Kindertrauma Funhouse
Author: unkle lancifer
Horror Inspirations:: By Author Matt Forgit
Hello, beautiful, awesome, and brilliant Kindertrauma people!
My name is Matt Forgit. I’m the author of It’s Always Halloween Here, How to be a Professional Mourner, The Felicitous, and You Better Watch Out. I am also a longtime fan and reader of this amazing website, as well as a lifelong horror geek. In honor of my newest release, It’s Always Halloween Here, my friends here have graciously allowed me to write about the influences and inspirations for my writing.
Truth be told, although I write horror novels that feature slashers, ghosts, gore, and gruesome events, I am a giant chicken. I love horror and love to be scared, until it’s 3 a.m. I hear every noise in the house, convinced a serial killer or angry spirit has come to take me away! Yet there has always been something about the feeling of fear, dread, and fright that is exciting and inspiring to me. Horror explores many themes, whether it be emotional, mental, physical, or psychological, as well as allows us to release some of our fears.
I was a lonely, nerdy, uncool kid growing up. I did not have any friends, nor did I have an interest in typical “boy” things like sports or hunting (which is a crime as a boy in a small town). I was relentlessly bullied daily and felt like I didn’t fit in anywhere. (Note: Don’t get out your Kleenex for my sob story. I turned out okay. I have lots of love and support, and a good therapist, in my adulthood). Horror became home, and provided me comfort, catharsis, and excitement. Horror fueled my imagination, gave me trailblazing final girls to look up to, and a well of endless stories tied to mythology, folklore, urban legends, and campfire tales. Many of the things that influenced my writing share similar concepts and ideologies. I was really drawn to that terrible/wonderful feeling of fear, uncovering a mystery, learning how to be strong and fight back against enemies and evildoers, and characters who have friends, family, and a community. It was, quite earnestly, a savior to me as a young person, and my love for horror has only grown.
I like to call my books “B-movie schlock,” but I hope they’re also scary, nostalgic, distinctive, and heartfelt. With that, here’s what gives me inspiration!
Nancy Drew Mysteries. As a kid, I received The Mystery of the Glowing Eye as a gift, and that was all it took. Mystery, intrigue, the search for truth and justice, and a smart, capable, resourceful heroine? I was sold. Nancy broke the restraints of her time period and emerged as a resilient, inquisitive, and indefatigable sleuth, just like I wanted to be. I wanted people to call me and ask for my help in finding lost treasures, missing people, and to investigate haunted houses and spooky locales. I longed to be known as Matt Forgit, Boy Sleuth, but unfortunately, I was more Boy Dork, who loved pop divas, reading, and snacks.
Christopher Pike, R.L. Stine, Scary Stories to Tell in the Dark, Choose Your Own Adventures, and YA thrillers. I grew up during a magical time when I could go to my local bookstore, B. Dalton Booksellers, and find so many treasures, filled with terror, creepy locales, and events from the past that come back to haunt us in the present. Christopher Pike wrote teenaged characters who were taken seriously and had real feelings, thoughts, and personalities. R.L. Stine’s Fear Street kept me captivated with tales of young people in jeopardy and a cursed town. Scary Stories to Tell in the Dark not only had terrifying, vivid pictures that scare me to this day, like the ghastly visage of the woman in the haunted house, but the stories themselves were total nightmare fuel. Point and Scholastic steadily churned out new thrillers for young adults, turning everything from prom dresses, letters, lifeguards, and Jack-O-Lanterns into possessed, deadly foes. Choose Your Own Adventure would actually have endings where you, the reader, were killed. In one of the stories, my scuba companions and I were surrounded by tiger sharks, and, well, I did not appreciate that one bit.
USA’s Up All Night and Saturday Nightmares. Once upon a time, there was an incredible channel called the USA Network, which played B-movies on Friday and Saturday nights. Every weekend, I would stay up late to watch every terrible and amazing film they would play, many of which are classics in my heart. Spookies? I love you forever. Demon Wind? I would watch ten sequels to that. Doom Asylum? I could watch on repeat. Neon Maniacs? I want the backstory and trading card for every one of them. Dracula’s Dog? I want Dracula’s cat, hamster, zebra, and koala. I looked forward to every movie. These were made with no budgets to speak of, but with sheer ambition, determination, and passion, which is exactly what it’s like as an indie horror author. I’m not diving into my cellar filled with gold coins like Scrooge McDuck, though I can dream.
Friday the 13th Part 3. This was the movie that hit it all home. I begged my Dad to let me watch this on Fox Channel 5, a local station. It changed everything for me. I went from the light, kid-friendly horrors into the deep end of it all. A hulking, mute killer with no mercy or sympathy, an isolated location, and a very brave, determined final girl in the great Chris Higgins. Horror staples, that I didn’t know were staples back then, that are now time-honored traditions.
Friday the 13th: The Series, Monsters, She-Wolf of London, Tales from the Darkside, Freddy’s Nightmares, and Sightings. Syndicated series with small budgets but big imaginations and creativity, relying on unconventional methods of storytelling and talented writers, directors, and actors to tell their tales. Sightings, while the outlier on this list because it was presented as fact, filled my mind with “true” stories and mustachioed psychics, and I never questioned its validity. Horror was everywhere, from the mundane to the supernatural, and I loved it all. Cursed antiques, werewolves, killer dreams, aliens, cryptids, and more. My imagination sparked every time I saw a new story idea, folktale come to life, and clever way to tell a story to an audience despite limited resources.
April Fool’s Day and Chopping Mall. The first two horror movies I ever rented on VHS, and the first ones I ever saw that weren’t edited for television viewings. Likable, fun characters and groovy settings, threats lurking around every corner, and memorable dialogue and stalking scenes. Not to mention the great Amy Steel and Kelli Maroney, two women who have earned their place in the Final Girls Hall of Fame™.
Halloween, Killer Party, The Fog, Night of the Demons, and Black Christmas. Thanks to my local Mom-and-Pop video stores, I spent many hours perusing the eye-catching covers to so many videocassettes. However, some of the movies have stayed with me for many reasons. Halloween and Black Christmas showed me that horror doesn’t have to be loud or aggressive. Sometimes, it’s quiet, patient, and peeking around the corner. Night of the Demons is raucous, fun, and had no loftier goals than to showcase incredible, practical special effects. The Fog is moody, atmospheric, contemplative, and filled with creeping dread. Killer Party is three movies in one, featuring three engaging leads, especially my nerd queen Vivia. They all share one thing in common, though. They have style. They were made by people who cared about what they were making and put real effort into what they created. That is exactly what I want readers to feel when they read one of my books. Even if you don’t enjoy my work (though, in the words of Stephanie Tanner, “How rude!”), I hope it comes through that on each page, I put thought, effort, and care into every word and scenario.
I hope I didn’t lose everyone! There are probably about another two hundred movies, television shows, and books I could go on about, but I’ll simply give an “honorable mention” here to some of them. A Nightmare on Elm Street, The Strangers, The Texas Chainsaw Massacre, Popcorn, Prom Night 4: Deliver Us from Evil, Session 9, Scream, I Know What You Did Last Summer, My Bloody Valentine, The Changeling, Alien, The Others, Jaws, Insidious, Beetlejuice, Night of the Comet, The Conjuring, Clue, The Goonies, Gremlins, MST3K, Unsolved Mysteries, Twin Peaks, The X-Files, Buffy the Vampire Slayer, Jan Harold Brunvand’s urban legends series, and Weird N.J. have had great impacts on my work, for various reasons. Oh, and the Sleestaks from Land of the Lost. Those screeching, lumbering, green humanoids of horror. They showed me what true terror was, and I still hate them, but love them.
Thank you, Kindertrauma, for having me. And thank you, everybody, for reading! My new book, It’s Always Halloween Here, is available on Amazon, as are my other novels. Wishing everyone good health, love, happiness, success, and lots of spooky, creepy fun!
Black Phone 2
Apparently, according to “science” Scott Derrickson has two films (SINISTER & THE EXORCISM OF EMILY ROSE) lounging out in the top ten list of the scariest films ever made. I’m not sure if THE BLACK PHONE 2 will ever join them but it definitely belongs on a list of great sequels to movies that didn’t need one. It takes a certain amount of bravery to shuffle the cards in a follow up movie due to the likelihood of failure ( see SINISTER 2, BRAHMS: THE BOY 2 & M3GHAN 2) but when it works the results can be glorious (see THE ORPHAN : FIRST KILL , 28 YEARS LATER & of course my boo HALLOWEEN III: SEASON OF THE WITCH). I may be extra partial to films that take place in the early eighties (sorta swooned at an early image of the NIGHT FLIGHT logo blazing on a big box TV) and I may be chronically susceptible to snowbound horror (witnessing this film’s solid high five to CURTAINS (’83) is a high point) and I may have an issue with experiencing euphoric dopamine blasts when beautiful music and haunting imagery are combined ( I got the goosebumps when this film played PINK FLOYD’S “The Wall” during a driving through a blizzard scene) so essentially this flick pushed all the right buttons for me. Sorry, but it’s legit gorgeous to my eyes, much of it (the otherworldly dream sequences ) is filmed on smudgy, scratchy, damaged and grainy 8mm film and the visual texture is such a delicious blast of complex flavor in this time of sharp, cringy high definition ugliness.
Elfish (I'm respectfully talkin' LORD OF THE RINGS, not Keebler) Mason Thames is back as Finn, the troubled survivor of the the first film and he’s instantly likable for therapeutically beating the hell out of a would-be bully. He’s joined by his sister Gwen (scene stealer Madeleine McGraw) who swiftly squashes her sidekick status to become a true force of nature. Cleverly, Miguel Mora who portrayed the deceased Robin in the first film throws some glasses on and transforms into his surviving brother who catches feelings for Gwen. The three embark on a journey to a mostly abandoned campground snuggled in a mountain surrounded, CGI-enhanced Colorado countryside during a ferocious snowstorm (!, this my jam) to unravel a very surreal, NIGHTMARE ON ELM STREET (!, also my jam) quandary involving the perplexing impossible return of the smiley-masked child snatcher known as “The Grabber” (portrayed expertly by Maya Hawke’s poppa). Spooky ghost kids abound, threatening static infested phone calls are made and invisible forces yeet our stalwart heroes at nearly every turn.
These days many a horror film contends with the aftermath of trauma but rarely do they provide solutions or dare to confront the anger and rage that survivors deals with. BLACK PHONE 2 with much thanks to the non phoned-in performances of it’s two leads, addresses these issues in truly cathartic ways. It does sorta lean to a troubling “magic Jesus” area at times but it balances that out with a hateful sanctimonious lady getting read for filth so I’ll let it slide. Like almost all of Derrikson’s films there’s a implausibility issue but it happens so late in the game here that it doesn’t make a dent. The atmosphere is awesome, the lead characters are severely root-worthy, the supporting characters (nice to see THE NUN’s Demian Bicher, IT’s James Ransom, RAVENOUS’ Jeremy Davis and up and comer Arianna Rivas) hold their own, and there’s an overall pleasing balance of old school scares, earned humor and heartfelt resolution ( Gwen receives a phone call from the other side that should leave anyone with a heartbeat verklempt). Did I mention that the snowbound cabins depicted have heaters that glow a beautiful neon red? It’s stunning. BLACK PHONE 2 is a dreamy stone cold keeper in my (phone) book, a creative victory for sequels everywhere and a handsome, semi-artsy nostalgic time capsule of a much missed era. I’m not sure if it’s superior to its predecessor, but it surely can boast having way more re-play mojo. Also, may I just say as a society we lost a lot when we lost landlines and phone booths? I really miss them. I hate my smart phone and it clearly hates me.
Good Boy (2025) :: By Mickster
A special note to animal lovers: take tissues because if you are like me, you are going to need them. I made the mistake of not bringing tissues, and my poor t-shirt and jeans paid the price for that rookie mistake.
This movie is difficult to talk about without spoiling it, so I will be as careful as possible. Indy is the faithful and loving dog to Todd (Shane Jensen-voice), his human. Indy would do anything to protect Todd from whatever forces threatening him. Indy is the main character, and the audience sees things from his perspective. The dialogue is kept to a minimum in Good Boy because our protagonist is a dog. The dialogue the audience does receive is to the side; many conversations are on the phone between Todd and his sister, Vera (Arielle Friedman-voice). The movie begins with a sweet montage of Indy as a pup, and Indy’s blooming relationship with Todd. Early on, Todd decides to take Indy to his deceased grandpa’s home out in the middle of nowhere, where it seems to be perpetually raining. Indy, even before they get to the house, notices a dark, shadowy figure outside the car; this is when Todd is opening the gate to the property. This is just the beginning of Indy’s experiences with strange shadows, noises, and unease. As the audience is experiencing everything through Indy’s eyes, the logic in what he sees comes from his canine instincts. At times, Indy’s perspective seems like “dream logic,” where things don’t quite make sense. The only other characters in the movie are Todd’s grandpa (genre favorite-Larry Fessenden-seen on VHS tapes), Grandpa’s faithful dog, Bandit (also seen on VHS), and a neighbor (Stuart Rudin) who lives relatively nearby (the neighbor provides some exposition about his grandpa and the surrounding area). Indy senses Todd is in some kind of danger, and he doesn’t know how to help him. At the same time, Todd’s personality changes; he becomes harsh towards Indy, which Indy doesn’t understand. No matter what happens, be it scary apparition or an unusually aggressive Todd, Indy stops at nothing to try to help Todd.
Indy is indeed a good boy who deserves all the praise he is getting for his extraordinary performance. The writer/director, Ben Leonberg, also deserves quite a bit of praise for painstakingly working on this unusual film for three years. The experimental nature of the film reminded me of Skinamarink (2022) in that it was shot from the perspective of the dog, whereas Skinamarink was shot from the perspective of small children. However, Good Boy differs by recognizing that the film shouldn’t “overstay” its welcome. The 73-minute runtime makes way more sense than Skinamarink’s hour and forty minutes.
I give Good Boy two paws up!
Alternatives to The Strangers: Chapter 2
I try to see every horror movie that is theatrically released in my hood but I’m afraid I’m going to have to skip THE STRANGERS: CHAPTER 2. I had planned to keep an open mind but how can I ignore the writing on the wall? I really didn’t like the previous effort and word on the street is that this stab is even worse than the first! I just can’t do it. Maybe I’ll watch it at home eventually but it doesn’t seem worthy of a $3 subway trip or the general discomfort of going outdoors. So here is a list of a few similarly themed horror movies I’d prefer to watch instead…
Let’s start with the worship worthy wonder that is THE STRANGERS: PREY AT NIGHT (2018). How do you make a sequel even more ferociously unforgettable than its predecessor? The formula is simple, add neon lights and eighties music! It’s not rocket science! Spooky as hell and way more re-watchable than the first, this fun and feral sequel can stand strongly on its own. This baby provides a perfect template springboard for what could have been a solid trilogy. Tragically, the perfect baton pass set-up was ignored in favor of backtracking dilution.
2014’s THE TOWN THAT DREADED SUNDOWN is a meta-happy relaunch done right (full review HERE). The atmosphere is impeccable, it enhances rather than repeats the OG’s mythology and it even features horror legend Veronica Cartwright!
If it’s anonymous lunatics you’re looking for, you can’t beat the horrific stylings of 2001’s JOYRIDE and its intimidating antagonist “Rusty Nail”. I’ll even vouch for its two hyper violent, highly entertaining WRONG TURN-esque straight to video sequels JOYRIDE 2: DEAD AHEAD and JOYRIDE 3.
Not sure why few ever speaks of IF I DIE BEFORE I WAKE from 1998 because to me, it’s the scariest home invasion flick I can think of. Muse Watson of I KNOW WHAT YOU DID LAST SUMMER fame loses the Gordon’s fisherman look and is all the scarier for it in this traumatizing nightmare scenario flick.
If its creepy masks you’re looking for, can I interest you in OUT OF THE DARK (’88)’s Bobo the clown? I realize killer clowns are a dime a dozen these days but this particular lunatic is preoccupied with terrorizing phone sex workers who work for Karen Black! Perfect late night cable eighties sleaze that can even boast featuring the last role of everybody’s favorite harbinger of good taste, Divine!
I’ve gleaned from the trailer that the new STRANGERS will at least partially take place in a hospital, a place where many other horror movie aftermath sequels occur. Consider the legendary warning against tampered treats and bad wigs known as HALLOWEEN II ('81) or Rob Zombie’s misunderstood deep dive into PTSD of the same name! May I also suggest the creepy Canadian stalk-athon VISITING HOURS (’82) and my personal favorite, the chilly & thrill-y Norwegian horror continuation COLD PREY II (2008) which is nearly every bit as good as its dynamic parent film.
If it’s resourceful gals stalked in a limited setting you’re in the mood for there’s always the campus Christmas calamity KRISTY (2009), the holiday parking lot suspenser P2 (2007), the Halloween (’78) precursor FRIGHT (’71) featuring a young Susan George (full review HERE) and the made for TV pulse pounder THE VICTIM starring Elizabeth Montgomery. Director Mike Flanagan delivers HUSH (2016), a slightly aggravating but always nail-biting modernized ode to the classic WAIT UNTIL DARK (’67).
Finally, I would be remiss to not throw some respect toward THE STRANGERS: CHAPTER 2 director Renny Harlan. Although he helms the ill conceived assumed fiasco, I can’t begrudge the guy a paycheck and I have to admit he has delivered worthwhile entertainment in the past. He’s given us fine action flicks with DIE HARD 2 (’90) and CLIFFHANGER (’93) , a respectable ELM STREET sequel with PART 4: THE DREAM MASTER (’88), an awesome shark flick in DEEP BLUE SEA (’99), the snowy found footage jaunt DEVIL’S PASS (2013) and perhaps his greatest achievement, the excellent LONG KISS GOODNIGHT (’96) ! He’s dipped in the hack pool a few times (see pot boiler yawn machine EXORCIST: THE BEGINNING (2004) ) but hey, every creative person knows that not every endeavor taken is going to work out exactly as planned. So, no hard feelings sir and if it helps, I think legendary box-office bomb CUTTHROAT ISLAND (’95) is actually sorely underrated.
The Conjuring & The Long Walk
The central spine of THE CONJURING universe comes to some closure but lets not kid ourselves, this consistently lucrative horror franchise will likely outlive us all. THE CONJURING: LAST RITES is mostly a sentimental spotlight not on the real life supernatural investigators Ed & Lorraine Warren but of the indisputable chemistry between stars Vera Farmiga and Patrick Wilson. It’s not the best in the series (that would be part 2 imo) nor is it the worst (part 3 is decent enough, but possession via water bed is a hard sell). If you’re looking for an in-depth exploration of the famous Pennsylvania Smurf haunting you may want to stick with the (highly kindertraumatic) 1991 Sally Kirkland/Robert Mandel TV movie THE HAUNTED but then you’d be missing out on saying farewell to two of the best horror heroes to ever hit the screen. Sure, the real Warrens may have been problematic on a multitude of levels but their scrubbed up, cinematic counterparts are charming and admirable and geez, I’m going to miss them (until they inevitably pop up again).
Much like THE JETSONS, the Warrens have a daughter named Judy (currently portrayed by Mia Tomilson). After nearly dying at birth thanks to a haunted mirror, Judy has grown to be plenty psychic like her mother which leads to many a creepy vision and CGI laden hallucination. Her parents have cooled down their ghost busting thanks to Ed’s SANFORD AND SON-level heart problems and now give lectures to scoffing college students. What could get these two cooing lovebirds back into the demon occupied trenches? After a friendly priest hangs himself, daughter Judy is psychically drawn to the haunted Smurf residence and her folks begrudging assist. Eventually they learn their least favorite evil haunted mirror resides in the Smurl’s attic having somehow escaped a garbage truck and it still has an axe to grind with the Warrens’ name on it ( having been a lame communion gift to one of the Smurl daughters from her grandparents. Who gifts a severely cracked mirror?). “Based on a True Story” is pushed to extremes as the flick plays fast and loose with the so-called facts. No surprise there, but much of the interesting eccentricities of the Smurl tale are jettisoned as well. It makes sense that things are streamlined and surely elements like the poltergeist rape of Mr. Smurl could damper the proceedings but a lot of what makes the Smurl haunting memorable is rendered routine by the witting down process. I guess what I’m saying is I could have used a ghost pilgrim like the ones depicted in the aforementioned TV movie. Ghost pilgrims are scary. Instead we get sorta a cowpoke Marilyn Manson.
All in all, I did indeed enjoy THE CONJURING: LAST RITES partly because I’m bonkers for both Farmiga & Wilson and partly because I’ve endured much more aggravating “final” installments in my lifetime (looking at you FREDDY’S DEAD & HALLOWEEN ENDS). Director Michael Chaves is no James Wan but he’s a Wan approved, reasonable enough facsimile. The cinematography is rich and uses amorphous darkness to great effect and sound design is perpetually persuasive. You know what? Corny as it may sound (cue Elvis’ singing “I can’t Help Falling in Love With You”), I even got a little teary -eyed at the end which nicely high-fives earlier installments.
THE CONJURING universe offers a far-fetched fabricated reality where love and light always wins against the powers of darkness and it’s a nice break to hang in such a spiritually clear and balanced dimension even if it’s for just a little while. It may be far from accurate, but so is much of recorded human history and at least this spookshow has it’s heart in the right place. Innovation is AWOL but that’s fine by me, it sticks the landing, doesn’t rock the boat and ties up affairs snugly while always understanding the central love story is just as vital as the scares to fans of the franchise. Furthermore, because this movie takes place in 1986, I was happily subjected to the musical stylings of eighties titans THE CULT, HOWARD JONES and most importantly, ROMEO VOID. What’s not to love about that?
I was kinda dragging my feet when it came to seeing the new Stephen King adaptation (originally published under his pseudonym Richard Bachman) THE LONG WALK because although it looked intriguing, it was also giving depressing bummer vibes. Turns out yep, it is an ordeal and it is sad and there’s something extra dismal about a “dystopian” film that feels like not much of a stretch at all. Don’t get me wrong, this is a great movie that is sure to become a cult favorite in years to come that beautifully points out the possibility of humanity amidst inhumane conditions but it’s harrowing as heck especially if you are someone who is sensitive to the anguish of Judy Greer.
THE LONG WALK offers the too plausible scenario of life in America becoming so financially impossible that young men are willing to enter a contest where they could win a ton of money if they happen to be the last one standing in a trek where if you fall behind or don’t keep the pace, you’re killed. It’s sorta like Shirley Jackson’s THE LOTTERY meets THEY SHOOT HORSES, DON’T THEY? The odd thing is, as much as this horror fan lives to see people chased by chainsaws, punctured by gardening tools (not to mention shish-kebabs) and torn to shreds by aliens, I’m really not down with having to see folks shot in the head at regular intervals. It’s a lot. There’s also the horrifying element of the participants in this survival contest not being allowed proper bathroom breaks which I am pretty sure would have me tapping out super early if ever in the situation.
Director Francis (CONSTANTINE, I AM LEGEND) Lawrence does an excellent job of making sure what could have been a monotonous slog stays engaging throughout and cinematographer Jo Willems (30 DAYS OF NIGHT) beautifully captures the rustic melancholy side of the country which feels forgotten and swept under the rug. The film’s strongest suit though, is its actors. Cooper Hoffman (the late Philip Seymour’s son!) Is excellent as Raymond who throws his hat into the ring to avenge his father (Josh Hamilton) who was executed for sharing banned materials and to make life easier on his poor mom (the aforementioned and always welcome Greer). David Jonsson who recently impressed in ALIEN: ROMULUS, plays Pete, a guy whose newly formed friendship and support of Raymond is the brightest spot in this glum and pessimistic vision. Mark Hamill plays comeuppance baiting, empty platitude barking villain “The Mayor” so well that I thought he was Brian Cox until Imdb schooled me otherwise (He’s really come a long way since his breakout role in CORVETTE SUMMER)! Ultimately, THE LONG WALK is the cinematic equivalent of doom scrolling so I don’t recommend it for slumber party fun but it’s well crafted, well acted and poignant enough to easily carry the viewer past the finish line.
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