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10 Chilling Horror Movies Based on True Events

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Five Sci-Fi Horror Movies - Fire In the Sky True Story

There’s a fun safety in horror movies that feature monsters or otherworldly creatures, because they don’t exist in the real world. But a horror movie based on a true story? That gives the movie an added layer of danger, because the story is based on something that really happened and could happen to anyone. Even you. Now the horror movie is terrifying on a whole new level.

Of course, it’s that precise reason that “based on true events” has been used as a scare tactic in horror movies that aren’t at all based on fact, like the brilliant marketing strategy that duped many into believing The Blair Witch Project was actual found footage. For that reason, this list excludes well known “based on true story” horror movies like The Exorcist, The Conjuring, or other beloved horror films centered around the supernatural- the authenticity can be debatable. This list also excludes movies that have taken drastic artistic liberties to the point where its inspiration is barely recognizable, like Psycho and The Texas Chain Saw Massacre.

Instead, we hone in on 10 great horror movies that got a lot closer to the true events that inspired them, with terrifying results…


Henry: Portrait of a Serial Killer

Best Horror Films

Between director/co-writer John McNaughton and Michael Rooker making his feature debut with an absolutely bone-chilling performance, this biographical serial killer film unnerves from beginning to end. In the film, Henry shares an apartment with Otis, a former prison mate, and they soon embark on a murder spree once Otis’ sister comes to stay with them. While it’s a fictional story, it’s based on real life serial killers Henry Lee Lucas and Ottis Toole. Both Henry and his accomplice were convicted of murder and received life sentences, and they both eventually died in prison.


Open Water

This survival horror movie follows an American couple, Susan and Daniel, who decide to focus on their relationship with a scuba getaway. On their second day of vacation, a miscount has the boat captain mistakenly think everyone is back on board and unwittingly leaves the couple stranded at sea. In shark-infested waters, no less. The story is based on the disappearance of Tom and Eileen Lonergan, an American couple accidentally left behind on a scuba trip in the Coral Sea. As with Susan and Daniel, Tom and Eileen weren’t discovered missing until two days later, where their belongings were found on the boat. Their bodies also were never found. Open Water attempts to fill in those gaps with its own theories, and used live sharks to do so.


Fire in the Sky

Fire In the Sky

Based on Travis Walton’s book, The Walton Experience, Fire in the Sky follows a community shaken by the sudden disappearance of a local logger. He reappears 5 days later, seriously disturbed and with bizarre claims he’d been abducted by aliens. I know, I know. Alien abduction falls under the realm of paranormal and thus highly debatable. However, director Robert Lieberman and screenwriter Tracey Torme puts Walton’s story through the lens of his friends and family, and the police investigating the disappearance. It also leaves things intentionally up to the viewer, whether they believe Walton’s story to be fact or hoax. So, this movie doesn’t exactly count as a horror film in any way save for one gnarly scene; Walton’s flashback sequence that sees him waking from a cocoon on the alien ship and the subsequent experiments the aliens subject him to. It’s pure nightmare fuel.


The Sacrament

Ti West’s found footage thriller sees Patrick and his two co-workers embarking on a trip to Eden Parish, a secluded utopia, to film a documentary. Patrick was invited by his sister Caroline, a resident of the community to visit. Lead by the enigmatic Father, it soon becomes clear to the trio of friends that things aren’t all that swell in paradise. West’s screenplay may be a fictional story, but it’s based on the events of the Jonestown Massacre of 1978, right down to the cyanide poisoned juice.


Dead Ringers

David Cronenberg’s psychological horror film centers on twin gynecologists that take advantage of being identical to seduce women into falling for them both. The extroverted twin, Elliot, lures in the object of his desire, and passes her off to shy brother Beverly when he grows bored. The woman is none the wiser. But when Beverly falls for a woman who doesn’t return his affection, he slips into a drug-induced hallucinogenic madness. While this is a highly fictionalized version, it turns out that Eliot and Beverly were based on Stewart and Cyril Marcus, identical twin gynecologists who lived and worked together. It took weeks for their bodies to be discovered; a medical examiner ruled it was death by barbiturate overdose. The Marcus brothers shared everything together, including women, and slowly devolved into erratic behavior leading up to their deaths.


The Stepfather

Terry O’Quinn stars as the titular Stepfather, a serial murderer who targets single mothers, hoping to find his perfect family. When it doesn’t work out, he murders his new makeshift family, changes his appearance and skips town to begin anew. The Stepfather isn’t a true crime horror movie, but more of a slasher. It’s loosely based on mass murderer John List, though. In 1971, List killed his wife once his teen kids had gone off to school. Then he killed is mother, tied up loose ends, made himself a sandwich, and systematically murdered his children as they came home from school. He even went as far as to pick one up from school as if nothing had happened, before ruthlessly killing them. Then he disappeared, and no one heard from him again for 18 years. He was eventually found thanks to America’s Most Wanted, and the discovery that he’d long moved on and created an entirely new family was chilling.


The Serpent and the Rainbow

In Wes Craven’s film, anthropologist Dennis Alan is sent to Haiti to investigate the case of a man discovered alive seven years after dying and being buried.  It’s this setup that provides the true story elements behind the voodoo tale. The film’s title comes from anthropologist Wade Davis’ non-fiction book of the same name, which presents the zombification case of Clairvus Narcisse. Feeling ill, Narcisse checked himself into a hospital and rapidly deteriorated until the doctors pronounced him dead. Over a decade later, his sister found him in the streets. Davis speculates that Narcisse had been given a powerful tetrodotoxin power by a black magic priest that had caused the “zombification.”


Wolf Creek

Writer/Director Greg McLean’s feature debut ruffled quite a few feathers upon initial release, including critic Roger Ebert, who was so thoroughly appalled by the brutal violence he lambasted the film. Wolf Creek introduces us to psychopathic killer Mick Taylor, who targets and tortures three backpackers in a film touted as being based on a true story. It not exactly a true story; it’s more like true stories. McLean actually pulls from multiple true crime cases for Wolf Creek. Ivan Milat slaughtered seven tourists between 1989 and 1993, and Bradley John Murdoch murdered an English backpacker in 2005; both killers informed the brutality of the film. McClean interwove Milat and Murdoch’s stories with the archetypical perception of Outback characters like Crocodile Dundee.


Angst

An unconventional, stylized Austrian horror movie that largely influenced Gaspar Noe’s work, Angst follows a psychopath as he’s released from prison and eager to commit crime again. After a botched murder attempt, the psychopath flees to a large house, and proceeds to torture and murder the three family members that live there. The psychopath is based on Werner Kniesek, a killer who brutally slaughtered a family of three while on parole. Director Gerald Kargl may have taken a stylized approach, but it’s an unpleasant, creepy watch.


The Girl Next Door

Based on Jack Ketchum’s novel, this horror film follows an adult David recalling horrific memories of his youth about a pair of orphaned girls sent to live with their aunt in his neighborhood. The girls are degraded, brutalized, tortured, and starved to death slowly at the hands of their aunt, cousins, and kids from the neighborhood while David struggles with whether to intervene. Ketchum’s novel is loosely based on the murder of Sylvia Likens, a 16-year-old held captive by her caregiver Gertrude Baniszewski. For a period of three months, Baniszewski, her children, and kids from the neighborhood subjected Likens to torture and abuse until she finally succumbed to her injuries. Baniszewski, her eldest daughter, one of her sons, and two neighborhood kids were arrested and convicted in the murder.

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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