Movies
Larry Cohen Slams Refn’s ‘Maniac Cop’ Remake
Maniac Cop, a modern adaptation of William Lustig’s 1988 cult classic that Nicolas Winding Refn and his partner Lene Børglum are producing, was set to shoot this summer in Los Angeles. Now, according to BMD, the project could be dead. The news came via Larry Cohen, who wrote the 1988 original:
“As far as I know, that’s not happening anymore, and if it is, they might be trying to keep it a secret, as they’d owe me $250,000…”
John Hyams, who directed the super fun Universal Soldier: Day of Reckoning, was locked in to get behind the camera from a script by Refn and Ed Brubaker (Captain America: The Winter Soldier, Angel of Death) in collaboration with Refn.
Cohen went on to elaborate, while also throwing a nasty jab at Brubaker:
“Ed Brubaker wrote the script, and I’ve read the script, and it’s not very good. Ed Brubaker is a very good writer of comic books, I think. But if he’s written a good script for a movie, I haven’t read it.”
The new film was set in present day and follows a determined L.A. police officer who sets out to reveal the truth about the brutal murders of innocent people by one of her fellow cops. Børglum recent stated that Maniac Cop will not be a pure horror film but rather a contemporary and realistic action thriller.
Cohen also told the site that he did some revision work on Brubaker’s draft, indulging a little ego along the way:
“I wrote six new scenes for the picture, based on what I’d read. And, had I written the whole script, the movie would probably be happening, as the script would be good. I wrote three films for Bill Lustig, though they changed a lot of [Maniac Cop 3: Badge of Silence] and Bill got fired from it…and I would’ve written the fourth movie, had they asked. But they didn’t, and now it’s not getting made.”
Cohen also described the plot of Brubaker’s script, which he was not a fan of:
“…it’s a lot like that Bob Hoskins movie [Neil Jordan’s Mona Lisa (’86)], where he’s driving prostitutes around and then waiting out in the car while they do their business in hotels with the Johns. It’s a direct lift from that, and then turns into a new Maniac Cop…”
Furthermore, Cohen says that, despite his misgivings with Brubaker’s draft, the majority of the blame sits at Nic Refn’s feet:
“…as far as I know, he was the one trying to get the money raised to make the picture, and he didn’t get it, so now it’s not happening. If it is, I would like to be paid, or I’m going to call my lawyer, and it’s getting shut down.”
Fatality.
Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.
For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!
That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.
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