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Scene Stealers: 10 Horror Sidekicks Who Stole the Show

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While villains and heroes often hog the spotlight, the supporting characters rarely get the appreciation that their due. But a supporting character, and sidekick, are extremely important to the story. Not only must they back up the main characters, but they’re often the ones that deliver important exposition, expand the mystery, offer much higher dramatic stakes, and more than not, bring comedic levity. We laugh with them and we get upset if they’re killed, because let’s face it, a sidekick is far more expendable than the hero. Sometimes, though, a sidekick comes along that is so great that they manage to outshine the lead players. In honor of the sidekick, and especially the ones that manage to steal the film out from under the heroes and villains, here’s horror’s best:


Fright Night – Evil Ed

In a film with Roddy McDowall and Chris Sarandon, Stephen Geoffreys holds his own and then some as the scene-stealing Edward “Evil Ed” Thompson. He also pulls double duty on the sidekick front, first as best pal to lead protagonist Charley Brewster, and then as a right-hand man to lead vampire Jerry Dandridge once turned. Evil Ed has a distinct laugh, a slightly warped sense of humor, an affection for horror movies, and a distaste for Charley’s girlfriend Amy; all reasons we end up loving and rooting for Ed. We love him even more as a vampire, something he clearly enjoys being. But most of all, we love his one-liners, and Geoffreys’ delivery of them. “Oh, you’re so COOL, Brewster!”


Jaws – Quint

Chief Brody may be the lead protagonist of this Steven Spielberg classic, but it’s Robert Shaw and his portrayal of grizzled shark hunter Quint that steals our hearts. An integral part of the team, Quint brings a lot of wisdom as captain of the Orca, and just a ton of character. He’s the perfect counterpart to meek oceanographer Matt Hooper (Richard Dreyfuss), and his stubborn resilience makes him perfect for hunting the elusive man-eating shark. But it’s his three-and-a-half-minute speech about his time served aboard the USS Indianapolis during World War II, in which he and shipmates delivered the Hiroshima bomb, that’s utterly captivating. It’s a scene-stealing monologue delivered by fantastic Shaw that makes this one of cinema’s best scenes ever. Of all the victims of Jaws, Quint’s really stung.


The Texas Chainsaw Massacre 2 – Chop Top Sawyer

Sometimes even the bad guys get sidekicks, and in this over the top sequel, the iconic Leatherface couldn’t hold his own against his brother Chop Top. A deranged Vietnam vet with a metal plate in his head thanks to a “lucky gook with a machete,” he was initially conceived to be the Hitchhiker, before evolving into his more deranged twin. What really made Chop Top a scene stealer though, was Bill Moseley’s scene-chewing performance, clearly enjoying every minute of it. Tobe Hooper enlisted Moseley for the part after the actor played the role of The Hitchhiker in a short film parody of the first film, and we’re glad he did. Chop Top also wins for being the rare sidekick to outlast the lead; the final battle is between Chop Top and Stretch after Sawyers and Lefty are killed in an explosion.


An American Werewolf In London – Jack Goodman 

The sarcastic best friend to straight-man turned werewolf David Kessler, Jack steals every scene he’s in. As the undead cursed to plague David until the werewolf lineage ends, Jack serves both as the moral compass and comedic relief. That every appearance marks a drastic deterioration in Jack’s undead condition further elevates the anticipation for any scene with this scene-stealing sidekick. As great as David’s twisted journey with his werewolf curse is, and his romance with Nurse Alex, it’s Jack’s winning personality that makes him easier to empathize with.


Saw – Amanda Young

Shawnee Smith’s appearance as Amanda Young was so brief and minor by comparison, as the only known survivor of the Jigsaw Killer, but so memorable that she returned for the second and third entry in a much bigger role. Revealed to be Jigsaw’s righthand woman, Amanda managed to be one of the series most sympathetic characters, despite her trap-setting work. Much of that was Smith’s performance, but it also had a lot to do with the fact that Amanda rarely killed out of spite, something most in line with Jigsaw’s mission statement. Of all the apprentices that have come and gone, the one that fans most want to see return is Amanda. Considering how iconic Jigsaw and his puppet are, that’s no small accomplishment.


Get Out – Rod Williams

Rod Williams is the type of best friend that all best friends should aspire to. That he deftly handles the task of comedic relief assigned to nearly all sidekicks isn’t what makes him a scene stealer, though, but his tireless quest to keep his friend out of harm’s way. It begins with the warnings out of concern, before Chris sets off for his girlfriend’s parents. He keeps tabs on Chris, too, making sure his friend is ok with constant communication. He’s even willing to make himself look like a fool at the police station when that communication goes silent. His detective work shows he’s much smarter than he’s given credit for, too. If somehow none of that is enough to convince you of he steals the show, then the scene in which he swoops in to save the day, allowing the audience to release the breath they were holding, solidifies it. Rod Williams ends the film as the MVP.


Cabin In the Woods – Marty Mikalski

In keeping with Joss Whedon’s dissection of horror tropes, Marty Mikalski begins the film as the stoner sidekick before eventually transitioning into unlikely hero. Designated to play the part of The Fool, Marty is meant to poke fun of the idiot teens that exist in a lot of horror. His stash of marijuana-laced by the Chem Department of The Facility running the ritual for The Ancient Ones to make him more suitable for the role, but a hidden, untampered with stash meant he was the first to break type and piece together what was really happening to his friends. It wasn’t the Scholar or the Athlete that determined the fate of the world, but The Fool, an archetype that’s usually reserved for early deaths. It also helped that Marty was played by the hilarious Fran Kranz, an actor with a penchant for sarcastic delivery.


Day of the Dead – Bub

The domesticated zombie creation of George A. Romero, Bub isn’t the sidekick of lead protagonist Dr. Sarah Bowman, but her colleague Dr. “Frankenstein” Logan. There’s a strangely beautiful friendship between the pair, as Dr. Logan hopes to bring the docile zombie back toward humanity. Bub loves music, saluting soldiers, and the companionship of his friend. Bub represents an innocence amidst the corruption of the soldiers in Fort Myers, and we grieve with him when he finds the corpse of his friend. While all of this would be enough to earn Bub the title of scene-stealer, it’s his oh-so-gratifying revenge upon Captain Rhodes that makes him the best character in the film.


Bone Tomahawk – Chicory

A case could be made for Richard Jenkins as a scene stealer any of his horror roles, from Let Me In to The Shape of Water; he’s that good.  But it’s his role as the bumbling backup town deputy, Chicory, that wins. His friendship with Sheriff Hunt (Kurt Russell) provides an emotional center, but most importantly, it helps the long stretch as the film’s main foursome ride across the Wild West to rescue captives from troglodytes. Chicory is amusingly chatty, much to the dismay of many in the party, and Jenkins’ brilliantly gives his blundering character a ton of heart. Because it takes a long while before the horror kicks in, we needed Chicory’s hilarious banter with stoic Sheriff Hunt. It’s hard to stand out when Kurt Russell is playing the lead, but Richard Jenkins does with seemingly effortless ease. Chicory didn’t even have to steal the show with heroic acts; he just had to be played by the always great Richard Jenkins.


Scream – Randy Meeks

While Matthew Lillard was a serious contender as scene stealer for his turn as the killer’s sidekick and best friend Stu Macher, it was ultimately Jamie Kennedy as Randy Meeks that stole the show. Close friend of final girl Sidney Prescott (Neve Campbell), Randy’s geeky, movie-obsessed personality was not only endearing but it made him a vital asset; his movie knowledge meant much-needed exposition for both Sidney and the audience. The biggest reason Randy resonated so strongly with horror fans, though, is that he was our proxy. Randy was the avatar of every horror fan, and reminded us that we weren’t alone in our fandom. One of Wes Craven’s most brutal kills was that of Randy Meeks in Scream 2. We’re still not over it.

Horror journalist, RT Top Critic, and Critics Choice Association member. Co-Host of the Bloody Disgusting Podcast. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon and SeriesFest.

Editorials

‘Amityville Karen’ Is a Weak Update on ‘Serial Mom’ [Amityville IP]

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Amityville Karen horror

Twice a month Joe Lipsett will dissect a new Amityville Horror film to explore how the “franchise” has evolved in increasingly ludicrous directions. This is “The Amityville IP.”

A bizarre recurring issue with the Amityville “franchise” is that the films tend to be needlessly complicated. Back in the day, the first sequels moved away from the original film’s religious-themed haunted house storyline in favor of streamlined, easily digestible concepts such as “haunted lamp” or “haunted mirror.”

As the budgets plummeted and indie filmmakers capitalized on the brand’s notoriety, it seems the wrong lessons were learned. Runtimes have ballooned past the 90-minute mark and the narratives are often saggy and unfocused.

Both issues are clearly on display in Amityville Karen (2022), a film that starts off rough, but promising, and ends with a confused whimper.

The promise is embodied by the tinge of self-awareness in Julie Anne Prescott (The Amityville Harvest)’s screenplay, namely the nods to John Waters’ classic 1994 satire, Serial Mom. In that film, Beverly Sutphin (an iconic Kathleen Turner) is a bored, white suburban woman who punished individuals who didn’t adhere to her rigid definition of social norms. What is “Karen” but a contemporary equivalent?

In director/actor Shawn C. Phillips’ film, Karen (Lauren Francesca) is perpetually outraged. In her introductory scenes, she makes derogatory comments about immigrants, calls a female neighbor a whore, and nearly runs over a family blocking her driveway. She’s a broad, albeit familiar persona; in many ways, she’s less of a character than a caricature (the living embodiment of the name/meme).

These early scenes also establish a fairly straightforward plot. Karen is a code enforcement officer with plans to shut down a local winery she has deemed disgusting. They’re preparing for a big wine tasting event, which Karen plans to ruin, but when she steals a bottle of cursed Amityville wine, it activates her murderous rage and goes on a killing spree.

Simple enough, right?

Unfortunately, Amityville Karen spins out of control almost immediately. At nearly every opportunity, Prescott’s screenplay eschews narrative cohesion and simplicity in favour of overly complicated developments and extraneous characters.

Take, for example, the wine tasting event. The film spends an entire day at the winery: first during the day as a band plays, then at a beer tasting (???) that night. Neither of these events are the much touted wine-tasting, however; that is actually a private party happening later at server Troy (James Duval)’s house.

Weirdly though, following Troy’s death, the party’s location is inexplicably moved to Karen’s house for the climax of the film, but the whole event plays like an afterthought and features a litany of characters we have never met before.

This is a recurring issue throughout Amityville Karen, which frequently introduces random characters for a scene or two. Karen is typically absent from these scenes, which makes them feel superfluous and unimportant. When the actress is on screen, the film has an anchor and a narrative drive. The scenes without her, on the other hand, feel bloated and directionless (blame editor Will Collazo Jr., who allows these moments to play out interminably).

Compounding the issue is that the majority of the actors are non-professionals and these scenes play like poorly performed improv. The result is long, dull stretches that features bad actors talking over each other, repeating the same dialogue, and generally doing nothing to advance the narrative or develop the characters.

While Karen is one-note and histrionic throughout the film, at least there’s a game willingness to Francesca’s performance. It feels appropriately campy, though as the film progresses, it becomes less and less clear if Amityville Karen is actually in on the joke.

Like Amityville Cop before it, there are legit moments of self-awareness (the Serial Mom references), but it’s never certain how much of this is intentional. Take, for example, Karen’s glaringly obvious wig: it unconvincingly fails to conceal Francesca’s dark hair in the back, but is that on purpose or is it a technical error?

Ultimately there’s very little to recommend about Amityville Karen. Despite the game performance by its lead and the gentle homages to Serial Mom’s prank call and white shoes after Labor Day jokes, the never-ending improv scenes by non-professional actors, the bloated screenplay, and the jittery direction by Phillips doom the production.

Clocking in at an insufferable 100 minutes, Amityville Karen ranks among the worst of the “franchise,” coming in just above Phillips’ other entry, Amityville Hex.

Amityville Karen

The Amityville IP Awards go to…

  • Favorite Subplot: In the afternoon event, there’s a self-proclaimed “hot boy summer” band consisting of burly, bare-chested men who play instruments that don’t make sound (for real, there’s no audio of their music). There’s also a scheming manager who is skimming money off the top, but that’s not as funny.
  • Least Favorite Subplot: For reasons that don’t make any sense, the winery is also hosting a beer tasting which means there are multiple scenes of bartender Alex (Phillips) hoping to bring in women, mistakenly conflating a pint of beer with a “flight,” and goading never before seen characters to chug. One of them describes the beer as such: “It looks like a vampire menstruating in a cup” (it’s a gold-colored IPA for the record, so…no).
  • Amityville Connection: The rationale for Karen’s killing spree is attributed to Amityville wine, whose crop was planted on cursed land. This is explained by vino groupie Annie (Jennifer Nangle) to band groupie Bianca (Lilith Stabs). It’s a lot of nonsense, but it is kind of fun when Annie claims to “taste the damnation in every sip.”
  • Neverending Story: The film ends with an exhaustive FIVE MINUTE montage of Phillips’ friends posing as reporters in front of terrible green screen discussing the “killer Karen” story. My kingdom for Amityville’s regular reporter Peter Sommers (John R. Walker) to return!
  • Best Line 1: Winery owner Dallas (Derek K. Long), describing Karen: “She’s like a walking constipation with a hemorrhoid”
  • Best Line 2: Karen, when a half-naked, bleeding woman emerges from her closet: “Is this a dream? This dream is offensive! Stop being naked!”
  • Best Line 3: Troy, upset that Karen may cancel the wine tasting at his house: “I sanded that deck for days. You don’t just sand a deck for days and then let someone shit on it!”
  • Worst Death: Karen kills a Pool Boy (Dustin Clingan) after pushing his head under water for literally 1 second, then screeches “This is for putting leaves on my plants!”
  • Least Clear Death(s): The bodies of a phone salesman and a barista are seen in Karen’s closet and bathroom, though how she killed them are completely unclear
  • Best Death: Troy is stabbed in the back of the neck with a bottle opener, which Karen proceeds to crank
  • Wannabe Lynch: After drinking the wine, Karen is confronted in her home by Barnaby (Carl Solomon) who makes her sign a crude, hand drawn blood contract and informs her that her belly is “pregnant from the juices of his grapes.” Phillips films Barnaby like a cross between the unhoused man in Mulholland Drive and the Mystery Man in Lost Highway. It’s interesting, even if the character makes absolutely no sense.
  • Single Image Summary: At one point, a random man emerges from the shower in a towel and excitedly poops himself. This sequence perfectly encapsulates the experience of watching Amityville Karen.
  • Pray for Joe: Many of these folks will be back in Amityville Shark House and Amityville Webcam, so we’re not out of the woods yet…

Next time: let’s hope Christmas comes early with 2022’s Amityville Christmas Vacation. It was the winner of Fangoria’s Best Amityville award, after all!

Amityville Karen movie

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