*Scared to Death* follows a group of filmmakers who attend a seance at an abandoned orphanage to conduct research for a movie.
Every character in *Scared to Death* is based on a stereotype: the grumpy director, the disgruntled assistant, the drunken actors... The list goes on. While these exaggerated clichés fall flat in other films, here they work. The script and performances succeed in making these personalities feel intentional. Thanks to this, the parodic approach feels convincing.
Director: Paul Boyd
Writer: Paul Boyd
Stars: Lin Shaye, Bill Moseley, Olivier Paris
The entire cast is at the top of their game, though Lin Shaye (Max) and Bill Moseley (Felix) are likely the most recognizable faces. Shaye brings a consistently bitter and furious energy, while infusing her character with wit through exaggerated reactions. Moseley, for his part, offers an affable and subtly hilarious presence. Both are additions that fans of the genre will surely appreciate.
"I’m not sure what else we could have done to improve this movie, and I really hope horror fans devour us... well, not literally," commented Moseley.
Also featured in the cast are Olivier Paris (Jasper), Victoria Konefal (Lena), B.J. Minor (Johnny), Kurt Deimer (The Grog), and Jade Chynoweth (Champ).
*Scared to Death* lacks glamour, taking place mostly within a dilapidated orphanage; however, production designer Scott Campbell manages to keep the setting visually engaging. Steven Poster’s cinematography and Ed Shiers’ editing contribute to this effect. While moments of explicit horror may be scarce, slow pans and rapid transitions give rise to several highly effective jump scares, striking just when you least expect them.
The early stages of *Scared to Death* can easily be compared to the series *The Studio*, by Evan Goldberg and Seth Rogen. As the plot delves into the realm of horror, it adopts a tone more akin to films such as *The Cabin in the Woods* and *Shaun of the Dead*.
Although not quite as incisive as those "meta" works, *Scared to Death* retains its relevance. Its writer and director, Paul Boyd, infuses the dialogue—often with touches of comedy—with themes ranging from religion to the instrumentalization of tragedy.
When conceiving the film, Boyd drew inspiration from his own life; he once owned a house that others deemed "haunted."
"As a non-believer, I never experienced anything supernatural in that house," he stated. "My wife and children, on the other hand, were a different story entirely. They had multiple terrifying experiences that, to them, felt absolutely real. This dynamic inspired me to make a film based on the idea that 'seeing is believing'—and that is where the story began."
The conclusion of *Scared to Death* will likely frustrate many viewers; indeed, in the blink of an eye, the film is over. The central narrative does not resolve with a neat, conventional ending; on the contrary, in its final moments, the film forcefully reiterates its message regarding faith and belief.
The ending feels complete—and not necessarily ambiguous—it is simply abrupt. Viewers will likely be left wishing for another five to ten minutes of action just as the credits begin to roll.
This is a film designed to appeal to all tastes. A horror fan? There is plenty of gore to satisfy those appetites. A comedy fan? There are moments aplenty to elicit hearty laughter. A cinephile? It is a film about the making of a film. There is fun to be had here for fans of many different genres.
*Scared to Death* doesn't take itself too seriously, and it features a talented cast that elevates the premise beyond mere parody.
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