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Second Season of Chiller’s “Slasher” Detailed
We told you the other day that Chiller was quietly in production on a second season of “Slasher”, although details were limited.
We now learned that production will soon wrap on the second chapter of Aaron Martin’s award-winning anthology thriller series, produced by Shaftesbury, to be called “Slasher 2: Guilty Party”.
Leslie Hope (24,NCIS, Suits) leads a large ensemble cast comprised of returning actors including Paula Brancati (Sadie’s Last Days on Earth, Degrassi: The Next Generation), Jim Watson (The Strain, Between), Christopher Jacot (Rogue, Eureka), Joanne Vannicola (Being Erica), Jefferson Brown (Rookie Blue, Degrassi: The Next Generation), and Dean McDermott (Ecstasy, CSI). New cast members this season include Lovell Adams-Gray (Lost & Found Music Studios, Dead of Summer), Kaitlyn Leeb (Shadowhunters: The Mortal Instruments, Heartland), Rebecca Liddiard (Houdini & Doyle, MsLabelled), Melinda Shankar (Degrassi: The Next Generation, How to Be Indie), Sebastian Pigott (Rogue, Revenge), Paulino Nunes (Designated Survivor, Brooklyn), Madison Cheeatow (Heartland, Sadie’s Last Days on Earth), Ty Olsson (The 100, Supernatural), and Simu Liu (Kim’s Convenience, Taken).
Set in the remote Canadian winter wilderness, the story revolves around a group of former summer camp counselors who are forced to return to the isolated campground to retrieve evidence of a crime they committed in their youth. Before long the group, and the camp’s latest inhabitants, members of a spiritual retreat with their own secrets to hide, find themselves targeted by someone – or something – out for horrific revenge.
Nominated for five Canadian Screen Awards for its first season, Slasher 2: Guilty Party has been filming on location in Orangeville, Ontario and surrounding area since February.
Aaron Martin (Saving Hope, Being Erica, Degrassi: The Next Generation), recipient of the 2017 WGC Showrunner Award, returns as showrunner.
“There’s a famous William Faulkner quote, ‘The past is never dead. It’s not even past.’ That’s the core theme of Season 2 of Slasher. It’s not about sin, the Executioner’s preoccupation; this season, it’s about those deep, dark secrets that we all have, that we wish we could just forget, but that stay with us our entire lives. For our unlucky victims, those secrets will be their death sentences, as they are hunted down and killed horribly, while stranded out in the middle of nowhere,” said Aaron Martin, creator and executive producer, Slasher 2: Guilty Party.
Brought together by a horrific secret they’ve long kept buried, a group of former friends must return in the dead of winter to the now-closed summer camp they worked at five years before. Deep in the snow-covered wilderness, the rundown camp has now become a private and isolated “intentional community” cut-off from civilization by weather, wilderness, and choice. The group’s secretive reason to return causes tension and tempers to flare. Before long, they find themselves gruesomely targeted by someone – or something – out for horrific revenge. The location’s isolation starts to wear on relationships and expose surprising secrets, and as the winter weather worsens, so does the killer’s grisly spree. As blood and secrets spill across the vast and snowy wild surrounding the camp, the mismatched group must try to escape not just the killer’s retribution, but also survive the deadly elements.
Season 1 of Slasher is currently available on Netflix.
Slasher 2: Guilty Party is developed and produced by Shaftesbury, with the participation of TVA/AddikTV and the COGECO Program Development Fund. Slasher 2: Guilty Party is created by Aaron Martin, who also serves as executive producer. Christina Jennings, and Scott Garvie are executive producers for Shaftesbury; Saralo MacGregor and Jonathan Ford are executive producers for Content Media. Jay Bennett is producer. Content Media is the global distributor of the series.
Let’s start with the good news. Lockbox looks far better than its misleading marketing materials suggest, a supernatural horror movie so darkly lit and color graded that you’ll have to squint your way through jump scares. It’s also anchored by reliable genre performers. That’s also about where the good news ends with this rote adaptation of Knifepoint Horror Podcast story “Winthrop.”
The empathetic Carla Gugino gives her all as Ellen, a saint of a woman with boundless patience who takes on life’s hard luck with a kind smile. After giving up her career as a fashion designer to become caretaker for a dying mother, she’s then forced to reinvent herself once more when her caretaker role ends. That catches us up to the events of Lockbox, where Ellen is asked to take in a cousin she hasn’t seen in quite some time who’s dealing with severe PTSD.
Just as Ellen finally establishes a real connection with Winthrop (Lou Taylor Pucci), it’s interrupted by the arrival of peculiar neighbor Vahna (Katharine Isabelle), who spells clear trouble. When Vahna shows up dead, it sets in motion a supernatural battle of possession.
Image Credit: Aura entertainment
Director Daniel Stamm (The Last Exorcism, Prey for the Devil) and screenwriter Justin Yoffe approach Lockbox in the broadest of brushstrokes, dooming it from the start with clunky storytelling and woefully underdeveloped themes of heady topics like PTSD. Winthrop is a character that comes loaded with emotional baggage and trauma that’s piled on throughout his tragic life, but much like its title, his interiority and history are treated like a tightly guarded secret meant to prolong the supernatural mystery.
The problem here, though, is that Lockbox is too sparse to sustain mystery at all, and it instead robs Winthrop of characterization. It winds up trapping the talented Pucci without anywhere to go, toggling between wounded animal and mentally disoriented.
From there, Lockbox bounds through plot developments without any sense of stakes or purpose, peppered by a smattering of haphazard paint-by-numbers jump scares. The only unwavering constant is Ellen’s resolute faith, and Stamm seems to leave it entirely to Gugino to guide confused audiences through this inconsequential story right up until its supernatural climax.
Image Credit: Aura entertainment
To give more credit, Lockbox at least injects an unconventional exorcism here; just don’t expect much in the way of explanation. When the film finally reveals the meaning behind its title, it dangles a fascinating carrot it has zero interest in delivering. More than a severe lack of fleshing out its characters beyond plot drivers or devices, this faith-based flick also seems terrified to offer any worldbuilding whatsoever.
Yoffe’s script stretches the short story beyond its means instead of fleshing it out, and Stamm fills out the gaps with cheap CGI scares and overwrought performances; Isabelle’s Vahna is beyond cartoonish in her villainy. It’s also pretty nonsensical, treating only Ellen’s faith with the utmost sincerity and largely squandering its typically reliable talent. So much so that the final imagery, pure sunkissed saccharine sentimentality, leaves you with the feeling that this horror movie might be better suited as an entry in Chicken Soup for the Soul.
Lockbox releases in select theaters on July 3, 2026.
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