Editorials
This Part in Wes Craven’s Awful ‘Cursed’ is Hilarious
February 25, 2005 was an exciting day for us horror fans. Wes Craven’s (R.I.P.) first film in five years (his first since 2000’s Scream 3) was finally being released after years of delays. Little did we know what awaited us at the theater. You see, Cursed was supposed to be released in 2003, but producers Bob and Harvey Weinstein repeatedly demanded changes to the plot be made, leading to extensive re-shoots (you can read about the original version of the film here). Cast members such as Skeet Ulrich, Mandy Moore, Heather Langenkamp and Corey Feldman had to be replaced due to scheduling conflicts during a year-long production delay. The Weinsteins then proceeded to fire make-up artist Rick “An American Werewolf in London” Baker, filling in many of the werewolf shots with a CGI creation. As if that weren’t bad enough, the film was then edited down from an R rating to a more box office-friendly PG-13 rating. It was a miserable experience for many people, especially Craven, who found the entire ordeal to be “completely disrespectful.” All of that tampering didn’t help the film. It was critically panned and grossed a mere $29.6 million worldwide on a $38 million production budget.
What the Weinstein brothers did to Cursed is pretty much unforgivable, and remains one of the biggest reasons why some horror fans are loathe to trust major studios with quality horror films. It’s a shame too, because the pedigree behind Cursed is rather impressive. Not only do you have Wes Craven directing, but he re-teamed with his Scream and Scream 2 partner Kevin Williamson (who, due to scheduling conflicts, was unable to return for Scream 3) to make the film. Then of course you had legendary make-up artist Rick Baker and an insane cast comprised of Christina Ricci, Jesse Eisenberg, Shannon Elizabeth, Milo Ventimiglia, Portia de Rossi and Judy fucking Greer.
While studio tampering and re-shoots aren’t always an indicator of a low-quality film, it was for Cursed. Cursed is not a good movie. Some would argue that it’s one of Craven’s worst efforts, but somehow it still manages to entertain (which is a big reason why it ranks as number 17 in my ranking of all 26 of Craven’s films). Looking back on the film 12 years later, you really can see glimpses of what Craven was trying to accomplish with the film. Our own Daniel Kurland put it best: he was trying to reinvigorate the werewolf sub-genre just like he reinvigorated slashers with Scream. None of it ever works, mind you, but the film is still a schlocky good time if you’re in the right mood.
Cursed came out two days before my 16th birthday, and I was really excited to go see a Wes Craven movie in theaters (it would be the first of his films I was able to see on the big screen). After having seen much of his filmography on VHS and DVD, I was finally going to see a Craven film in theaters, and you know what? I enjoyed it. I was aware that what I was watching wasn’t a “good” movie, but I had fun with it and I was in the right frame of mind. Whenever I need a good laugh I always look up the below clip in which Ricci’s Ellie baits Greer’s villainess with some harsh digs. It’s one of the sole laugh-out-loud moments in the film and it’s glorious. The werewolf flipping off Ricci is the one thing people remember from Cursed, but it’s Ricci’s delivery of “bad skin” that always gets me going. It’s a stupid bit of dialogue in an even more stupid film, but I can’t help but love it.
What do you think of Wes Craven’s Cursed? Have the 12 years since the film’s release been kind to it? Do you think it gets a bad rap? Or is it indeed one of Craven’s worst films? Let us know in the comments below!
I first heard about The Mandela Catalogue through a couple of nephews who were obsessed with the ARG’s sinister mythology. It was only after watching Wendigoon’s in-depth analysis of the series that I realized just how deep this rabbit hole goes.
In fact, I’d already been exposed to the nightmarish visuals of Alex Kister’s YouTube creation for years at that point without even realizing that it was the origin of several viral “cursed images” and spooky memes that had leaked into the wider internet – with this viral element actually being a part of the Catalogue’s overarching narrative.
Flash-forward to 2026 and the unprecedented success of Kane Parsons’ Backrooms has led to Hollywood betting on horrific internet properties with existing fanbases, which means that Kister’s unique hybrid of both religious and analog horror is finally headed to the big screen with a script written by Kister himself alongside Tyler Clifton.
While this news shouldn’t be too surprising if you’ve been keeping up with the ongoing success of The Mandela Catalogue (both myself and Wendigoon having previously predicted that the series would inevitably make the jump to theaters one day), plenty of horror fans are likely confused as to why so many folks are excited for what appears to be a Hollywood adaptation of a series of creepy .jpeg images under a VHS filter.
With that in mind, today I’d like to invite fellow readers to accompany me as I explore the origins of Alex Kister’s viral hit and attempt to explain exactly why we should all be excited about the Mandela Catalogue adaptation!
From High School Writing Project to Internet Horror Phenomenon
The first seeds of The Mandela Catalogue were sown when Kister was still in high school and developed a writing project subverting religious tropes in a world where biblical history had been altered by demonic forces. A little while later, Kister came across an analog horror contest on Reddit and decided to adapt his ideas into a standalone video where he would edit a religious kids’ cartoon –The Beginner’s Bible: The Nativity, to be specific- into something far creepier. This is how the iconic Overthrone video was born, with this viral short film taking on a life of its own as fans demanded more eerie content from Kister.
Though the video was originally meant to be a one-and-done sort of affair, with Kister actually regretting some of its primitive visuals and considering the editing amateurish and “YouTube-Poop-like” when compared to his current standards, fan reaction and free time during the COVID-19 pandemic encouraged the (then) seventeen-year-old filmmaker to continue producing content set in this same world. The Mandela Catalogue name was inspired by the Mandela Effect conspiracy theory, as the series would slowly begin to explore the subtle horror of alternate histories.
Inspired by existential dread brought on by extended periods of quarantine as well as a personal crisis of faith, Kister continued to expand his alternate timeline where the rise of Christianity had been prevented by what was presumably the Devil disguised as the Archangel Gabriel. This alternate course of fictional events led to the existence of certain paranormal anomalies that had come to be accepted as “normal” by the 1990s, which is why most of the series’ supernatural horror is presented in such a matter-of-fact manner.
Most of this background information and religious lore is delivered by increasingly cryptic broadcasts and in-universe PSAs, as well as the occasional found footage video, that often have to be decoded by clever viewers. Of course, it’s the consistently disturbing imagery that made the series so popular – much of which was originally created by Kister on a smartphone!
The Alternates: Horror’s Most Unsettling Modern Monsters
The show’s early episodes mostly take place within the fictional Mandela County in Wisconsin and depict life in a world where demonic entities are capable of using media to enter our reality. This process usually involves scaring victims into killing themselves and then repurposing their bodies as horrific doppelgangers referred to as “Alternates”. This terrifying phenomenon has become so common that local police already have specialized procedures in place to deal with the issue, though this usually consists of simply ignoring calls for help so as to avoid spreading so-called “Metaphysical Awareness Disorder” any further.
Over time, Kister would expand this mythology and incorporate different kinds of Alternates into the mix, though the story never stopped deconstructing religious concepts. The series’ second volume exponentially increased both video quality and the overall narrative scope as we began to follow the lives of characters who had already grown up in this dystopian hellscape where the government is forced to prohibit religion, television, and even mirrors in the hopes of mitigating the damage done by the ongoing invasion of otherworldly entities.
The really interesting part comes into play when you realize exactly how the Alternates make use of scary media in order to spread their demonic influence, with the analog horror of it all being a diegetic part of the story and something of a memetic trap orchestrated by the false Gabriel.
I particularly appreciate how some characters begin to suspect that there’s something wrong with their version of reality and that things weren’t meant to play out this way, especially when Mark utters the haunting line “who have I been praying to all this time?” That’s why I think The Mandela Catalogue is an effective piece of religious horror even if you don’t subscribe to the Christian worldview, as the mere idea of a world where evil has already won is a universally terrifying concept in and of itself. Not only that, but the series’ uncanny analog imagery alone is already worth the price of admission, as you’ve likely already noticed by looking at the pictures accompanying this article.
Why The Feature Adaptation Could Be Horror’s Next Big Success
It’s actually been a whole year since Kister first announced that he had been working on a feature-length screenplay for a Mandela Catalogue movie since 2022, with his proposed story following an ensemble of high-school graduates who uncover a supernatural conspiracy after the mysterious disappearance of a fellow student. This premise sounds similar to narrative elements present in the series’ second volume, but I’m pretty sure that Kister is going to go the Kane Parsons route and make the movie more of a spin-off than a re-imagining of its source material.
While notable Hollywood producers like Aaron B. Koontz, Scott Stuber, and Steven Spielberg himself are backing the upcoming project, I feel like there’s no one better to adapt this deeply personal exploration of faith and the dark side of communication than the person who first came up with it. That’s why I can’t wait to see Kister’s work on the big screen, as I have a feeling that this young filmmaker is the next one on the list about to make cinematic history – especially since this is clearly a passion project that has been in the works for years at this point!
That being said, there’s always a chance that the film could end up unleashing a fresh wave of Alternate incursions, but I guess that’s just a risk we’ll have to take.
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