I love nothing more than a good horror movie, unless it’s a well-written horror novel…and with his latest, the amazing Paul Tremblay has somehow managed to give his readers both.

Our little movie that couldn’t had a crew size that has become fluid in the retelling, magically growing in the years since Valentina uploaded the screenplay and three photo stills to various online message boards and three brief scenes to Youtube in 2008. Now that I live in Los Angeles (temporarily; please, I’m not a real monster) I can’t tell you how many people have told me they know someone or are friends of a friend of a friend who was on-set. Our set.
Like now. I’m having coffee with one of the producers of the Horror Movie remake. Or is it a reboot? I’m not sure of the correct term for what it is they will be doing. Is it a remake if the original film, shot more than thirty years ago, was never screened? “Reboot” is probably the proper term but not with how it’s applied around Hollywood.
Producer Guy’s name is George. Maybe. I’m pretending to forget his name in retribution for our first meeting six months ago, which was over Zoom. While I was holed uip in my small, stuffy apartment, he was outdoors, traipsing around a green space. He apologized for the sunglasses and his bouncing, sun-dappled phone image in that I-can-do-whatever-I-want way and explained he just had to get outside, get his steps in, because he’d been stuck in his office all morning and he would be there all afternoon. Translation: I deign to speak to you, however you’re not important enough to interrupt a planned walk. A total power play. I was tempted to hang up on him or pretend my computer screen froze, but I didn’t. Yeah, I’m talking tougher than I am. I couldn’t afford (in all applications of that word) to throw away any chance, as slim as it might be, to get the movie made. Within the winding course of our one-way discussion in which I was nothing but flotsam in the current of his river, he said he’d been looking for horror projects, as “horror is hot,” but because everything happening in the real world was so grim, he and the studios wanted horror that was “uplifting and upbeat.” His own raging waters were too loud for him to hear my derisive snort-laugh or see my eye-roll. I didn’t think anything would ever come from that chat.
Horror that is “uplifting and upbeat.” Oooo-kay then.
I’ve been a fan of Tremblay since I read his brilliant A Head Full of Ghosts, which was so real and believable and so original that it blew my mind. It was one of the more ambitious horror novels I’d read this century, and having enjoyed that thoroughly, delved more deeply into the Tremblay canon. I’ve yet to be disappointed in one of his novels–they are always very original, even when taking on a horror trope; they are hard to stop reading or put down at any point over the course of the narrative; and his characters are always believable, absolutely real, and completely relatable, even if they aren’t the nicest people around.
The “cult horror movie” trope is one that has been used before, of course, both in fiction and on film. The primary reason for the success of The Blair Witch Project back in the day was due to no one being certain whether it was a work of fiction or if the film’s conceit–found footage of something that actually happened–and that huge success resulted in the rise of the “found footage” trope. Tremblay plays a bit with this here–the original film in this book, Horror Movie, is also named Horror Movie. Five kids made the movie back in the day, with everyone participating and everyone having off-camera duties as well as their on-camera performances. The movie was never released, but about ten years earlier than the time of the novel, the director released some scenes on line and also published the script, posting links on every horror film board and horror fan board she could find. This has stirred up interest in the movie again…and the book is about the “reboot/remake” of Horror Movie, and the person telling the story is the only survivor from the original movie…but we don’t learn that right away. (Part of the lore of the movie is its “curse”.) He also played the monster the kids in the movie “create”, by isolation, torture and mind control–and the use of a mask that he (only known as The Thin Kid) is forced to wear.
The story has two timelines–the current day with the making of the new version, and his memories of making the original. There are also flashbacks to periods in his life between the bookends of the film being made–the film being made reminds me of Jack Ketchum’s The Girl Next Door–and as the book goes on, the timelines cross over and over again and once again, we have a completely unreliable narrator–but that doesn’t become very apparent until the book continues to move on and this blurring of fact and fiction is done so incredibly well that you can’t help but wonder how all of this is going to play out and what is real and what isn’t–while the tension keeps building and building as everything spirals out of control.
This book is utterly amazing, and I am so grateful I started reading Tremblay. Highly recommended, and will make a lot of Top Ten lists this year.








