spin-Off of ‘Found’)

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2014 finally brought Scott Schirmer’s Found to a wider audience, along with the announcement that its film within a film, Headless, would go into production thanks to a successful Kickstarter campaign. I had the good fortune of attending Found’s premiere in Indiana back in 2012, and as soon it was over, people were already asking if Schirmer and crew would make a standalone feature of Headless. It left that big of an impression (it also led to Found being banned in Australia).

Schirmer actually worked on Headless in the capacities of co-producer and co-editor, and let Arthur Cullipher, who led the gore effects on Found, take over directorial duties. The result is a film that makes use of its micro-budget just as efficiently as Found, while taking on a wildly different feel. It does maintain the feel the original Headless segment set up wonderfully, and takes it to new extremes and into the territory from which the original was truly inspired. That would be the insane and sometimes hard-to-find bloodbath flicks of the seventies and early eighties.

When I interviewed screenwriter Nathan Erdel (Todd Rigney, who wrote Found sat this one out) about the direction he planned to take Headless in back in July, he mentioned films like The Last House on Dead End Street and The Headless Eyes – both somewhat obscure and nutty films from the aforementioned era. Having seen the final product, I can tell you the whole team did a fantastic job of capturing that feel. I’d add that I couldn’t help but think about the original Maniac and Texas Chainsaw Massacre at times as well. To be clear, Headless doesn’t borrow too heavily from any of these films directly. It just has that old, dirty feel.

Yes, like Found, it’s low budget, so if you’re looking for some polished Hollywood fare, you’re looking in the wrong place. Quite frankly, too big a budget would probably only hurt a movie like this anyway. If you’ve seen Found, then you’ve seen what Headless is about, and Headless the feature perfectly extends that universe right into an hour and a half of depravity that never has a dull moment. It even manages to work some genuine creepiness in beyond the obvious slasher and gorefest elements you already know you’ll be consuming. This is helped with the introduction of a new “character” known (though not referred to in the movie by name) as “Skullboy”.

skullboy from headless

Skullboy would be our killer’s subconscious/imaginary friend, who kind of serves as a guide on his path of mayhem. This could be silly if not handled right, but it’s handled so, so right. It gives us another character to watch, and helps illustrate the killer’s extremely fucked state of mind and backstory.

The gore effects are fantastically fun, and are even elevated from what we saw in Found, and that’s a very good thing as Headless is certainly a showcase of practical effects.

Where it differs significantly from its seventies inspirations is that it never drags or feels like it’s going on too long. For a movie with so much severed head intercourse, somehow it never feels overplayed. There are also some moments of humor, which probably help in that department as well.

The score and other music work wonderfully, and help create the perfect complement to the trippy visuals, while the acting is right where it needs to be for this kind of film.

Keep in mind, Headless is literally supposed to be a movie from 1978. That’s the tape Found’s characters watched in that film. The real Headless is meant to be that very movie (though it does play out a bit differently than the original tape did – in a totally good way).

Ultimately, Headless is an entertaining slasher film for those who appreciate horror that takes things further than the norm. I would highly recommend anyone who hasn’t seen Found watch that first, because it gives you the context for what Headless is actually trying to be. Still, I believe it stands just fine on its own.

I’ve been waiting for this movie for nearly three years, and I couldn’t be happier with the result. I don’t have a release date for you yet, but it’s getting its premiere on Saturday at Culture Shock in Indianapolis.

You can read our interviews with Cullipher and Shane Beasley, who plays the Headless killer (in both movies) here, and our interviews with Schirmer and co-producer Kara Erdel here and here respectively.

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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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