Editorials
‘The American Scream’ – ’80s Horror Comedy Is a Hidden Holiday Gem
It’s become common for movies once trapped on VHS to make that great leap to Blu-ray. And thanks to boutiques like Culture Shock Releasing, hidden gems like The American Scream are available again after being nearly lost to time. Those uninitiated viewers could be hesitant as they try making sense of this 1988 movie’s poster. Is this a slasher? A holiday travelogue? A teen comedy? The simple answer is “yes to all of the above.” The American Scream is indeed a mélange of familiar beats and elements, but everything is put together so strangely that the final product comes across as unique.
Made with a budget of around $200,000 and shot in just ten days in Camp Nelson, California, The American Scream turned out better than expected. Especially since director and co-writer Mitchell Linden threw the script together in a hurry; he was set to go on his honeymoon when he received the last-minute request to make a new horror movie. That fast turnaround isn’t evident on screen, but not everyone agrees. As critic Brian Orndorf said in his own review back in 2022, the movie “barely comes together as a complete idea” and it lacks coherence. These shortcomings and others notwithstanding, there is still something quite charming about Linden and Phil Hopper’s weird and delirious story.
The American Scream is what National Lampoon’s Vacation might have looked like as a horror movie. However, this movie focuses on its younger characters rather than a bumbling father. That’s not to say the heads of the Benziger family are neither clumsy nor overlooked; Pons Maar and his character’s equally awkward spouse (played by Jennifer Darling) take a backseat as their son and daughter uncover the goings-on in Wilson Creek. The parents could be defined by their fantastic ability to ignore red flags, yet it becomes clear that their ignorance serves more of a purpose than originally suggested.

Image: Ed Simpson lies dead in the snow with his stuffed dog nearby.
While considered a horror movie, The American Scream deals far more in bizarreness than in scariness. There is, however, a decent amount of gore and mayhem to go with all the tourist shenanigans and misunderstandings, especially for a comedy as goofy as this. The carnage promptly begins with the one set-piece fans still talk about to this day; they vividly remember how the teenage characters watched in disbelief as a father murdered his own baby. But like all the other deaths shown in this movie, the little one’s execution is absurd and over the top. It’s not the least bit frightening. The best Linden can do is take the audience by surprise, which he does on multiple occasions.
As a whole, the eighties enjoyed its horror comedies. So The American Scream was certainly not the first of its kind. Movies like Student Bodies, Saturday the 14th and Wacko were all different by design, though. They were made to be irreverent stabs at the genre as opposed to fairly straightforward horror stories with moments of levity stitched in. Linden’s work, on the other hand, sits between stations. The parody quality of those aforementioned movies is unmistakable, whereas The American Scream exercises some semblance of restraint. The threat at hand is taken seriously even as preventive measures become increasingly ridiculous.
A horror comedy tends to single out a subgenre. Slashers, vampires, haunted houses — every hoary setup or situation has been mocked and dissected over the years. The American Scream pokes fun at those unsuspecting characters who leave behind the comfort and safety of cities, then develop a life-threatening case of culture shock. True to form, realization is a piecemeal effort; the hazards of being young in Wilson Creek don’t immediately dawn on siblings Matt and Bridgett Benziger (Matt Borlenghi, Riley Weston) and their best friends (Kevin Kaye, Jeanne Sapienza). Yet like most teens in horror, they perceive something is amiss before the adults do. The audience also has a good guess of what lies ahead for the four characters, although the story still manages to squeeze in one last curveball at the end.

Image: The Benziger family has breakfast at the diner when officer Sam shows up.
The American Scream introduces its sense of unreality with no explanations. Viewers will either sink or swim as the inanity grows with every passing minute. The director’s preference for wacky and inscrutable humor isn’t for everyone, but there’s no denying it adds to the movie’s overall uneasiness. And so often this story relies on a character’s capacity to distinguish between normal and abnormal. Everything always appears ordinary enough until the eye catches an anomaly of some kind. While Linden doesn’t ever come close to achieving sheer terror — fright wasn’t his main objective — he did a hell of a job of making the characters question their sanity at every turn.
This movie keeps everyone on their toes. This includes viewers whose expectations are rarely met. Urbanites becoming entangled in the freaky local culture of the backwaters they visit isn’t a novel concept, yet for the most part, The American Scream is unpredictable. Of course that random nature stems from the abstract and patchy ideas hastily assembled into a story with no firm grip on itself. In addition to the rampant vagueness are those brainsick set-pieces that lead to even more unanswered questions. From an inserted snuff film detailing the murders of George “Buck” Flower‘s character’s family to a sudden scene of baby cannibalism, the script is prone to erratic, not to mention disturbed moments.
The American Scream requires its audience to fill in the gaps when the movie can’t decipher its own story or provide a logical ending. Even before that puzzling conclusion rolls in, the movie presents a parade of offbeat thoughts and images. The plot dots don’t easily connect, but the line they form is marked with dark delights and amusing nonsense. This cozy winter oddity still has a long way to go before it becomes more recognized; most folks don’t know it exists in the first place. However, those who decide to travel with the Benzigers will undoubtedly have a lot to think about upon returning from this hellish odyssey.
You can grab The American Scream on Blu-ray from Vinegar Syndrome.

Image: Someone’s decapitated head is mounted on a rake.
Editorials
‘The Vampire Lestat’ Concert Event Launches New Season With The Ultimate Expression Of Fandom
There are thousands of passionate fans decked out in gothic chic and champing at the bit like feral creatures. They’re screaming for Lestat, a legendary vampire-turned-rock star, as if the entire crowd has been glamored into submission.
The entire experience is magic, but not because some supernatural thrall has been activated. What’s going on is even more special. It’s the power of the effusive fandom that’s been authentically assembled by AMC’s sublime Immortal Universe, namely Anne Rice’s Interview with the Vampire, now, The Vampire Lestat.
The Vampire Lestat is far from the first Anne Rice adaptation, and it’s not as if there’s been a lack of erotic vampire material for audiences to sink their teeth into. On June 2nd, during a one-night-only spectacle, New York City’s prestigious Beacon Theatre shook from Sam Reid’s bravado performance and an audience full of adoring fans who had already memorized Lestat’s songs.
It’s clear that The Vampire Lestat just hits differently than its predecessors. It’s become more than just a TV series at this point, and this opulent display of ego, swagger, and pure sex is the perfect way to premiere the new season and give back to the fans who helped make Interview with the Vampire/The Vampire Lestat such a breakout success. It’s exactly the sort of hyperbolized hedonism that would make Lestat cackle.

For all intents and purposes, AMC has successfully created the illusion that this concert/premiere is just one of the many destinations on Lestat and his band’s 54-stop tour that is simultaneously playing out on this season of television. It’s such a sophisticated and thorough level of interactive fan engagement that the audience doesn’t just understand, but also manages to accentuate through its involvement.
It’s a level of seamless synergy that’s not unlike the give-and-take relationship of vampire and victim.
Before the concert started, “LeStans” were sitting in the Beacon and flipping through a fake Rolling Stone issue with Lestat emblazoned on the cover, complete with interviews with the undead frontman inside. Other fans were admiring the vinyl pressing of Lestat’s EP as they walked past a section of undead band merch. Fandom and fantasy blur together, and it all becomes this elaborate, immersive experience. Fan celebration, erotic gothic fantasy, and a lavish rock concert transform into one beautiful thing.
To this point, AMC Global Media’s Chief Content Officer and President of AMC Studios, Dan McDermott, introduced the event by reiterating to fans, “You are the heartbeat of the series.” That’s abundantly clear on nights like this as that heartbeat collectively pulses to this performance. In terms of how AMC engages with The Vampire Lestat’s fans, it’s as bold a reinvention as the season itself.
This intuitive gamble speaks to AMC’s creativity in this department and a fandom that is eager to seize such opportunities. It’s the same innovation that led to zombie walks for The Walking Dead and real-life Los Pollos Hermanos restaurant pop-ups from Breaking Bad. It’s a great way to pump up the audience for The Vampire Lestat and then maintain that enthusiasm for the whole season.
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For most series, a rock ‘n’ roll concert just doesn’t make any sense as a promotional tool. The Vampire Lestat finds itself in a very unique position where it can deliver an excellent concert at an iconic theater, but also use it to showcase The Vampire Lestat’s music by Daniel Hart (who was shredding on stage alongside Reid and the rest of their band) and, more than anything, Sam Reid’s endless charisma.
The way in which Reid feeds off of the crowd’s energy, modulating his performance and giving different sections of the Beacon life, is a perfect distillation of the series’ thoughtful relationship with its audience and how it’s become such a breakout success for AMC. AMC Studios President Dan McDermott emphasized that the fans are the reason that the show is still here and why an event like this is even possible. It’s rare to see a series in which every single cog in the machine is so perfectly attuned to its fans. Reid’s fans already cheer whenever they see him, so why not translate that to a concert setting?
It’s clear in this season of television that Reid was born to be a rock star, but it’s surreal to see him effortlessly command the stage — and the audience — at every step of the concert. He recites Shakespeare monologues and bitches out Armand between songs, all while the audience screams in support. For the duration of this concert, Reid is Lestat, and he’s given thousands of fans a memory that’s as immortal as any vampire.
Now bring on the encore and get this show on the road!
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