“Clayface” Does Not Save a Cat
This feels like the creative team wanted to make a body horror film, but the studio wanted to make another generic blockbuster.

1 September 2001. Elliot, an American C.I.A. agent holding top secret information on the immediate future of the world, disappears. His sole aim was to meet his daughter Orlando, whom he abandoned ten years before. Irène, a French agent who used to work with him, and David, his adoptive son, will help him and lead the girl to her father. Chased by William Pound, a strangely poetic psycho, they will defy the dangers of international espionage from Paris to Venice and finally get to Elliot on 11 September 2001.
This feels like the creative team wanted to make a body horror film, but the studio wanted to make another generic blockbuster.
Although Christmas is a time of year for love and cheer for all, holiday cinema has not always represented diverse communities. Being a holiday with Christian origins, much of its media consists of straight white families or straight white romances. Luckily, modern years have been bringing with them plenty of POC and LGBTQ+ representation that the holidays so desperately need.
If you mix religious rituals with dark mythology, the result will be effective, and the story powerful in 90% of the cases. That is exactly what happens at the beginning of The Vigil.
The film centers around two young women, Becca and Sam, who were once high school sweethearts until they reconnect in their town.
The Rocky Horror Picture Show not only supported Tim curry queer individuals who were closeted or harassed. It made people question their identity, orientation, and lifestyles that they never had before.
The Fog follows more of a 1950s creature feature plot than a late-70s slasher with three legendary scream queens.