Blumhouse treatment of classic stories

© Groundhog Day (1993), Freaky Friday (2003), Back to the Future (1985).

Blumhouse Productions is doing extremely well on producing horror movies targeted for casual and old moviegoers. Their play on nostalgia does not simply use classic movie plots for reference. In fact, the main character is written self-aware on these references that it becomes part of the conversation at some point in the story.

Mixing a slasher plot with the use of classic plot points such as body switch from Freaky Friday, time loop from Groundhog Day, and time travel from Back to the Future are quite simple yet brilliant. I’m surprise these haven’t been done before. Then again, cinema is an ever-growing craft, and we’ll be seeing more of these in years to come.

Big’s grownup transformation, 50 First Dates’ amnesiac lead, Truman Show’s reality TV, and Minority Report’s future sight are some classic plots that might be used in the future.

© Happy Death Day (2017).

A creepy mask. A lust for murder. A sharp weapon. Check, check, and check. These are just a few of many classic elements that makes a slasher flick. And what Freaky, Totally Killer, and Happy Death Day have the most in common is the adversary. They are banking on the appeal of slasher movies which are a hit/miss depending on how good the killer is. The more memorable the killer, the better the movie.

With its plot, Freaky does the serial killer on the loose the best because all of the lacerations are done by a beautiful woman, played by Kathryn Newton, in contrast of a creepy mask. On the other hand, Totally Killer and Happy Death Day manages to create a simple and creepy-looking mask for the serial killer.

© Totally Killer (2023).

The term “final girl” is a reference on classic horror movies for obvious reasons. Until 1997’s Scream and Whedon’s Buffy the Vampire Slayer purposely shattered that expectation.

Usually stereotyped as dumb and arrogant, our golden locked leads have a great knack on standing on their feet. These horror movies utilize their main character to a great example:

• Jessica Rothe’s Three requires persistence to find her killer and literally survive the day, while
• Kathryn Newton’s Millie, though played by Vince Vaughn for majority of the movie, needs to be resourceful and creative to get her body back, and
• Kiernan Shipka’s no nonsense Jamie needs to be assertive as she traverse the late 80s to save her mom.

These aren’t the last of these characters, we’ll be seeing more great female characters following the greats of Ripley, Sarah Connor and Buffy. Whom are tempered through challenges in contrast to being written forcefully as already quick-witted and ambitious.

© Happy Death Day (2017).

Whether you like extreme horror or something digestible like these the movies being discussed, it needs to resonate with moviegoers. Something that easily forgotten is what makes a story relatable: it’s the human element.

You’ll see it on Three’s complicated relationship with her dad, Jamie’s motivation on saving her mother, and Millie’s relief when she finally got through her friends about her current predicament while in the killer’s body.

Characters at their core needs their family, friends, and their loved ones to make decision that is human. Under great circumstances, they will ultimately base their actions on them. And that makes a character compelling.

© Freaky (2020).

Bringing in another example, Marvel stated that 2022’s Doctor Strange: Multiverse of Madness is their first take on horror. I would argue that we have not gotten an actual superhero horror flick yet. Though that might be a route both studios [Marvel and Blumhouse] are taking.

The hot take is, Blumhouse Productions to horror is Marvel Studios to superheroes. The future of cinema is an amalgamation of genres, dominated by a specific category for different types of moviegoers and the possibility is endless. If that sounds confusing, think of this: it doesn’t matter if you like horror movies, there will be a sub-genre for you and anyone.