Few franchises can boast the same level of impact on popular culture as the Universal Monsters. From popularizing the idea of a shared cinematic universe to introducing several generations to classic horror literature, we’re still feeling the effects of these early horror blockbusters nearly a century later. That’s why it makes sense that so many filmmakers have attempted to leave their own mark on these iconic stories about monster-hunting heroes and misunderstood creatures.
One of the most interesting trends among these frequent narrative re-imaginings has to be the one where filmmakers attempt to update vintage frights to the modern day. And in honor of storytellers proving that a good monster can still be scary in any time period, we’ve decided to come up with a list highlighting six modernized versions of the Universal Monsters!
#3 BLACKOUT
Larry Fessenden has been hard at work creating his own shared cinematic universe inspired by the Universal Monsters, so it was hard to narrow down a single one of his films to include on this list. However, while both Habit and Deranged are excellent deconstructions of their monstrous inspirations, I feel like Blackout – Fessenden’s take on a modern-day Wolf Man – hasn’t received the same amount of love due to its unconventional presentation.
A surprisingly mellow story about a struggling artist harboring a dark secret, Blackout focuses more on the human cost of living with a terrible curse (or at least being convinced that this is the case) than actually doubling down on familiar creature feature tropes. It may not be for everyone, but this is definitely one of the most original werewolf movies that I’ve seen in a long time.
From IFC and Shudder comes Ben Leonberg’s GOOD BOY, only in theaters October 3rd. Starring Indy, Shane Jensen, Arielle Friendman, Larry Fessenden & Stuart Rudin. People drops the exclusive trailer!
A spooky tale is told from the perspective of a pet dog in this new spin on the haunted house movie. PEOPLE is exclusively debuting the first trailer for Good Boy, director Ben Leonberg’s indie horror film that was picked up by IFC and Shudder after its world premiere at the 2025 SXSW Film & TV Festival in March. Indy, the canine and leading star of Good Boy, won the first-ever “Howl of Fame” award at SXSW for his performance. The festival’s jury said in its announcement at the time, “Through a uniquely authentic perspective in the horror genre, this goodest boy delivers a performance that is both natural and chilling.” “His responses to unseen phenomena transform everyday domestic spaces into realms of suspense and terror. Indy and his humans remind us even when darkness threatens to consume us, a faithful dog’s love knows no bounds.” Good Boy follows Indy as his owner Todd “moves them both from the city to a long-vacant family home in the countryside,” per a synopsis. “Soon after moving in, Indy is immediately vexed by empty corners, tracks an invisible presence only he can see, and is haunted by visions of the previous occupant’s grim death.” The logline adds that Indy “must battle a malevolence intent on dragging his beloved Todd into the afterlife.”
THE RESTORATION AT GRAYSON MANOR, the newest film by Long-time Glass Eye Pal and collaborator Glenn McQuaid (I SELL THE DEAD, TALES FROM BEYOND THE PALE) set to premiere at Fantastic Fest 2025. Co-written by GEP Pal Clay McLeod Chapman (TALES FROM BEYOND THE PALE: Like Father Like Son, The Mattress King). Deadline has the full scoop on the Lineup.
After losing both hands in an accident, Boyd Grayson becomes the prime candidate for an experimental replacement procedure in this queer, campy, erotic horror.
Good Boy, the supernatural horror thriller from Ben Leonberg, gets an adorable but creepy new poster today, as well as an official theatrical release date of October 3.
Told from the POV of a dog, Good Boy has been a hit on the festival scene since its sold out SXSW premiere earlier this year. Co-written by Leonberg and Alex Cannon, the pic stars Leonberg’s own dog Indy (who won the coveted ‘Howl of Fame’ award for Best Canine Performance at SXSW) as the titular Good Boy, and follows Indy and his owner Todd, who leaves city life for a long-vacant family home in the country:
From the start, two things are abundantly clear: Indy is wary of the creepy old house, and his affection for Todd is unwavering.
Indy’s new world is immediately filled with unease: he senses invisible presences, follows phantom tracks, receives chilling warnings from a ghostly dog, and is haunted by glimpses of the previous resident’s gruesome demise. When a dark influence begins to grip Todd, Indy must fight a malevolence intent on pulling him into the afterlife.
Also starring alongside Indy are horror legend Larry Fessenden, Shane Jensen and Arielle Friedman.
Back in May, Shudder officially acquired distribution rights for Good Boy for the U.S, Canada, the UK, Ireland, Australia and New Zealand.
An official press release today tells us more about Indy, who seemingly has not let the fame get to his furry head so far:
Indy is a middle-aged, 35-pound retriever who has no idea that he’s a movie star. His favorite things are fetch, food, and his humans, Ben & Kari—in that order. His special talents include finding tennis balls and staring deep into your soul the moment before you fill his dinner bowl. Good Boy is Indy’s feature debut following his break-out role in the short film of the same name.
Larry Fessenden Wraps Shoot on ‘Trauma’; Secret Monster Movie Is a Sequel to ‘Habit,’ ‘Depraved’ and ‘Blackout’ (EXCLUSIVE)
by William Earl
Indie film icon Larry Fessenden is planning a monster mash — and it’s gearing up to be a graveyard smash.
The horror multi-hyphenate has just wrapped filming of his upcoming film — “Larry Fessenden’s Trauma Or, Monsters All” — and is heading into post-production, Variety can report exclusively. The film serves as a sequel to three other films he has written and directed: 1995’s vampire tale “Habit,” his 2019 “Frankenstein” riff “Depraved” and 2023 werewolf film “Blackout.”
“It was a slightly absurd mission to present my existential take on these monsters in a contemporary mash-up, but I enjoyed the challenge and I hope the film will feel both familiar and provocative,” Fessenden said in a statement, which also shared that he is “a lifelong fan of Universal Monster classics and the powerful messages about us that they can convey.”
The shoot quietly took place on and off in upstate New York during a three-month stretch.
Fessenden himself reprises the role of Sam from “Habit,” while Alex Breaux returns to portray Adam from “Depraved” and Alex Hurt revives his role as Charley from “Blackout.” According to the film’s logline, the story “places the filmmaker’s beloved visions of this trio of ghouls under one roof, offering up an unexpectedly humanist and uncanny tale.”
Also joining the cast are Laëtitia Hollard (“The Pitt”), Aitana Doyle (“If That Mockingbird Don’t Sing”) and returning actors from Fessenden’s past films, including Addison Timlin, James Le Gros, John Speredakos, Cody Kostro, Marc Senter, Rigo Garay, Joseph Castillo-Midyett, Joshua Leonard and Barbara Crampton.
“Larry Fessenden’s Trauma Or, Monsters All” is produced by Fessenden, Gaby Leyner, James Felix McKenney, and Tilson Allen-Merry for Glass Eye Pix. Stirling duBell and Chris Ingvordson also produce, with Edwin Linker as executive producer. Lois Drabkin handled casting on the film, which was shot by cinematographer Sharif El Neklawy.
This film marks Fessenden’s eighth directorial effort, and he has acted in over 100 films.
This special limited edition 4-disc, 2 x 4K UHD/2 x Blu-ray, set comes with a spot gloss hard slipcase + dual slipcover combo (designed by Chris Barnes), includes a 40-page perfect bound book and is limited to 6,000units. It is only available on our website and at select indie retailers. Absolutely no major retailers will be stocking them.
For forty years, Glass Eye Pix and its founder, Larry Fessenden, have been leaving their bloody mark on independent genre filmmaking in America. To celebrate the fortieth anniversary of Glass Eye Pix, Vinegar Syndrome is proud to present brand new 4K restorations of Larry Fessenden’s shot-on-film features, starting at the beginning with NO TELLING (1991) and HABIT (1995).
In celebration of the 10th Anniversary of GEP Pal Ted Geoghegan’s WE ARE STILL HERE, Dark Sky Selects releases a brand new Special Edition Blu-Ray, loaded with brand new featurettes!
Fessenden on the cover along with Barbara Crampton, Lisa Marie, Andrew Sensenig and Monte Markham
Dark Sky Selects proudly presents the 10th Anniversary Collector’s Edition of Ted Geoghegan’s thrilling Lovecraftian ghost story WE ARE STILL HERE — featuring brand-new bonus content that celebrates a decade of being haunted by this bold modern classic.
Special Features Include:
NEW “The Darkness Under the House: The Lore of We Are Still Here”
NEW “This House Needs a Family: We Are Still Here, Ten Years Later”
NEW Commentary Track with Writer/Director Ted Geoghegan
Crumb Catcher is a strange little gem of a film—equal parts home invasion thriller, satire, and offbeat dark comedy. It’s the kind of movie that makes you wonder if you should be laughing, panicking, or both. And now that it’s out on Blu-ray via Arrow Video, it’s the perfect time to discover (or revisit) this twisted slice of indie filmmaking that probably won’t be for everyone—but might be just your thing if you like your thrillers with a side of weird.
Directed by Chris Skotchdopole (in a very confident debut), the film kicks off with newlyweds Shane (Rigo Garay) and Leah (Ella Rae Peck) heading out to a remote house for their honeymoon. Shane’s a writer with a book about to release, and Leah works in publishing, so there’s this sense of ambition and expectation hanging over them right from the start. But their romantic getaway takes a hard left when two unexpected guests show up—John, the waiter from their wedding (John Speredakos), and Rose, the bartender (Lorraine Farris). They come bearing cake… and blackmail.
The setup is instantly uncomfortable in a fun, squirmy kind of way. These aren’t your average home invaders. They’re pushy, oddly polite, and just slightly unhinged, making things feel more like a hostage dinner party than a violent standoff. And the reason for their visit? Not money, not revenge—but a pitch. They want Shane and Leah to invest in a device they’ve invented, called the Crumb Catcher. Yes, really.
What follows is a series of tense, often ridiculous exchanges that blur the line between comedy and menace. The film constantly messes with tone, swinging from eerie silences to full-on absurdity, and while it doesn’t always land every beat, it keeps you engaged just because it’s so unpredictable. The characters make some… let’s just say questionable decisions, and there were definitely moments where I caught myself yelling at the screen. But honestly, that’s half the fun.
As a Blu-ray release, Crumb Catcher gets a very solid presentation. The 1080p transfer looks great, especially considering how much of the film relies on shadows, warm lighting, and close-quarters tension. The visuals are crisp without looking overly polished, and you really get a sense of the mood the director was going for. There’s a kind of intimate stage-play quality to the cinematography, and this transfer preserves that well—deep blacks, detailed textures, and some lovely pops of color from light sources and set design.
The audio side of things holds up just as nicely. The DTS-HD 5.1 mix isn’t flashy, but it suits the film perfectly. Most of the movie is dialogue-driven, and everything comes through clean and centered. There are a few moments where the sound design leans into tension, especially near the climax, and those low-end rumbles and subtle background effects add a nice sense of space and unease. It’s not a bombastic soundscape, but it’s immersive in a way that fits the film’s smaller scale and claustrophobic tone.
As for the performances, they’re definitely one of the stronger aspects of the movie. Garay and Peck sell the slowly unraveling nerves of a couple whose honeymoon has turned into a fever dream, while Speredakos and Farris walk that fine line between ridiculous and threatening. There’s something about the way they talk—overly polite, slightly off—that makes the whole situation even creepier. It feels like they’re trying to sell you a vacuum cleaner and extort you at the same time.
That said, Crumb Catcher isn’t without its bumps. The pacing lags in spots, especially in the second act, and some of the comedy just doesn’t land. If you’re not into characters making dumb choices, this might not be your movie. But if you can roll with the weirdness and appreciate a filmmaker taking big tonal swings, there’s a lot to admire here.
In short, Crumb Catcher is a movie that doesn’t fit neatly into any one box. It’s a thriller, it’s a farce, it’s a commentary on ambition, capitalism, and control—and it’s not afraid to be messy. Arrow’s Blu-ray release gives the film the spotlight it deserves, with sharp video, solid sound, and enough polish to let its quirks shine.
top: STRAY BULLETS, STAKE LAND middle: MAD 4EVER, PRESENCE, THE RINGBEARER bottom: LATE PHASES
GEP is sad to note the passing of GEP Pal and Cinema Stalwart Laurent Rejtö who worked tirelessly to champion filmmaking in Upstate New York through the Hudson Valley Film Commision and as the co-founder of the Woodstock Film Festival. Rejtö was instrumental in providing Glass Eye Pix support for the past decades, aiding and often appearing in films from STAKE LAND, BITTER FEAST, LATE PHASES, STRAY BULLETS, FOXHOLE, BLACKOUT and CRUMB CATCHER as well as music videos and shorts. From all of the producers and directors and artisians whose lives he touched, we bid Laurent farewell.
No post about Laurent would be complete without mention of his fierce dedication to two published book projects that kept alive the memory of his grandfather and father:
“There is a folk epic quality which gives the novel an outstanding aura: it does not follow clichés, it is like a free flow of short stories that flood the novel and give the reader no time to pause.” ––Central European University Press
“Rejto writes in a voice that is warm and knowing. A wonderful read. ––Details Magazine
Glass Eye Pix is the fierce independent NYC-based production outfit headed by award-winning art-horror auteur Larry Fessenden with the mission of supporting individual voices in the arts. Read more...
