Movies
‘All My Friends Are Dead’ – ‘Saw VI’ Director Sins With Cinedigm and ‘Happy Death Day’ Producer
Cinedigm, the company behind the Bloody Disgusting-powered SCREAMBOX, is taking a stab at the seven deadly sins with All My Friends Are Dead, which will be directed by Saw sequel filmmaker Kevin Greutert.
The film tells the tale of a group of close college friends who get a great deal on a killer Airbnb for the biggest music festival of the year. A weekend of partying quickly takes a turn for the worse, as the group is murdered one by one.
They soon discover that each death directly corresponds to one of the Seven Deadly Sins.
Greutert has directed several horror films from Saw VI and Saw: The Final Chapter to Jessabelle, Visions, and Jackals. He also edited the first five Saw films not to mention Bryan Bertino’s widely coveted The Strangers.
All My Friends Are Dead is the first in a 10-picture, $15M slate deal between Cinedigm and Roundtable Entertainment, and will be produced by Happy Death Day‘s John Baldecchi, and executive produced by Dominic Ianno (Soul Surfer), with Ingenious Media providing production funding.
More info from the press release:
Multi-platform producer Roundtable Entertainment and the leading independent streaming company Cinedigm have inked a broad-ranging strategic partnership that will include co-financing and co-owning the IP of original films to be distributed domestically on Cinedigm’s OTT networks and on other third-party streaming platforms. The partnership also plans to launch multiple high profile enthusiast streaming channels together that will leverage Cinedigm’s streaming expertise and capabilities including the proprietary Matchpoint technology. To further align the companies, Cinedigm is taking a minority shareholder position in Roundtable Entertainment. In addition, Erick Opeka, Cinedigm’s President and Chief Strategy Officer, will be taking a seat on Roundtable’s Board of Directors, joining President & CEO Dominic Ianno, Robert Norton and James Fields of Klingenstein Fields Advisors.
Ianno stated, “In today’s competitive marketplace, Cinedigm is uniquely positioned as a cutting edge next-generation streamer focused on youth markets to bring top-tier digital distribution and monetize these exciting movies. Cinedigm’s financial strength, distribution muscle and technology leadership will allow us to efficiently and profitably make movies and launch streaming channels together for many years to come. Expect further announcements regarding our streaming channel partnership with Cinedigm soon.”
Cinedigm Chairman and CEO Chris McGurk stated, “Roundtable’s established creative relationships, IP development expertise and co-financing abilities are the perfect complement to Cinedigm’s core distribution strengths. This partnership will produce premium content and launch high profile branded enthusiast streaming channels to further expand Cinedigm’s high-growth and rapidly-expanding streaming business in a low cost, capital-efficient and high return manner.”
Opeka added: “Our partnership will leverage the best that both companies have to offer, providing Cinedigm with a steady pipeline of quality genre films and additional channels while maximizing return on investment.”
Baldecchi, Roundtable Entertainment’s Head of Scripted, stated “We are thrilled to be partnering with Cinedigm. This well-structured slate of efficiently budgeted and high-impact films targeting specific genres were chosen for its youth and commercial appeal and packaged to find success with a global audience. Having access to the Cinedigm library to source future IP will also help build value for both companies in a cost-effective manner.”
The 10 picture slate deal was negotiated by Yolanda Macias, Chief Content Officer at Cinedigm, and Interim Chief Business Officer Robert Norton on behalf of Roundtable.
More films are on the horizon.
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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