10 Classic Horror Movie Flops That Deserve A Modern Remake

Static Media

Remakes are pretty common in the horror genre, but not necessarily popular and not always good. Studios that own classic intellectual properties like “A Nightmare on Elm Street” or “The Texas Chain Saw Massacre” obviously want to monetize them, but longtime fans have a hard time getting past anyone besides Robert Englund as Freddy Krueger or Gunnar Hansen as Leatherface. It’s a problem at least as old as Universal’s classics — Bela Lugosi and Boris Karloff were not the only actors to play Dracula and Frankenstein’s monster, respectively, but they are the names and faces that everyone remembers and loves from the Universal Monsters movies.

So why remake the hits? Why not remake flops instead? Sure, some of those flops may have intense fan bases, but imagine how many more people would love them if the concept were done better the second time around? A clever notion that maybe wasn’t executed as well as it could have been the first time is much better fodder for a remake than an essentially perfect slasher movie like “Halloween.” 
That’s why we’ve assembled a list of 10 classic horror flops that deserve a modern remake, and it’s full of inspired ideas that were spoiled by studio interference, incongruous tonal shifts, poor marketing, and even a sudden death. In all cases, we see the potential there for somebody to try again. After all, sometimes the remakes are even better.

The Monster Squad

Tri-Star Pictures

If every ’80s kid who’s seen Fred Dekker’s “The Monster Squad” had done so in theaters, it would have been a hit. Over time, video, and cable, we’ve gotten to a place where you can now say “Wolfman’s got nards!” to pretty much anyone over 40, and they’ll know what you mean. Promoted as a monstrous take on “Ghostbusters,” it disappointed filmgoers at the time who may have been hoping for something on the same level, and instead they got a movie about a bunch of kids fighting the Universal monsters while making genitalia jokes. On the other hand, it scored one major casting coup — Tom Noonan as Frankenstein’s monster — and it nearly got Liam Neeson as Dracula.

The problem is the same one that would face “Van Helsing” years later: It’s awkward to try to find a logical narrative that incorporates multiple different monsters working for Dracula, unless the approach is one of all-out camp like “Abbott & Costello Meet Frankenstein.” Perhaps a better approach for a remake would be a streaming series — as a movie remake remains officially dead — in which a new group of kids, possibly with at least one legacy member of the original crew, faces a different individual monster each week. Thanks to the Internet, children today have access to more knowledge and folklore than ever, and would certainly think they can outsmart a traditional monster. Forcing them to put that knowledge into practice could lead to some fun set-ups.

The Stuff

New World Pictures

If the parasitic cordyceps fungus in “The Last of Us” were a delicious, low-calorie dessert, it would be “The Stuff.” Bubbling up from underground, this tasty, highly addictive, yogurt-like dessert turns its devotees into zombiefied hosts, allowing the white paste to reproduce, burst out of the body, and find more.

The late Larry Cohen’s 1985 horror-comedy was a pointedly grotesque satire of ’80s diet culture, but New World Pictures, who distributed, were expected more of a frightening gorefest and (mis)marketed it that way. Even on its own terms, it’s not entirely successful — what begins as a creepy parable turns into a largely formulaic military-versus-aliens battle by the end. However, it is a great premise, and the success with both audiences and critics of “The Substance” in 2024 shows there are ways to execute a concept like this which succeeds as both satire and gross-out body horror. Plus, of course, there’s “The Last of Us.”
As the jingle in the movie tells us, “One lick is never enough… of The Stuff!” With diet culture changing forms into injectable medications rather than prepackaged diet foods these days, “The Stuff” in a modern remake could look a lot more like Ozempic. Scott Bloom, the child actor who starred in the original, is now a producer with Argonaut Pictures, and it could get the wheels in motion (if they aren’t already).

Lifeforce

TriStar Pictures

Everyone who’s seen Tobe Hooper’s “Lifeforce” remembers one thing about it: naked vampire lady walking! If they remember more than one thing, it’s that Patrick Stewart was in it too, getting his first on-screen kiss. A movie about vampires from outer space has the potential to be more memorable than that. Indeed, it’s loosely based on Colin Wilson’s novel “The Space Vampires,” a title that sells the concept a bit more blatantly; Wilson himself was not pleased with the film. His story featured more Lovecraftian energy vampires and was set in the future, while Hooper’s hewed closer to traditional lore. Hooper made the movie as part of a three-picture deal with Cannon, and  the other two, “Invaders From Mars” and “the Texas Chainsaw Massacre 2,” remain more beloved cult classics, while “Lifeforce” was a semi-miss.

Rather than remake Hooper’s film, a studio today might want to consider re-adapting Wilson’s novel. Though it begins by using classic vampire imagery with bats and castles, the reveal that they come from a higher race of energy beings amps things up a level, and the fact that they possess the body of the UK Prime Minister dovetails nicely into our current skepticism of leaders. Regardless, there’s one thing that can’t change: naked vampire lady walking scene, or the fans riot!

Dust Devil

PolyGram Video

Following his well-liked debut feature film “Hardware” in 1990, South African director Richard Stanley dug up a screenplay he’d written at age 16 to make “Dust Devil,” his follow-up. “Hardware” had been made to prove he could do a commercial film; “Dust Devil” was supposed to be his vindication that the weirder scripts previously rejected by distributors were worth making. Things didn’t quite work out that way.

Inspired by the true story of a mysterious, never-caught South African serial killer, Stanley reimagined him as a hallucinogenic, supernatural force, played by “RoboCop 3” star Robert John Burke. Yet the director didn’t conceive of it strictly as a horror movie, but also a bit of a Western, a giallo, and even a topical history film. None of which really came through when his 120-minute workprint was shaved down to 85 minutes by the producers, among them the notorious Harvey “Scissorhands” Weinstein. Like many horror movies to pass through the now-disgraced mogul’s hands, it’s a film that starts off well, then gets completely incomprehensible by a slashed-to-bits ending.
Stanley’s director’s cut ultimately came to DVD, giving it artistic justice but not financial success. The original concept, and perhaps the real serial killer story, remain ripe for re-adaptation. In the years since, however, Stanley has faced abuse allegations by his ex-girlfriend and collaborator — since dismissed by a French court — so the question of whether anyone else wants to touch his creation at the moment remains an open one.

Shocker

Universal Pictures

By 1989, director Wes Craven’s most famous character, Freddy Krueger, had gone from being a terrifying bogeyman to a pop culture icon, one whom movie fans were now rooting for rather than against. He hoped with “Shocker” to create a new maniac who actually would scare audiences in the manner Freddy once had. Horace Pinker, played by future “X-Files” star Mitch Pileggi, was a serial killer executed in the electric chair who promptly returns from the dead as pure electrical energy. The result was not one of Craven’s best movies.

“Shocker” made a not-terrible $16.5 million at the time, though it failed to spawn a franchise or turn Horace Pinker into a new horror icon. Craven, and his young star Peter Berg, who plays Pinker’s secret son Jonathan, long wanted a chance to remake it, citing drastic cuts by the MPAA and special effects that were rushed and ruined after the visual effects supervisor had a nervous breakdown. Now a director of realistic action-thrillers, albeit with plenty of love for the good old ultraviolence, Berg might have an interesting take on the material were he to decide to take it on today. With Berg’s frequent muse Mark Wahlberg recently shaving his head to play a villain for “Flight Risk,” we might even have the perfect choice for a new Pinker right there.

Q: The Winged Serpent

United Film Distribution Company

For ’80s horror fans, “Q” might have been the first they ever heard of Quetzalcoatl, the Aztec serpent deity who has become a semi-regular fixture in genre cinema and TV ever since. In it, a distinctive stop-motion monster snacks on skyscraper denizens while its high priest conducts ritual murders. Only a strung-out crook (Michael Moriarty) can lead the cops (fronted by David Carradine and Richard Roundtree) to the secret nest in the Chrysler building. A reverse-“King Kong” finale sees the monster flying around a distinctive building top as stationary gunners on the roof shoot it to death. 

A rare combination of retro throwback monster movie and modern horror-comedy, it was a mix that didn’t hit with audiences at first, but gained appreciation on video over time. It grossed approximately $255,000 in limited theatrical release, on a $1.2 million budget.
This second Larry Cohen film to make our list was another concept before its time. With Mexican culture more integrated into the zeitgeist than ever before, now would be the perfect time for someone like Robert Rodriguez to produce a new take on a killer Quetzalcoatl, making good on the sequel tease that never went anywhere at the end of the 1982 film. Moriarty, now in his 80s, could come back and make it a legacy sequel.

The Keep

Paramount

Before his acclaimed TV runs on “Miami Vice” and “Crime Story,” and years prior to becoming the acclaimed director of “Heat” and “The Insider,” Michael Mann made a movie about Nazis unleashing a demon in an abandoned castle. Even back then, working in the horror genre, his penchant for long run-times was baked into his technique, with an initial director’s cut running three and half hours. Even today that might be a tough sell for Mann; back then, it would have been unheard of for a genre guy. Paramount chopped it down to about an hour and a half and released it without a fully finished sound mix, leaving much of the dialogue barely audible. It didn’t help matters that the visual effects supervisor died two weeks into post-production. Today, “The Keep” is nonetheless a cult favorite.

Technically, “The Keep” has been remade already, as a graphic novel by Heavy Metal’s Magma Comix. Writer F. Paul Wilson, who penned the original novel, did the script for this 2006 adaptation himself, feeling that it was what the movie should have been. Much like with Disney’s “The Black Cauldron,” however, an additional incentive to remake “The Keep” is the franchise potential — it’s part of a cycle of seven books collectively known as The Adversary Cycle, which in turn spun off an additional series of novels featuring supernatural fixer Repairman Jack. That seems like valuable IP, and with Greg Nicotero set to direct an official remake, there are possibilities aplenty.

The Tingler

Columbia Pictures

“The Tingler,” about a centipede-like creature powered by fear but vulnerable to screams, is a movie better known for its major promotional gimmick, dubbed “Percepto,” than any aspect of the actual filmmaking. Director William Castle, know for his publicity stunts and unique effects, wired some seats in certain movie theaters with small motors, and for a scene in which the monster gets loose in a theater as part of the story, random viewers would feel a buzzing in their butts as if the tingler were attacking them directly.

The movie deserves better — as subsequent screenings on “Svengoolie” and similar outlets have shown, it’s a supremely weird film, inspired by screenwriter Robb White’s experimentation with (then-legal) LSD, and an encounter (independently) with a giant centipede. It’s the first major movie to depict anybody dropping acid, and Vincent Price sells the hell out of not only the obviously rubber monster, but his character’s bitter, sarcastic marriage as well.
Large centipedes remain terrifying and legitimately dangerous, so the notion of one that wraps itself around one’s spine feels like a potent hook on which to rejuvenate the property. Maybe tie it in to the topical headlines of states that are attempting to legalize hallucinogens. There’s no replacing Vincent Price, nor should anyone try to, but Jeffrey Combs would be a fantastic successor.

The Horror Show

MGM/UA

“The Horror Show” was technically made as “House III,” but it turned out to be so different from the previous installments that United Artists released it in the U.S. as its own thing. Where the first two “House” movies were horror-comedies heavy on creature effects (and in each case featuring a different actor from “Cheers” as comic relief), “The Horror Show” took a darker tone, focusing in the ghost of a single executed serial killer named Max Jenke, who terrorizes the home of Detective Lucas McCarthy, the man that caught him in the first place. Not unlike Horace Pinker in “Shocker,” Jenke had made a deal with the devil prior to his electrocution.

It isn’t so much the plot and the formula that stand out, however, as the fact that Jenke is played by Brion James and McCarthy by Lance Henriksen, two of the great “I know that face!” character actors of the ’80s, now both rightfully acclaimed (though James has since passed). Jenke does some interesting shape-shifting in a way that makes this a little different from standard cop versus crook stuff; a nifty gimmick that might not work in the hands of lesser performers. To put it in today’s terms, imagine an update with, say, William Fichtner being stalked by the ghost of Burn Gorman. The legalities of it being sort-of a “House” sequel might tie up remake rights, but what the hell — why not make a more official “House” update as well?

Nightbreed

20th Century Studios

A horror-fantasy directed by Clive Barker from his novel “Cabal,” costarring David Cronenberg, and featuring concept art by “Star Wars” visualizer Ralph McQuarrie sounds like something that ought to be a hit, right? It wasn’t, but that’s not due to a lack of creativity. A young man named Boone (Craig Sheffer) dreams of a home for monsters called Midian and sees psychiatrist Dr. Decker (Cronenberg) for it. Unbeknownst to him, however, Decker is a serial killer framing Boone, and Midian is real. When Boone later comes back to life after being shot, he realizes he is a monster who belongs in Midian and must save it from humans who wish to destroy it.

Once again, studio editing made the movie’s ending incomprehensible. Morgan Creek Productions were hoping for a more typical scary horror movie; Barker gave them a metaphor for gay men scaring the straights, fleeing small towns to the city, and finding their tribe. While most of the confusion has been cleared up in a director’s cut assembled by Scream Factory, the box-office damage was done. Additionally, visual effects of the time were way behind what Barker wanted to do with the monsters, so they’re mostly created by (admittedly original and awesome) makeup. With digital enhancements, however, his imagination could truly go wild. Michael Dougherty has been attached to a possible TV version for four years now. Meanwhile, “Cabal” remains on bookshelves everywhere, waiting for another adaptation in a world that better appreciates Barker’s queer metaphors.

A New Way To Treat Obesity? Scientists Discover Brain Molecules That Control Food Cravings

Université de Montréal researchers found that inhibiting ABHD6 in the brain reduces weight gain by boosting activity and lowering food intake in mice. This discovery could lead to obesity and diabetes treatments.
Researchers at CRCHUM found that targeting the enzyme ABHD6 in specific brain regions of mice reduces obesity without causing anxiety or depression. This discovery may lead to novel therapies for obesity and metabolic disorders.
Endocannabinoids in the brain are critical regulators of food intake and energy expenditure. Researchers at Université de Montréal’s affiliated hospital research center (CRCHUM) suggest that targeting these molecules could offer new strategies to combat obesity.
For years, Dr. Stephanie Fulton, a medical professor at Université de Montréal, and her team have been studying the mechanisms within the human nervous system that drive eating behavior, physical activity, and the interplay between metabolism and mood.
Their latest discovery, published in Nature Communications, takes that knowledge a step further.
In their study, first co-authors David Lau, an Université de Montréal doctoral student, and Stephanie Tobin, a former postdoctoral fellow, show that body-weight control in mice is strongly modulated by neurons in the nucleus accumbens, a region of the brain that’s rich in endocannabinoids and that helps regulate food reward and physical activity.
In the brain, the enzyme ABHD6 degrades a key endocannabinoid molecule known as 2-arachidonoylglycerol (2-AG).
Stephanie Fulton, a CRCHUM researcher and professor at Université de Montréal, with David Lau, a doctoral student in Fulton’s laboratory. Credit: CHUM
With the discovery in 2016, that whole-body inhibition of ABHD6 reduced body weight and protected against diabetes—a finding made by the team of Marc Prentki, a researcher at the CRCHUM—the question arose as to what this enzyme does in the brain to affect appetite and body weight.
“We expected that increasing 2-AG levels would stimulate food intake by increasing cannabinoid signaling, but paradoxically found that when we deleted the gene encoding ABHD6 in the nucleus accumbens in mice, there was less motivation for food and greater interest in physical activity,” said Fulton.
“The mice chose to spend more time on a running wheel as compared to the control group which became obese and lethargic.”
By injecting a targeted ABHD6 inhibitor into the brains of mice, her team was able to completely protect them from weight gain and obesity.
Can have opposite effects
The ability to target specific neuronal pathways in the brain to control weight is crucial for scientists today. Depending on the area of the brain targeted, inhibiting ABHD6 can have opposite effects.
In 2016, Fulton and her CRCHUM colleague Thierry Alquier showed that blocking ABHD6 in certain hypothalamic neurons made mice resistant to weight loss.
In the current study, however, the authors show that brain-wide inhibition of this molecule has a net effect of diminishing weight gain on a high-fat diet.
No signs of anxiety
“In our study, we also show that mice in which the gene encoding ABHD6 has been inhibited do not show signs of anxiety and depressive behavior,” said Fulton.
This is important given that Rimonabant, a weight-loss drug that targeted cannabinoid receptors in the central nervous system, was withdrawn from the market in the late 2000s after people taking the drug reported strong side effects: depression and suicidal tendencies.
Fulton’s team’s latest work helps pave the way for therapies to fight obesity and metabolic disorders such as type 2 diabetes, the scientists believe.
While ABHD6 drug inhibitors are being screened, it remains to be seen whether the mechanisms targeted by the researchers in mice will be the same in humans.
Reference: “ABHD6 loss-of-function in mesoaccumbens postsynaptic but not presynaptic neurons prevents diet-induced obesity in male mice” by David Lau, Stephanie Tobin, Horia Pribiag, Shingo Nakajima, Alexandre Fisette, Dominique Matthys, Anna Kristyna Franco Flores, Marie-Line Peyot, S. R. Murthy Madiraju, Marc Prentki, David Stellwagen, Thierry Alquier and Stephanie Fulton, 16 December 2024, Nature Communications.DOI: 10.1038/s41467-024-54819-5
Funding: Canadian Institutes of Health Research, Montreal Diabetes Research Center, Diabetes Québec, Fonds de recherche du Québec

Matthew Cossolotto Unveils the Ebenezer Effect – Reveals Life-Changing, Stoic Lessons from Dickens’ Ebenezer Scrooge

Matthew Cossolotto Unveils the Ebenezer Effect – Reveals Life-Changing, Stoic Lessons from Dickens’ Ebenezer Scrooge – Politics News Today – EIN Presswire Trusted News Since 1995 A service for global professionals · Sunday, December 22, 2024 · 771,189,146 Articles · 3+ Million Readers News Monitoring and Press Release Distribution Tools News Topics Newsletters Press Releases…

Made-for-TV movie filmed in East Aurora premiering on Great American Family channel tonight

A movie filmed in East Aurora earlier this year will premiere on the Great American Family (GFA) channel at 8 p.m. tonight, Sunday, Dec. 22.
The film, “A Royal Christmas Ballet”, tells the story of a retired ballerina who is pressed into service working with a visiting team of royal ambassadors to put on the season’s performance of “The Nutcracker” – only to find herself center stage in an unexpected Christmas romance.
The film stars Brittany Underwood, known for her decade-long run on the soap opera, “One Life to Live,” and Jonathan Stoddard. The two actors also starred in another locally filmed movie, “A Royal Christmas Holiday”, which premiered last year. Both films were written and directed by Fred Olen Ray.
“A Royal Christmas Ballet” marks Ray’s seventh film shot in Buffalo.
“A Royal Christmas Ballet” will also feature a cameo from Tonawanda High School sophomore Allyson Kaeselau – who will appear in the film as a dancer. The movie’s creators had reportedly reached out to Kaeselau’s dance company, the Royal Academy of Ballet & Dance in Buffalo, to provide dancers for a group dance scene.
Evergreen Hills Christmas Tree Farm in Holland will also be featured.
Owned by Bill Abbott, former CEO of the Hallmark Channel’s parent company, Crown Media Family Networks, GFA is positioned as a family-oriented channel with original series and movies reflecting, “American culture, lifestyle and heritage”, and emphasizing “relationships and the emotional connections related to holidays, seasons and occasions”.
In 2022, GFA channel notably added “Full House” actress Candace Cameron Bure as their Chief Creative Officer and has since signed multi-picture deals with several former Hallmark actors including Danica McKellar of “The Wonder Years”, actor and television host Mario Lopez and Lori Loughlin – who starred alongside Bure in “Full House” and its spin-off “Fuller House”.
GFA is available through several cable providers as well as through several streaming services, including Hulu and Sling TV.
Encore presentations are slated for 8 a.m. Tuesday, Dec. 24 and 6 p.m. Wednesday, Dec. 25.
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What’s Next for Lara Trump?

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