Movies
[Review] Reader’s Thoughts On ‘Kristy,’ Dimension’s Thanksgiving Slasher
Editor’s Note: We’re told that TWC-Dimension is re-cutting the film for the U.S. release. Therefore, this version could be quite different.
After reporting last week that Dimension Films’ Kristy – formerly Satanic and Random – was available in Germany, a reader was cool enough to send in some early thoughts on Oliver Blackburn’s slasher that stars Haley Bennett, Ashley Greene, Erica Ash, Chris Coy and Lucas Till. Even though it doesn’t sound like a home run, reader ‘Killer Karl’ says that Kristy is still entertaining. It got me excited enough to wish TWC-Dimension would hurry up with a release date,
Editor’s note: The review has been cleaned up for grammar.
Hey Bloody Disgusting, big fan from Germany here and I wanted to send some early thoughts on Kristy, which is now on video here.
I really liked Olly’s ‘Donkey Punch’, and I like slasher films even more. I saw Dimension Films was behind this, so I had really high hopes. Unfortunately, ‘Kristy’ isn’t as good as it looks, bit it’s still worth a watch.
‘Kristy’ follows a girl, named Kristy, who is stuck on her college campus during Thanksgiving break. She’s basically alone, with a lone security guard watching over the dorms. This is when Kristy is confronted by a group of masked individuals intent on tormenting her, recording it, and then killing her live on the web.
The biggest issue I had with the film is that the opening credits ruin the motive. The best thing about good slasher is either the lack of motive, like in ‘Halloween’, or the big reveal at the end, like in ‘Scream’. ‘Kristy,’ on the other hand, reveals the big twist before the very first frame. For me, it took away the suspense and surprise, especially because it was sort of stupid. I don’t think Im ruining anything by telling you that these killers are part of a satanic cult (the movie was called Satanic) who are killing girls named Kristy across the country. So, as part of a mass sacrifice, they’re trying to kill this Kristy. I really wish they hadn’t shown this and left it up to the imagination – why do these people want to kill Kristy? Why do they carve a K in her face?
I really enjoyed that the main killer was a female, which hasn’t been done in quite some time. The masks were very cool, and there were some really good jump scares. Olly did his best job to remove technology from the film, so that the staking and murder spree was more believable. Something else I didn’t like is that, since they’re hunting down Kristy, there are really no other victims. The only people to die are the killers, unlike in a movie like ‘Inside’ which bring in new victims to kill throughout. There’s no violent rampage of Michael Myers tearing through a campus. It’s more of a thriller than a horror film. It’s only a slasher in spirit.
Even tough it’s lacking, I thought it was fun and really well shot. It is sort of the perfect Friday night rental to see with some friends when you have no idea what to watch.
TWC-Dimension has yet to set a release for the film here in the States. It takes place when the rest of a campus home for the Thanksgiving holiday, Justine spends the weekend in her college dormitory: studying, relaxing and blissfully unaware of the terror that is about to unfold outside in the cold. Suddenly, confronted by a gang of violent outcasts, Justine’s quiet long weekend becomes one long lesson in survival as she is terrorized in increasingly bizarre and brutal ways, leaving it up to her to figure out who her attackers are…and if they can be stopped.
Movies
‘Backrooms’ Director Kane Parsons Is No Fan of Generative AI: “Defeats the Purpose Entirely for Me”
There has been a lot of talk recently about filmmakers embracing generative AI as part of the filmmaking process, from Darren Aronofsky to Martin Scorsese. But what about filmmakers that are against the use of Gen AI for creative pursuits? You can count 20-year-old Backrooms director Kane Parsons among that group, which should give you some hope for the future.
In a new chat with The Australian, the self-taught young filmmaker makes it crystal clear that he won’t be using generative AI in any of his upcoming filmmaking projects.
“I think I’m in the same boat as most well-adjusted people,” Parsons tells the outlet. “If I could snap my fingers and make generative AI disappear forever, I probably would. Creatively, I get no enjoyment from using those tools. It defeats the purpose entirely for me.”
“What interests me more is interrogating it artistically,” Parsons notes. “We already live in a world where you walk outside and there are billboards and signs that are obvious AI slop. That’s become part of our visual reality. To me, generative AI feels less like innovation than a symptom of a broader cultural and economic rot.”
He explains, “I’m interested in using that iconography in art – not using AI to make the art itself, but examining what it represents. I definitely want to explore it further in future projects.”
Kane Parsons also notes during the interview with The Australian, “… there’s so much at stake and so many genuinely harmful consequences already happening.”
Backrooms marks young prodigy Kane Parsons’ feature directorial debut, and it’s based on his own series of YouTube videos that were brought to life using Blender, the open-source 3D computer graphics software suite. So it’s no surprise that Parsons, who has hand-made his filmmaking career up to this point, isn’t buying into the hoopla around Generative AI.
His debut feature is the #1 movie in the world, so perhaps he’s onto something.
What’s next from Kane Parsons, you ask? Stay tuned…



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