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Dead Meat Horror Awards 2026 — Transcript

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0:01This is a true story. It happened right
0:04here in my town.
0:08Last year, we told lots of scary
0:11stories.
0:14Usually, the judges and the top awards
0:17people ignore those kinds of stories.
0:21But this year, something weird happened.
0:25This year, they didn't. Death doesn't
0:29like it when you fuck with his plans.
0:31It's a bad magic killer monkey.
0:34>> The long walk is the answer.
0:37>> I'm environmentally conscious. The days
0:39of you controlling me are over.
0:43[screaming]
0:45>> We can bring her back.
0:46>> Welcome to Freddy's.
0:48>> He is weaponized.
0:49>> You keep dancing with the dead. One day
0:51is far from home.
0:55It's time to honor the best in horror
0:58from [music] 2025
1:00with the fifth annual Dead Meat Horror
1:03Awards.
1:06So run, don't walk to your seats, and
1:09welcome your hosts, James A. Janice and
1:12Chelsea Rebecca.
1:14>> Hello everyone, and welcome back to the
1:15Dead [music] Meat Horror Awards, where
1:17we honor the best of the genre from the
1:19past year.
1:19>> The past year being 2025. We know the
1:22show is a little late this year. Sorry
1:24about that.
1:25>> This year's show is being filmed at
1:26Slasher World, a horror themed retail
1:28store and event space located on Melrose
1:30here in Los Angeles.
1:31>> As we head into our fifth year of doing
1:33these awards, we found ourselves
1:35reflecting on just how much horror's
1:37place in the public eye has changed.
1:39>> When we handed out our first prime rib
1:41in 2022, it was to help recognize a
1:43genre that's long been ignored by the
1:45traditional award shows. But this year,
1:47horror was at the forefront of those
1:49very shows. Movies like Sinners and
1:51Frankenstein commanded the awards show
1:53circuit, while others like Weapons, The
1:55Ugly Stepsister, and Jurassic World
1:57Rebirth were also recognized at
1:58mainstream film awards.
2:00>> So this time, our ceremony alongside
2:02other shows like the Saturns and the
2:04Fangoria Chainsaw Awards feels less like
2:06an outright alternative for horror
2:08movies. Instead, tonight's a celebration
2:10of how far the genre's come after a
2:12truly triumphant year. At the same time,
2:15we'll continue shining a light on the
2:17rest of the genre. The films and
2:18franchises that may not get recognition
2:20in traditional film spaces, but still
2:23hold a special spot for all of us fans.
2:25>> After all, the horror genre is more than
2:27just a few successful standouts. It's
2:29also splattery slashers and inventive
2:31sequels, CG creatures and practical
2:34puppets. It's experimental and schllocky
2:36and everything in between. And here at
2:38Dead Meat, we love it all. Tonight,
2:40we'll be handing out 12 awards voted on
2:42by a panel of critics, fans, and experts
2:45who love the genre just as much as we
2:47do. But first, let's get things started
2:48with our friend and co-host, Saurin
2:50Gavoyage.
2:52>> It seems like every year it gets harder
2:55and harder to narrow down the nominees
2:57for this show. Our final selections
2:59include 23 different films, but of
3:02course, there were many, many more
3:04released in 2025. To honor them and
3:07their contribution to the genre, we
3:09present you with a montage.
3:12Enjoy.
3:15>> And something's changed.
3:20Something's different.
3:23>> Dead is just a word.
3:27Fear is just the warm-up.
3:32>> You're the one I came for.
3:35I sensed you.
3:37>> Must be piles. [music]
3:42>> Welcome to Freddy's.
3:46Kids can be so heartless.
3:49>> We're a going to kill every last one of
3:51you.
3:53>> You thought me a monster. Now I return
3:57the favor.
3:58>> There's something wrong with Laura.
4:00>> We can bring her back.
4:07>> [music]
4:10>> Please
4:12and
4:14ash.
4:32Remember
4:36[music] how perfect it all was?
4:43>> Everybody dies and that's life.
4:46>> Wait, wait, wait, wait, wait, wait.
5:02Things can get very messy.
5:13What the fuck?
5:17Last year, the Academy of Motion Picture
5:19Arts and Sciences announced that the
5:21Oscars would finally include a category
5:23for stunts, starting at their 100th show
5:25in 2028. It's long-deserved recognition
5:28for a craft that's been around since the
5:30silent film era.
5:31>> I mean, we've had this category since
5:32our first show, but nobody's keeping
5:35track.
5:35>> No, no, of course not.
5:36>> In the world of horror, human bodies are
5:38often pushed in strange and frightening
5:41ways. But in the world of production,
5:43it's the job of stunt coordinators and
5:44choreographers to ensure those bodies
5:46aren't pushed too far. Here to present
5:49the finalists for best stunts and
5:50choreography is a man who's put his body
5:53on the line to play a horror icon or
5:55two.
5:56>> Thanks, James and Chelsea.
5:59You know, I've played a lot of dangerous
6:01characters in my career, but it's
6:04important as a performer that the danger
6:06is never real. Hardworking stunt
6:09coordinators and stunt people are the
6:11true reason your favorite killers get to
6:15stick around for the sequel. And
6:17tonight, we're honoring this year's
6:19finest. The nominees for best stunts or
6:23stunt coordinating are Black Phone 2.
6:27The Grabbers return as a supernatural
6:30force meant new challenges for the film
6:32stunt team. Stunt coordinators Bronco
6:34and Ganon Rocky trained then 15-year-old
6:37Maline McGrath to perform her wirework
6:39herself. McGra also became scuba
6:41certified for the film's [music]
6:43extensive underwater sequences. Scott
6:45purposely wrote in some crazy things
6:48just because he knows that I would enjoy
6:50doing it so much. For the film's
6:51climactic frozen lake battle, stunt
6:53double Jeff Meech used roller skates to
6:55play an ice skating grabber in a visual
6:58inspired by 1983's Curtains.
7:01>> Dangerous animals. For this oceanic
7:04thriller where the killer uses sharks as
7:06a [music] weapon, director Sha Burn
7:08ditched the water tank, opting instead
7:10to shoot the film on an actual boat.
7:12That included two weeks of night shoots
7:14out at sea with several scenes that saw
7:16the cast hanging in harnesses above the
7:19open water.
7:19>> Still carrying the scars.
7:21>> See, I don't think I can have kids
7:22anymore. Stunt coordinator Aaron Dexter
7:24kept the actual dangerous animals away
7:26with the use of marine barriers, [music]
7:28as well as designing main villain
7:30Tucker's bloody brawls as the film's
7:32fight coordinator.
7:34>> Final Destination: Bloodlines. [music]
7:36>> Continuing the franchise's tradition of
7:38Carnage, Bloodlines opens with a
7:40vertigoinducing disaster in the
7:42fictional sky view. The restaurant set
7:45was built on a sound stage, giving stunt
7:47coordinator Simon Bernett and key rigger
7:49Dustin Brooks the ability to capture the
7:51sequenc's many perilous falls.
7:54>> I don't think we've ever dropped 20
7:55people all in one shot at one time.
7:57>> For one memorable fire stunt,
7:5971-year-old stuntwoman Ivet Ferguson
8:02became the oldest person ever to be set
8:04ablaze on camera.
8:06>> Sinners. Amidst its gravitydeying
8:10vampires, large-scale bar brawl, and
8:12many fire stunts, Sinner's most daunting
8:15sequence saw actor Miles Kaitton
8:17summoned spirits from across time to the
8:20dance floor. The surreal scene combined
8:22everything from lindy hopping to
8:24breaking to the traditional West African
8:26dance of Zahuli.
8:28>> This is the window that allowed [music]
8:30for me to bring in so many different
8:32generations and eras and cultures of
8:34dance. Choreographer Akaman Hassani
8:36Jones not only oversaw dozens of
8:38dancers, actors, and crew members, but
8:41also had to keep track of which smoke
8:43stack twin was on screen at any given
8:45time.
8:46>> Weapons.
8:48With running at the center of the film's
8:50premise, [music] it's no surprise stunt
8:52coordinators Jennifer Badger, Lauren
8:54Chavez, and Glenn Foster were in charge
8:56of [music] handling several chase
8:57sequences. One close quarters
8:59altercation at a gas station required
9:01camera operator Connor O'Brien to shoot
9:04the scene on rollerblades. Another
9:06memorable sequence used fight
9:07choreography as comedy with a character
9:10repeatedly thrown across a room. For
9:12Glattis's final climactic chase, 17
9:15stunt performers with dwarfism doubling
9:17for children crashed through doors and
9:19windows made of balsa wood [music] and
9:21in one instance rode a pneumatic gate
9:24designed to collapse on command.
9:26>> It's the sort of cudigra of the film.
9:27It's the final moment where the bad guy
9:29gets hers. That's the kind of thing that
9:31you want to really land.
9:33>> Wolfman.
9:34>> Leewel's re-imagined monster needed more
9:37than a full moon to come to life. Stunt
9:39and fight coordinator Steve McQuillin
9:41helped sell the power of the beast
9:43through wirework and careful
9:45choreography. One particularly harrowing
9:47sequence saw the Loveville family
9:49trapped in an actual moving truck
9:51suspended more than 20 ft in the air
9:53over the side of a cliff. You have these
9:55huge action set pieces that when it's
9:58all put together, it's very exciting and
10:00thrilling and scary, but when you're
10:02shooting it, it's very technical. To
10:04roll this truck over and have it end up
10:06hanging off a cliff, it's insanely
10:08difficult.
10:10>> And the prime rib for best stunts or
10:13stunt coordinating goes to
10:16Sinners.
10:18Congratulations to the stunt team at
10:21Sinners. Dancing with the devil never
10:24looks so good.
10:26>> Congratulations to sinners.
10:28>> Horror fans worship at the altar of the
10:30practical, but there are some things
10:32flesh and blood just can't do. Visual
10:34effects artists are often taken for
10:36granted and waved away as computer
10:38wizardry. But well-crafted digital
10:40effects are a complex art form all their
10:42own. Whether it's constructing
10:44impossible worlds, breathing life into
10:46new monsters, or making the human body
10:48do things it has no business doing, VFX
10:51can show us things we've only ever seen
10:52in our nightmares.
10:54>> Let's take a look now at 2025's best
10:56digital effects.
10:58>> Thank you, James and Chelsea. Horror
11:01films have been scaring audiences for
11:03over a century, and horror filmmakers
11:06have been trying to one up each other
11:08for just as long. Digital effects give
11:12directors the tools to push their
11:15visions beyond the earthly realm. This
11:17year's nominees gave us prehistoric
11:20monsters into galactic threats but of
11:24the destruction and the kind of imagery
11:27that could only come from the depths of
11:29hell. The nominees for best digital
11:32effects are
11:34the conjuring. That's right. VFX
11:37supervisor Scott Edelstein oversaw a
11:39team of 10 VFX houses to handle the many
11:42digital scares in the final Conjuring
11:44installment. They included several
11:46complicated mirror sequences and one
11:49memorable moment where a character is
11:51chased by a giant Annabel doll.
11:53>> She had just gone from being 3 ft to to
11:55being 12. So, she need to look in pain
11:58and uncomfortable but still able to to
12:01come and get you. The team also created
12:03several set extensions that turned a
12:05back lot in the UK into a 1980s
12:08Pennsylvania neighborhood.
12:10>> Our destination, Bloodlines.
12:12>> VFX supervisor Nordine Rahali knew it
12:15was important to give the film's digital
12:17effects a basis in reality. For the
12:19opening sky view disaster, a custom LED
12:22volume wall was used to create an
12:24immersive backdrop, which was able to
12:26correctly reflect off of silverware and
12:28champagne glasses.
12:29>> [music]
12:29>> So, you're able to do things like cue
12:31fire or rotate the background in real
12:33time or change the lighting environment.
12:35>> The team also recreated the restaurant
12:37in CG, allowing them to place practical
12:40stunt work into a digital environment
12:42and provide digital enhancements to the
12:44movies's many, many kills.
12:49>> Director Joseph Khan had to work
12:51carefully and efficiently to shoot this
12:54creature feature on an indie budget. If
12:56you can iterate precisely what you want,
12:59you can do 10 times the effects because
13:01you're not doing 10 times the takes.
13:03>> He worked with the team at Ingenuity
13:05Studios to combine real sets with
13:07digital elements. And for [music] one
13:08extended sequence, the team had to
13:10create a fully CGI environment to place
13:13the actors inside an upturn car.
13:16>> Jurassic World Rebirth.
13:19>> BFX supervisor David Vickery previously
13:21did effects for Jurassic World's Fallen
13:23Kingdom and Dominion. For Rebirth,
13:25however, he worked with director Gareth
13:27Edwards, who also had a background in
13:29visual effects, in order to approach
13:31animating the dinosaurs in a very
13:33different way. [music]
13:34>> One of the things that we decided to do
13:36on this film was only animate dinosaurs
13:39if we could find a real reference of a
13:42real animal behaving in a similar way.
13:45>> Vicere and the team at ILM also created
13:47multiple environment extensions,
13:49including a believable digital ocean for
13:51the thrilling boat sequence. Sinners.
13:55>> Sinners had plenty of bombastic digital
13:58effects, including a climactic fire
14:00tornado. But the film's hardest
14:02challenge by far was creating a digital
14:04twin of Michael B. Jordan that would
14:06stand up to a 65 mm IMAX viewing.
14:08[music] In order to achieve the seamless
14:10effect, VFX supervisor Michael Rala and
14:13VFX producer [music] James Alexander
14:15created a custom rig they called the
14:17Halo. James and I were out for dinner
14:19and all of this started as a napkin
14:21sketch. I was like, "Hey, how about a
14:23camera rig [music] that they strap on?"
14:25The Halo rig captured Jordan's
14:27performance from every angle, which was
14:29then digitally applied to his body
14:31double by the team at Rising Sun
14:33Pictures
14:34>> together. In this intimate body horror
14:37film about love and codependence, writer
14:39director Michael Shanks wanted the
14:41physical transformations to feel
14:43uniquely harrowing. In the 80s, I feel
14:45like a lot of the body horror was kind
14:46of glossy and slimy, and I wanted this
14:50to feel kind of dry and painful.
14:52>> For the body merging finale, VFX
14:54supervisor Josh Simmons and the team at
14:56Frame Store used a multi-pronged
14:58approach, including digi doubles and
15:00models of bone and flesh, rebuilt from
15:03the ground up to mix realism with the
15:05supernatural. The team also created a
15:07composite of actors Dave Franco and
15:09Allison Brie for their characters
15:11completed fusion.
15:13The prime rib for best digital effects
15:17goes to
15:19together.
15:21Congratulations to the team of Together.
15:25[clears throat]
15:26Monogamy has never looked so terrifying
15:32and so terrific. Great job.
15:35>> Congratulations to together. Those
15:38effects really got under our skin.
15:40>> Since the black and white days of Jack
15:42Pierce and Lon Cheney Senior, practical
15:44effects have been a crucial part of
15:45scary movie making. Effects artists can
15:48take latex, silicone, plaster, and paint
15:50and mold them into incredible cinematic
15:53moments. Over the past century, this art
15:55form has evolved alongside the film
15:57making industry. Life casting has become
15:593D scanning, puppeteers wear green morph
16:02suits, and new tech has revived the old
16:04art of miniatures. But as much as things
16:07change, the goal is always the same. To
16:09bring audiences something that feels
16:10real and tangible.
16:12>> Highlighting this year's best practical
16:13effects is a performer who's been up
16:16close and personal with handcrafted
16:17horror.
16:19>> Thank you, James and Chelsea.
16:21Whether a movie needs a messy kill or an
16:24ugly mug, the Great Effects artist can
16:26make any director's wishes come true.
16:29Tonight's nominees brought life to
16:32mechanical monsters and monstrous
16:34humans.
16:36They tore our bodies apart and put them
16:38back together again. Their work is not
16:41only impressive, it is [clears throat]
16:43downright otherworldly. The nominees for
16:47best practical effects are Final
16:50Destination Bloodlines. Special effects
16:53coordinator Tony Lazarovich and the team
16:55at Pacific West [music] special effects
16:57went to great lengths to provide
16:59practical bases for Bloodline's Many
17:01Kills. That included a foldable version
17:03of actor Richard Harmon's torso and a
17:05full body mannequin of a crushed Mater
17:07D.
17:08>> They put it next to me and it freaked me
17:10out. The texture, everything, the
17:12coloring is me.
17:15>> The team's [music] most difficult
17:16challenge came in the form of the
17:18garbage truck sequence. They created a
17:20compactor made of metal rods that
17:22harmlessly closed around actress Anna
17:24Lor's head.
17:25>> Five Nights at Freddy's 2.
17:28>> A second [music] outing to Fazbear's
17:29Pizza meant creating a new crop of
17:32animatronics. Once again, the job fell
17:34to Jim Henson's Creature Shop. Some
17:36characters were once again played by
17:38performers in suits, but the imposing
17:40mangle required a minimum of 13
17:42puppeteers [music] employing everything
17:44from remote control to classic rod
17:47puppeteering. That is a lot of
17:49performers to come together to sort of
17:51coalesce into a unified character.
17:54>> The suits were designed by returning
17:56special [music] effects supervisor
17:57Robert H. Bennett, who based his work
17:59off original character files provided by
18:01game creator Scott [music] Cawen.
18:04>> Frankenstein.
18:06>> Gmerald Del Toro's fantasy epic included
18:08many practical cadaavvers, but
18:10prosthetic [music] makeup designer Mike
18:12Hill had to put most of his effort into
18:14creating Frankenstein's monster himself.
18:15[music]
18:16Inspired by 19th century medical
18:18textbooks, Hill used different shades of
18:20the creature's skin to frame his
18:22features [music] and anatomy.
18:23>> I just played around with colors and
18:25forms and shapes that would make the
18:26actor's body feel powerful and feel put
18:29together, but put together by a man.
18:31>> Jacob Allort's towering creature
18:32combined aspects of Jack Pierce's iconic
18:35[music] design and Mary Shel's original
18:37description in a look that required 10
18:39hours and 42 prosthetic [music]
18:41appliances. His anim animalistic eye was
18:44achieved using a scleral contact lens
18:46with a bigger iris. [music]
18:48>> Sinners.
18:50>> Cougler's violent vampire film spills a
18:52lot of blood, but [music] special
18:54effects makeup and prosthetics designer
18:56Mike Fontaine regarded its gore as just
18:58another artistic medium.
19:00>> If there's a wound, how can that shape
19:02be almost a beautiful shape or something
19:05that is compositionally balanced?
19:07[music] To make the movie's blood
19:09suckers stand out, Fontaine researched
19:11predatory animals, incorporating curved
19:14fangs that can hook into victims [music]
19:16and glowing eyes achieved by contact
19:18lens designer Christina Patterson. The
19:20film's fiery climax sees lead vampire
19:23Remick's true face revealed using a
19:25combination of silicone [music]
19:26prosthetics, blood rigs, smoke tubes,
19:29dentures, and fiberglass plates.
19:32>> The [music] ugly stepsister.
19:34Director Amelia Blickfeld wanted her
19:36Cinderella story to feel real and
19:38tangible, which extended to its brutal
19:40body horror. Special effects and
19:42prosthetic makeup designer Thomas
19:44Fulberg created several practical rigs,
19:47including blood spraying [music] feet,
19:49rubber worms, and multiple replicas of
19:51actress Leia Mirren's head for a [music]
19:53sequence involving eyelid surgery.
19:55>> My hope is that the more digital that
19:58can be made, the more people maybe want
20:01something that's actually handmade.
20:03Fullberg's work included more subtle
20:05effects as well to play the teenage
20:07Alvivera. Mir and wore prosthetics on
20:09her face, cheek, and neck, allowing her
20:12look to suddenly change across the film
20:14as the character undergoes painful
20:16cosmetic surgeries.
20:18>> Until Dawn.
20:20>> Director David F. Sandberg [music] has
20:22spent his career itching to make an
20:24effectsdriven slasher. So, he jumped at
20:26the opportunity with Until Dawn. [music]
20:28An indie filmmaker at heart, Sandberg
20:30utilized just as many clever camera and
20:33editing tricks as [music] he did special
20:35effects.
20:35>> I am an old school horror guy at heart,
20:38and I wanted to take practical as far as
20:41we could.
20:42>> For the sequence involving exploding
20:43[music] bodies caused by tainted water,
20:46Sanberg worked with special effects
20:47coordinator Adams [music] to create
20:49blood-filled mannequins of the cast,
20:51allowing them to capture their
20:53combustions [music] in camera.
20:56And the prime rib for best practical
20:59effects goes to the Ugly Stepsister.
21:03Congratulations to the crew of The Ugly
21:05Stepsister
21:07for putting absolute beauty into their
21:11stomach turning effects. Bravo.
21:15>> Congratulations to the ugly stepsister
21:17for bringing true beauty to the ugly and
21:19gross. Our next category honors a
21:21section of film making that can be
21:23incredibly loud or essentially
21:25invisible. A good art department can
21:27design on-screen worlds that feel so
21:29detailed and fully formed, it's easy to
21:32forget that they haven't always existed.
21:34>> This year's horror movies took us back
21:36to the past with period films ranging
21:38from Gothic Victorian times to the Jim
21:40Crow era South.
21:41>> There were also more contemporary
21:43terrors like the compound of a satanic
21:45cult in an isolated village in the
21:47postapocalypse.
21:49But whether the goal was low-key and
21:51lived in or lavish and luxurious, these
21:53nominees rose to the challenge.
21:55>> Presenting this award is a filmmaker
21:57whose colorful feature debut earned a
21:59nomination in this category last year.
22:02>> Thanks, guys. Horror films frequently
22:04take us out of our comfort zones and our
22:07realities. Now, whether that's cuz we're
22:09going back in time or visiting a strange
22:11shop just around the corner or in the
22:13case of so many movies, England, but
22:16going to these strange worlds is really
22:19only possible because of teams of
22:21talented individuals called production
22:23designers, just like tonight's nominees.
22:26The nominees for best production design
22:28are 28 [music] years later. Married
22:31couple Gareth Pew and Carson McCall
22:33pulled double duty as both costume and
22:36production designers for this zombie
22:38sequel. The centerpiece of the film was
22:39the Bone Temple built by Dr. Kelson, a
22:42massive and entirely practical set
22:44inspired by Lithuania's Hill of Crosses.
22:47>> It was so amazing to see what the what
22:49the art department had done. And for a
22:51set that was kind of this dedication to
22:53to the dead, it felt incredibly alive.
22:56To create a quarantine zone frozen in
22:58time, Pew and McCall focused on
23:00functionality, sourcing real clothing
23:02from 2002 to dress the 150 residents of
23:05the Lindes Farn Commune.
23:08>> Final Destination Bloodlines.
23:10>> For this Final Destination's complex
23:12kills, Death's design was [music]
23:14facilitated by several complicated sets,
23:16but none more so than the teetering
23:18[music] Space Needle inspired Sky View.
23:20Production designer Rachel Oul designed
23:22the restaurant's layout like a pinball
23:24machine, ensuring maximum chaos once the
23:27building began tipping to the side. One
23:29of the key ideas that we all fell in
23:31love with was this idea that circles
23:32kill.
23:34The sky view itself is round. The dance
23:37floor is round. Iris's pupil, her iris
23:40is round.
23:41>> The penny that kills them all.
23:42>> You can just see almost every scene that
23:44motif is created as a way of showing
23:46that death is coming for you. Costume
23:49designer Michelle Hunter not only
23:51dressed the cast in ' 60s attire for
23:52this period opening, a first for the
23:54franchise, she also created multiple
23:56sets of the costumes to [music] reflect
23:58different stages of destruction.
24:01>> Five Nights at Freddy's 2.
24:03>> Returning production designer Mark
24:05Fuchella was tasked with recreating
24:07Fazbear's Pizza from the first film, as
24:09well as creating a new pizzeria for this
24:11sequel, which took inspiration from the
24:13second game's location. This more
24:15elaborate setting meant to be the
24:16original Fazbear's Pizza included
24:18attractions such as a 200 foot long
24:21river boat ride. After filming the scene
24:23that took place during the restaurant's
24:24prime, the set was then redressed to
24:26[music] account for a 20-year time jump.
24:28>> We drain the entire river when we're
24:30done shooting it, and then we'll fill it
24:32back up again when we're we're ready for
24:33it. Draining it in between, I got to
24:35[music] really sort of rust out and
24:38algae up the walls inside. Costume
24:40designer Whitney Anne Adams joined the
24:42FNAF subreddit and [music] did extensive
24:44research for the various cosplays seen
24:46at FNAF Fest, making sure they looked
24:48like costumes created by real life fans.
24:52>> Frankenstein.
24:53>> For this tale of unholy creation, Del
24:56Toro wanted to push his team of
24:57craftseople to their own creative
24:59limits. Production designer Tamara Deell
25:02built 119 sets for the film, including
25:04the eight sets that make up Victor's
25:06Laboratory. The enormous ship horizont
25:08was also a practical build constructed
25:10of a giant gimbal that allowed [music]
25:12Jacob Allerty to rock the ship back and
25:15forth. And
25:15>> I said, I want to do it the way we used
25:18to make movies for humans by humans.
25:21>> Yeah.
25:21>> By hand.
25:22>> For the cast wardrobe, costume designer
25:24Kate Holly wanted to avoid complete
25:26period accuracy. Instead, incorporating
25:28[music] fantastical elements in bold
25:30colors to evoke Mario Bava and Hammer
25:33horror films. him
25:35>> in director Justin Tipping's visually
25:37stunning football horror film. Costume
25:39designer Dominique Dawson [music]
25:41consulted sportsear brands to create a
25:43medley of striking looks. From the
25:45various costumes of the savior's mascots
25:47to handcrafted pig masks. Those served
25:50as a reference to pigkin as well as the
25:53pig's biblical role as a symbol for
25:55moral corruption. The goal was to create
25:58this elevated couture experience of
26:03football and sports.
26:05>> Production designer Jordan Farah created
26:07the Savior's remote training facility,
26:09[music] an extensive and impressive set
26:11that combined iconography from football
26:14and paganism.
26:15>> Sinners [music]
26:17>> production designer Hannah Beckler and
26:19costume designer Ruthie Carter put
26:21extensive research into recreating 1930s
26:24Mississippi. The result is a period film
26:26that is painstakingly detailed. From the
26:28products in the segregated grocery
26:30stores on different sides of the fully
26:32[music] constructed main street to the
26:34cotton fields consisting of over 3,000
26:36pieces of cotton hand tied to each of
26:39the,200 plants.
26:41>> It's not only a gift. It's more like a
26:43mission to tell this story and to bring
26:46people into awareness of [music] people
26:49in the south who made something out of
26:51nothing. The smoke stack twins juke
26:53joint took eight weeks to construct
26:55using metal sheeting sprayed with boric
26:57acid to create actual rust. And the
27:01prime rib for best production design
27:03goes to Frankenstein. Congratulations to
27:07the entire Frankenstein team for a
27:09beautiful creation.
27:12>> Congratulations to Frankenstein for
27:14bringing so many fanciful locations to
27:16life.
27:17>> There are many things we hold near and
27:19dear here at DeadMat. our team, our
27:21pets, our life-sized standy of Count
27:24Orlock. But if there's one thing at the
27:26heart of our channel, it's kills.
27:28>> From shower stabbings to chest bursting,
27:30some of horror's most timeless moments
27:32are untimely demises. So, it's only
27:35fitting we dedicate an award to
27:36highlighting this year's best and
27:38bloodiest kills.
27:39>> If you'd like to avoid spoilers for the
27:41movies listed below, back out now. All
27:43right, you've been warned. Presenting
27:45the award for best kill is the actress
27:46on the receiving end of last year's
27:48winner, that yoga scene from Iniolent
27:50Nature.
27:52>> Thank you, James and Chelsea.
27:55I don't think it's a stretch to say when
27:58it comes to death scenes, horins are
28:01particularly bloodthirsty.
28:04They plow through movies searching for a
28:07kill that will have them seated and
28:10hopefully after the initial anguish,
28:12happy. This year's nominees have climbed
28:16the mountain of guts and gore and placed
28:20their corpse right at the top. The
28:23nominees for best kill are
28:27Eric [music] and Final Destination
28:29Bloodlines.
28:31Final Destination is a franchise famous
28:33for its inventive Rube Goldberg like
28:35kills. Bloodlines has some of the best
28:38in the series so far, but one bends over
28:40backwards to earn the top spot. When
28:42Eric tries to beat death on behalf of
28:45his brother, [music]
28:45Death fights back via an overactive MRI
28:48machine. The prolonged brutal kill was
28:51achieved with a contraption resembling
28:52the classic magic trick of sawing
28:54someone in half with a stunt performer
28:56serving as the actor's lower half. A
28:59realistic sculpture of his torso did the
29:01rest with a combination of practical and
29:03digital effects creating the final
29:04result. As a Final Destination fan,
29:09>> I feel like I got really lucky with my
29:11death.
29:12>> Detective Shaw in Hard Eyes. Director
29:15Josh Rubin wanted all of the kills in
29:17his Valentine's Day slasher to feel
29:19unique and memorable. That's certainly
29:22true for the climactic kill [music] of
29:23Detective Shaw, who gets stabbed through
29:25the throat with her feet dangling above
29:27the ground with gravity finishing things
29:29off. Jordana Brewster wore a prosthetic
29:32beneath her costume with a blood rig
29:34designed by the special effects
29:35department. [music] Other shots used a
29:37prosthetic head at top the sword
29:38wielding statue created by the props
29:40department. A stunt performer in a green
29:43screen mask played Shaw's body for the
29:45finished effect.
29:46>> It was true collaboration between all of
29:48the departments. A really, really hard
29:50thing to do, but something that I think
29:52we're all really proud of because it
29:55looks revolting. It's so gross. Aunt Ida
30:00in the monkey.
30:01>> The titular toy in the monkey causes
30:04complex mayhem for many victims. But
30:06Aunt Ida meets her end through a
30:08particularly unfortunate series of
30:10events. After getting a face full of
30:12fish hooks, a gas leak engulfs her head
30:14in fire, leading her to run into the
30:16pointed end of a for sale sign. All of
30:18the fire scene in the sequence was
30:20practical, [music] much to the initial
30:22concern of actress Sarah Levy. I kept
30:24asking, "So, what is what's the plan for
30:29when fire is actually when I'm actually
30:32on fire?"
30:33>> Levy was never actually on fire, [music]
30:34but wore a device that mimicked the glow
30:36of flames on her face during her shots.
30:39The rest of the sequence was a
30:40combination of a stunt performer running
30:42around the house and a prosthetic head
30:44dowsed in lighter fluid and lit a blaze.
30:47Bob in the Toxic Avenger.
30:50>> The final boss of Toxy's quest for
30:52justice against the corrupt
30:53pharmaceutical company BTH is company
30:56owner Bob Garbinger. Garbinger meets a
30:59bloody end head first into the engine of
31:01a car in a dream kill for writer
31:03director Min Blair.
31:05>> In my mind, it was very simple. It was
31:06just like he goes in the car and it
31:07turns on and he spins and blood comes
31:09out. But the actual mechanics of it
31:11turned out to be a little bit more of a
31:13science project. The kill [music]
31:14required fake legs, a centrifuggeelike
31:17spinning mechanism, multiple blood
31:19pumps, and [music] precise timing on
31:21set. With digital gore enhancement by
31:23Phil Tippet to finish things off, they
31:25turned Kevin Bacon into vehicular
31:27mincemeat.
31:29>> The bathroom explosions in Until Dawn.
31:32This tale of friends trapped in a
31:34terrifying time loop featured many
31:36memorable kills. But nothing quenched
31:38the audience's thirst for blood quite
31:40like a series of explosions [music] that
31:42took the characters out one by one.
31:44After drinking tainted tap water, a
31:46gurgling stomach leads to a sudden and
31:48shocking bloody body burst. The fate
31:51subsequently plays out in a variety of
31:53ways, including one instance that
31:55happens limb by limb. The kills were
31:57achieved practically by using dummies
31:59filled with explosives and fake blood,
32:01[music] which took some trial and error.
32:03>> The first try, he didn't blow apart
32:05enough, and part of his torso landed on
32:08his still standing legs.
32:10>> Blue smoke was turned red in
32:12post-prouction to resemble a bloody
32:13mist, and a particularly nasty leg
32:16explosion was achieved with a
32:17combination of fake legs and an ampute
32:20body double.
32:21>> Ant Glattis and Weapons. [music]
32:24Weapons ends with one of the most
32:25satisfying and shocking kills of the
32:28year. After stealing and imprisoning the
32:30town's children, Glattis's own witch
32:32magic is used against her, causing the
32:34kids to chase her down and tear her to
32:36pieces. Between the child actors and the
32:39logistics of the extended [music] chase,
32:41it was the most challenging sequence to
32:43shoot, as shown in the film's nomination
32:45for stunts and choreography. The shots
32:47of the kids breaking down windows and
32:49climbing over fences were done using
32:51stunt performers. For Glattis's death,
32:53the actual child actors pulled [music]
32:55apart a fake body and were sprayed down
32:57with fake blood.
32:59>> I was worried about the psychological
33:00damage because I know what we do looks
33:02pretty real. And Zach's like, "Ah, don't
33:04worry about it. They're cool. They're
33:05they'll have fun with it."
33:07>> And the prime rib for best kill goes to
33:11Eric in Final Destination Bloodlines.
33:15Congratulations to the entire cast and
33:18crew of Final Destination Bloodlines for
33:22a well-deserved win.
33:25>> Congratulations to Final Destination
33:27Bloodlines for a kill so magnetic we
33:30couldn't look away.
33:31>> Horror movie villains come in all shapes
33:33and sizes. You've got your Jason's, your
33:35Michaels, your Ghost Faces,
33:37>> your Penny Wisees, your Bruce the
33:39Sharks,
33:40>> your Pizuzu, your Hannibal Lecters.
33:42>> I mean, we could do this all night. The
33:44horror genre has no shortage of iconic
33:46villains, which means it's a lot of
33:47pressure to create a new one. Luckily,
33:49talented filmmakers and performers are
33:52always up for the challenge.
33:53>> Join us in highlighting 2025's baddest
33:56bad guys with the award for best
33:57villain.
33:59>> Thanks, James and Chelsea. Now, every
34:03horror villain can be recognized from
34:05their costume or their mask or their
34:09weapons or
34:12their tiny little hat.
34:15But truly great horror villains are much
34:18more than their accessories. They're
34:20known for their memorable line
34:22deliveries or their specific physical
34:26performances. [snorts]
34:28They can come off surprisingly
34:30sympathetic or unnaturally inhuman.
34:35Every single one of the nominees tonight
34:37meets these ingredients, no matter what
34:40flavor of evil that they are. And the
34:43nominees for best villain are Laura from
34:48Bring Her Back.
34:49>> Sometimes the most terrifying villains
34:51are the ones who don't see themselves as
34:53villains at all. When writing the
34:55griefstricken Laura, Danny Filippo
34:57wanted to create a character that the
34:58audience could empathize with, even
35:00though it would make them uncomfortable.
35:02Laura was once a good person who became
35:04twisted [music] and broken over time,
35:06and Sally Hawkins performance brings
35:08that duality to life as we see Laura
35:10alternate between caring and cruel. She
35:13struggles with the horrible acts she
35:15commits, but still goes through with
35:17them in an attempt to regain what she
35:19has lost. And that makes the experience
35:21of watching her all the more disturbing.
35:24>> I'm going to drown you in the pool now,
35:25though.
35:26>> Tucker from Dangerous Animals.
35:29>> Director Shawn Burn wanted his film
35:31about a sharkobsessed serial killer to
35:33counter the narrative of sharks as
35:35man-eating monsters as depicted in films
35:37like Jaws. Here, the sharks are just
35:40animals [music] and the real monster is
35:42a man. M worked with actor Jai
35:44Courtourtney to build Tucker's character
35:46around the Australian archetype of the
35:48Larkin, a boisterous, rough around the
35:50edges man. They developed a traumatic
35:52backstory that left Tucker a violent,
35:54wounded man who identifies more with
35:56sharks than humanity. He's a unique
35:59addition to the cannon of horror
36:01villains. Part jolly beer swilling boat
36:03captain and part apex predator.
36:06>> Yeah, you and me,
36:09we're sharks. The animatronics from Five
36:12Nights at Freddy's 2. This highly
36:15anticipated sequel saw the return of
36:17Fazbear's Pizza, tons of Easter eggs
36:19from the games, and of course the
36:21franchise's iconic animatronics. The
36:24original cast of Freddy, Chica, Bonnie,
36:26and Foxy were joined by new versions
36:28from the second game, as well as the
36:30Marionette, a new antagonist pulling the
36:32strings throughout the film. Jim
36:34Henson's Creature Shop returned to
36:36design, build, and figure out how to
36:38puppeteer the new cast of characters.
36:40Voice actors Megan Fox, Matthew Patrick,
36:42and Kellen Goff provided the voices,
36:44while returning suit performers Kevin
36:46Foster, Jade Kinder Martin, and Jess
36:48Weiss, among others, wore and performed
36:51in the bulky mechanical suits. Their
36:53efforts, as well as technicians
36:55operating remote controls, rod
36:57puppeteering, and wire rigs, brought
36:59Scott Cawan's creations to life on the
37:01big screen.
37:03[screaming]
37:05THE Heart Eyee Killers from Heart Eyes.
37:08>> For his Valentine's Day slasher about
37:10lovers being terrorized by a masked
37:12murderer, director Josh Rubin wanted a
37:15stylish killer who could live up to the
37:16high concept. The trench coat, mask, and
37:19variety of tools were inspired by Sam
37:21Ramy's 1990 film Darkman. While the
37:23overall look of the mask and gear
37:25borrowed elements from Hellraiser and My
37:27Bloody Valentine with an added utility
37:29belt inspired by Jason Vorhees in Friday
37:32the 13th Part 6. Ruben worked alongside
37:35genre legends Tony Gardner and Brian
37:37Christensen to craft a mask that was
37:40part SNM and part emoji. The stunt
37:42performer Alex McCall dawned the costume
37:44and brought the character to life. And
37:46when slasher fans got to see the final
37:48product, it was love at first sight.
38:00Remick from Sinners.
38:02>> When creating a vampire villain for his
38:04period musical drama horror film, Ryan
38:07Cougler wanted a take that was as unique
38:09as the rest of the film. With a
38:10character hailing from a culture that
38:12predated American racial definitions.
38:15Inspired by the relationship between
38:17black American and Irish culture, he
38:19created Remik, a vampire who bites and
38:22converts victims to his hive mind
38:23regardless of their race or creed. Actor
38:26Jack Oonnell sang and danced on screen
38:28for the first time for this role,
38:30drawing on his background in Irish
38:32dance. His earnest, energetic take on
38:34the character results in a villain
38:36that's both sinister and sincere.
38:39>> Y'all playing?
38:40>> Sure.
38:42Well, we we believe in equality and
38:45music. We just came here to play.
38:48>> Ant Glattis from Weapons.
38:51>> For this twisted suburban fairy tale,
38:53Zack Kger wanted his wicked witch to
38:56have a unique look. Ant Glattis'
38:58colorful wardrobe, wigs, and makeup were
39:00inspired by a combination of Twin Peaks
39:02Firewalk with Me, the uncanny
39:04self-portraits of photographer Cindy
39:06Sherman, and retirees in Boca Raton,
39:09Florida. Kger was also heavily inspired
39:11by Betty Davis in Whatever Happened to
39:13Baby Jane. Prosthetics enhanced the look
39:16with Amy Madigan's delightfully unhinged
39:18performance, the final piece that made
39:20Aunt Glattis unforgettable.
39:23>> I can make your parents hurt themselves.
39:24I can make them hurt each other.
39:30I can make them eat each other if I want
39:32to.
39:33And the prime rib goes to
39:38and Glattus from weapons.
39:52Congratulations,
39:53Glattus. I'm so happy for you. You know,
39:57I know it is so hard to do what we do on
40:01screen, but remember, always do it with
40:05a smile.
40:07[laughter]
40:13>> Congratulations to Aunt Glattis,
40:15caretaker, babysitter, arborist, and now
40:18best villain.
40:19A few years into the show, we realized
40:22that picking winners is a difficult and
40:24honestly stressful ordeal. So, we
40:27decided to outsource those painful
40:29decisions to our horror loving
40:30colleagues. They're being listed on
40:32screen right now because this year we
40:35expanded the panel. James, Chelsea, and
40:38myself were joined by 21 other critics,
40:40content creators, and movie makers, each
40:43of whom submitted one vote per category.
40:46We thank them for helping us choose the
40:48winners because it is truly impossible
40:51to do this by ourselves.
40:54Now, before we kick things off with our
40:55acting categories, we want to take a
40:57moment to recognize one of the less
40:59traditional performances this year.
41:01>> It can be hard for audiences to relate
41:03to an inhuman character, especially when
41:06they don't speak. But if they can sit
41:08and stay on command, we've learned that
41:10they're just as capable of stealing our
41:12hearts. We'd like to honor this
41:13performer now with a bespoke trophy made
41:16just for him. The prime rib for best
41:18boy. Congratulations to Indie the Dog
41:21from Good Boy.
41:23>> Being a supporting player in a horror
41:25film can be a thankless job. It often
41:28means ending up as cannon fodder,
41:30keeping you from returning for the
41:31sequel.
41:32>> But even without top billing, many
41:34supporting characters managed to shine.
41:36Our nominees this year include villains
41:38who look like friends, friends who look
41:40like villains, and one old lady who's
41:42rotten inside and out.
41:43>> Presenting the award for best supporting
41:45performance is an actress who's lent her
41:47off-kilter energy to some truly
41:50memorable side characters.
41:52>> Thanks, James and Chelsea. A lot of
41:55actors think that the best roles are
41:59found in the spotlight.
42:01But if horror's taught us anything is
42:04that the most fun and interesting roles
42:07are found in the dark.
42:11Tonight's performers prove just that,
42:14that you don't need top billing to be
42:16top of mind, to be the topic, to be
42:20topnotch.
42:22The nominees for best supporting
42:24performance are Jacob Allorti as the
42:29creature in Frankenstein. To breathe new
42:31life into Frankenstein's monster, made
42:34sure he was thoroughly prepared. At
42:36Giammo del Toro's direction, he studied
42:38the developmental stages of Infants,
42:40classic Frankenstein films, and the
42:43Japanese theater and dance technique of
42:45BH, particularly as it relates to death
42:47and reanimation. He discovered other
42:49aspects of the character in the moment,
42:51finding the creature's voice through a
42:53combination of speaking through his
42:54prosthetic teeth and mirroring the voice
42:56of David Bradley, who plays the blind
42:58man that teaches the creature how to
43:00talk. The result is a transformative
43:02performance, as emotionally resonant as
43:05it is physically intimidating.
43:07>> My maker
43:10told his tale.
43:17Then I will tell you mine.
43:20>> Brave [music] finds as Dr. Ian Kelson in
43:2328 Years Later. At its core, 28 Years
43:26Later is a film about enduring humanity
43:29in the face of horror and violence. And
43:31nowhere is that theme better embodied
43:33than by Ray Fines as Dr. Kelson. As a
43:36doctor who has lost access [music] to
43:37the world of modern medicine, Kelson has
43:40turned his focus to honoring the dead
43:41and accepting the reality of mortality.
43:44Fees [music] built a profile of the
43:45character with director Danny Bole.
43:47Seeing Kelson as a spiritual figure, he
43:50takes on a role akin to a sage or a
43:52priest as he helps the film's
43:53protagonist embrace the beauty of life
43:56and the pain of loss.
43:57>> There are many kinds of death,
44:00and some are better than others.
44:05The best are peaceful,
44:08where we leave each other in love.
44:11Sally [music] Hawkins as Laura and Brer
44:14Back. Sally Hawkins has played a mother
44:16figure before in Wonka and the
44:18Paddington films. [music] Her knack for
44:20portraying maternal love takes a dark
44:22turn and bring her back as a mother
44:24determined to bring her lost daughter
44:25[music] back at any cost. Rather than
44:28thinking of her as evil, Hawkins used
44:30Laura's deep hurt [music] as an
44:31emotional entry point for the character,
44:34focusing on the ways that her
44:35all-consuming grief drives her to commit
44:37evil acts. Her performance was so
44:39[music] intense and committed that
44:41directors the Filipos were sometimes
44:43afraid to approach her in between takes.
44:45What's an angel?
44:50It's a beautiful angel.
44:53It does beautiful things.
44:55>> David [music] Johnson as Pete McGre in
44:58The Long Walk. When he first read the
45:01script for The Long Walk, Johnson wasn't
45:03sure if the project was for him. It was
45:05[music] a bleak story that seemed too
45:07scary to tackle. But he followed that
45:08fear and threw himself into the role of
45:10a young man determined to find beauty in
45:13a broken world. He bonded immediately
45:15with co-star Cooper Hoffman, lending
45:17their [music] on-screen friendship a
45:19genuine warmth and natural rhythm.
45:20Johnson imbussed McVrees with a
45:22sincerity and heart that brings [music]
45:24light to the film's long dark road.
45:26>> We're real friends only.
45:29>> Pete, what does it matter? Whether we
45:32had three hours, three days, or three
45:33decades, this moment, this fucking
45:35moment, it matters, man.
45:38>> Amy Madigan as Aunt Glattis in Weapons.
45:41[music]
45:42Director Zack Kger knew that whoever
45:44played the eccentric yet terrifying
45:46centerpiece of Weapons would [music]
45:48need to sell the character just right,
45:50or else the entire project would fail.
45:53He found the perfect fit in Amy Madigan,
45:55whose range he admired for work like
45:57Field of Dreams and Carnival. Creger
45:59gave [music] her a choice of two
46:00backgrounds for the character. She was
46:02either a human with an affinity for
46:04magic or an inhuman entity masquerading
46:07as an old woman. Madigan [music] kept
46:09her choice to herself, making Aunt Glad
46:12as a mystery even to the man who wrote
46:14her.
46:14>> A bowl, please.
46:16>> A bowl?
46:17>> Yes, a bowl. It's a peculiarity of mine.
46:20I don't even try to rationalize it
46:21anymore.
46:22>> Wii Masaku [music]
46:24as Annie and Sinners. Masaku was
46:27uninterested in horror films until a
46:28viewing of Get Out showed her how they
46:30could [music] bring people closer
46:32together and change both the viewer and
46:34society. She embodies that same power as
46:36a hoodoo priestess who [music] helps her
46:38community face off against an army of
46:41vampires. Musaku worked closely with a
46:43hoodoo consultant to [music] portray
46:45Annie's practice with the accuracy and
46:47reverence it deserved. She also worked
46:49with director [music] Ryan Cougler and
46:51co-star Michael B. Jordan to map out her
46:53relationship with Smoke, infusing
46:54[music]
46:55their scenes together with romantic
46:56chemistry and emotional depth.
46:58>> How you know I ain't brave?
47:01I work every route my grandmama taught
47:03me to keep you and that crazy brother
47:05yours safe every day since you've been
47:07gone.
47:10>> And the prime rib for best supporting
47:12performance goes to
47:19Amy Madigan. Congratulations,
47:23Amy. You were phenomenal. You're
47:25fantastic.
47:27And to mention, great minangs in the
47:30role.
47:31>> Congratulations to Amy Madigan, whose
47:34performance also won her the best
47:36supporting actress Oscar earlier this
47:37year.
47:38>> Audiences demand a lot from their horror
47:40film protagonists. Don't check out that
47:42noise. Don't look in that basement. And
47:44whatever you do, don't split up. Because
47:47at the end of the day, a scary movie is
47:48only scary if you care about your
47:50characters.
47:51>> Our nominees tonight are lead performers
47:53who do more than just try to survive.
47:55They portray main characters who feel
47:57complicated and vulnerable and human,
47:59which makes our time with them that much
48:01more harrowing.
48:02>> Here to present best lead performance is
48:04a man who won the award last year and
48:07also crashed one of our presenters back
48:09in 2023.
48:11>> Thank you, James and Chelsea. I love you
48:13guys and I love Dead Meat. It is an
48:16amazing time to love horror movies. So,
48:19I'm honored to be here presenting today.
48:22Uh, being the top of a call sheet on any
48:24movie is a huge responsibility. Imagine
48:27doing it
48:29covered in sweat, wounds, tears,
48:34head to toe in blood. H just ungodly
48:37amounts of blood, blood everywhere.
48:39That's the price that you pay for a
48:43horror film. And as tonight's nominees
48:47prove, and what a lineup of nominees, it
48:51is a deal with the devil that just might
48:54be worth making. They wrote that, but I
48:56like that line. All of these
48:58performances were so inspiring and so
49:00worth the watch, and I'm so excited to
49:02get to to present today. The nominees
49:05for best performance in a leading role
49:08are Miles Kaden as Sammy Moore in
49:12Sinners. [music]
49:13As the central voice in a movie all
49:15about the unearly power of music, there
49:17was a lot writing on Miles Kaitton's
49:19portrayal of a bright young blues
49:21musician. Though he was working as a
49:23backup singer at the time of his
49:24audition, Kaitton had no experience
49:26playing [music] guitar. He taught
49:28himself to play after getting cast and
49:30before production began, studying
49:32musicians recommended by director Ryan
49:34Cougler like Howland Wolf, Charlie
49:36Patton, and Buddy Guy, who would end up
49:39playing an older version of his
49:40character. Though it was his
49:42professional acting debut, Kaitton held
49:44his own amongst an all-star cast,
49:46including fellow nominee Michael B.
49:48Jordan, and was able to make the music
49:50of sinners sing.
49:52>> They call me preacher boy, counting my
49:54daddy being a pastor.
49:58I wrote this song for him.
50:00>> Cooper [music] Hoffman as Ray Gity in
50:03The Long Walk.
50:04>> Filming The Long Walk subjected Hoffman
50:06to a real life trek of almost [music]
50:08400 miles. The physical toll put him
50:11directly in Gered's well-worn shoes,
50:13though it was far from the only thing he
50:15had in common with his character. Ged's
50:17decision to participate in the long walk
50:19is driven by the loss of his father. and
50:21Hoffman lost his own father, veteran
50:23actor Philip Seymour Hoffman, which
50:25allowed him to draw on that experience
50:26when developing the character. He also
50:28drew from the genuine friendship he
50:30forged with co-star David Johnson during
50:32production, mirroring that of their
50:34characters who gradually open up to each
50:36other as they walk the road. [music]
50:38>> Everybody puts in for it, even though
50:40it's not required, cuz we're all so
50:42fucking desperate. What does that tell
50:44you?
50:45>> What?
50:47>> Nobody signs up for this. Not really.
50:50>> Michael B. Jordan as Smoke and Stack in
50:54Sinners.
50:54>> To prepare for his dual role as a pair
50:56of twin brothers, Jordan worked with
50:58identical [music] twin filmmakers Noah
51:00and Logan Miller in order to understand
51:02the psychology of twins. He also worked
51:05with dialect coach Beth Maguire to build
51:07different ways of speaking for each
51:08brother and gave each man his own way of
51:10standing, moving, [music] and walking.
51:13Despite the challenges of working with a
51:15double and a multi- camera halo rig,
51:17Jordan managed to make Smoke and Stack
51:19so distinct, [music] his co-star Wumi
51:21Masaku could tell which brother he was
51:23playing, even with her eyes closed.
51:26>> Look at that sky.
51:28That's a mighty fine day to be free,
51:30ain't it?
51:31>> Leam Myin as Alvara in the Ugly
51:34Stepsister. to play the role of a
51:36so-called ugly stepsister who would do
51:38anything to become a princess. Norwegian
51:40actress Leia Mirren imagined an
51:42all-encompassing sense [music] of
51:44self-loathing and reflected on what that
51:46would do to a person. She thought about
51:48how it would affect her movement, her
51:50speech, and the way she interacted with
51:52herself and [music] others. She even
51:53incorporated some of her own ticks into
51:55the character, like biting her nails,
51:57and scratching at the skin of her
51:58fingers. She and director Emily
52:00Blickfeld worked together [music] to
52:02balance Elvara's childlike naive with
52:05her growing insecurity and desperation.
52:08>> Oh my god.
52:12Oh my god.
52:16>> Sophie Thatcher as Iris in Companion.
52:20>> The team behind Companion struggled to
52:22cast the role of Iris, viewing over 300
52:25self tapes in their [music] search.
52:26However, they were saved when Sophie
52:28Thatcher was suggested to writer
52:30director Drew Hancock by fellow
52:32filmmaker [music] Rob Savage. Thatcher's
52:34background as a dancer helped her embody
52:36Iris's inhuman stillness and precise
52:38movements. She was also so intimidated
52:41by the drastic emotional shifts of the
52:43role, she almost talked herself out of
52:45doing the film, but stuck it out and
52:47brought Iris to life in a performance
52:48that captured all of her tragedy and
52:51triumph.
52:52>> I'll do whatever you want.
52:54I'll cook for you, wait on you, make
52:56love to you.
52:59I can make you happy, Josh. I can make
53:01you so, so so so, so happy. Alfie
53:05Williams as Spike in 28 Years Later.
53:08Williams was only 13 years old when he
53:10was chosen to play a boy trying to care
53:13for his sick mother in the aftermath of
53:15a zombie apocalypse. From intense action
53:18and horror to quiet, emotional moments,
53:20the role asked a lot of a young actor.
53:22But with the guidance of his adult
53:24co-stars, he was able to master both the
53:26physical demands of the action scenes
53:28and the stillness [music] and presence
53:30of the moments between them, allowing
53:32him to bring Spike's joy, terror, and
53:35heartbreak to life against a backdrop of
53:37death.
53:38>> I want to see a doctor.
53:40>> A doctor? Real doctor from the old days.
53:44Something wrong with your mom.
53:46And the prime rib for best performance
53:50in a leading role goes to an acting hero
53:54to me and to all of us who are trying to
53:58be actors, the great Michael B. Jordan
54:01for Sinners. Congratulations for not one
54:04but two of 2025's
54:08best performances. Congratulations.
54:12>> Congratulations to Michael B. Jordan,
54:14who like Amy Madigan, won an Oscar for
54:16the same performance earlier this year.
54:18>> The horror genre is one that contains a
54:20huge range of tones, but behind every
54:23slowb burn nightmare or bombastic
54:25bloodbath is a director who knows
54:27exactly what brand of frightening their
54:29film should be.
54:30>> This genre has always been a space for
54:32unique stories. And our nominees tonight
54:34are directors who are among the most
54:36unique storytellers. To celebrate these
54:38voices, we have a pair of filmmakers
54:40whose versatility extends from ambitious
54:43indies to bloody big budget spectacles.
54:47>> Thanks, James and Chelsea.
54:49>> Helming a horror movie comes with a lot
54:51of questions. How long should you hold
54:53this shot? How loud should you make this
54:55scare? How dramatic do you make this
54:57kill? And how much blood do you use for
54:58it? In our case, it's usually a lot. We
55:01love the stuff. The point is, a lot of
55:03thought goes into directing a horror
55:04movie, and tonight's nominees carefully
55:06considered every aspect of the craft
55:08when creating their films.
55:09>> The nominees for best director are
55:12Amelia Blickfeld for The Ugly
55:14Stepsister.
55:15>> For her feature debut, Blickfeld created
55:17a gothic retelling of Cinderella that
55:20combines elements of the original Grim
55:22Brothers story, the animated Disney
55:24movie, and a healthy dose of David
55:26Croninberg. She emulated the Eastern
55:28European fairy tale films of the 60s and
55:3070s for an atmosphere that's enchanting
55:33and grounded at the same time.
55:34>> So, I wanted to contrast it to Disney's
55:36kind of um syrupy
55:39[laughter]
55:41glow up, you know, feeling that there
55:44you don't believe that world is real.
55:45And I really wanted the bodies and the
55:48world to feel real. Blickfeld tried to
55:50be involved in as many departments as
55:52possible, from advising on the
55:54prosthetic and makeup design to pulling
55:56costume pieces and even helping with the
55:58film's dance sequences.
56:00>> Danny Bole for 28 years later.
56:02>> As with the first film more than 20
56:04years ago, Bole avoided delving too much
56:07into the horror genre, instead relying
56:09on his perspective as an outsider to
56:11create a fresh take on the zombie movie.
56:13Bole was partially inspired by the CO 19
56:16pandemic and seeing what happens when
56:18people are forced to live with a virus
56:20long term.
56:21>> Like in the fuss film, everybody was
56:23super
56:24so cautious about getting infected. It
56:28was like, did the did the blood get on
56:31you? It was like, and if it did get on
56:33you, I'll hatch you to death. And
56:34[laughter] it was like everybody's like
56:36this. But you can't exist like that for
56:3828 years. It's exhausting.
56:41The resulting film captures the
56:42original's gritty realism while taking
56:44the franchise in new directions. Partly
56:47a [music] brutal survival horror movie
56:49and partly a surreal meditation on death
56:51and aging.
56:52>> Ryan Cougler for Sinners.
56:54>> Cougler's first foray into the horror
56:56genre takes place [music] over the
56:58course of a single night. The
56:59Oaklandborn filmmaker was excited to
57:01create a 24-hour film [music] inspired
57:04by movies like Spike Lee's Do the Right
57:06Thing and his own debut Fruit Veil
57:08Station. But sinners is far from a
57:10retread. [music] Cougler weaves together
57:12action, drama, folklore, music, and the
57:14politics of the Jim Crow South for an
57:16[music] experience that is as
57:18entertaining as it is ambitious.
57:20>> I knew I was stretching myself
57:23um to do things that I hadn't done
57:26before, you know, um tone tones that I
57:28hadn't done before, things that I always
57:30appreciated in movies, but I hadn't had
57:31a chance to do myself. To give the
57:33powerful story [music] an appropriately
57:34epic look, Kougler and his
57:36cinematographer Autumn Gerald Archipos
57:38shot simultaneously [music]
57:39on Ultra Panovision 70 and IMAX 70mm,
57:43the first film to ever do so.
57:45>> Zack Kger for Weapons.
57:48>> Kger's follow-up to his 2022 film
57:50Barbarian had a lot to live up to, but
57:52Weapons is just as unpredictable,
57:54[music] frightening, and darkly comedic.
57:56With the film's chaotic story and
57:58nonlinear structure, Kger carefully
58:00planned the film through storyboards and
58:02by visiting each location with
58:04cinematographer Lark and Ciple to map
58:06out their shots.
58:07>> No, I figure it out when I have all the
58:08time in the world to figure it out and I
58:10can be fun and it can be like like the
58:12way little kids, you know, would do it.
58:14You know, that's that's where creativity
58:15thrives is when there's not like
58:17pressure.
58:18>> Further problems arose when the
58:19Hollywood strikes in 2023 required him
58:22to recast almost every character. His
58:24preparation paid off and kept the new
58:26actors on the same page when it came to
58:28the film's unique balance of horror and
58:30humor.
58:31>> YMO del Toro for Frankenstein.
58:33>> Frankenstein has long been a dream
58:35project for Del Toro, whose passion for
58:37visual art and practical effects [music]
58:39is on full display in this sumptuous
58:41adaptation. Like the creature himself,
58:43Del Toro's take is stitched together
58:45from different sources. From Mary Shel's
58:47original novel and personal [music] life
58:49to Boris Carlo's version of the iconic
58:51monster. The the movie is the fusion of
58:54her biography, my biography, and
58:56everything I know about the romantics,
58:58all fused together
59:00>> into [clears throat] a into a landscape
59:02of Catholic madness.
59:04>> The result is a sweeping epic that is
59:06also highly personal, told in a style
59:08that is unmistakably delro.
59:11>> Francis Lawrence for the long walk.
59:14>> Francis Lawrence is no stranger to death
59:16games, [music] having directed all four
59:18sequels in the Hunger Games franchise.
59:20But for the long walk, Lawrence stripped
59:22down his usual approach, foregoing big
59:24budget spectacle and focusing on
59:26intimate character relationships, which
59:28were eventually punctuated by brutal
59:30violence.
59:31>> That impact is very important to, you
59:34know, the Stephen King stories. That
59:36intensity is really important to his
59:38stories, to this story in particular,
59:40and I was not going to shy away from it.
59:42Lawrence also shot the film
59:44chronologically, giving the long walk a
59:46real sense of exhaustion by the time the
59:48final contestant crosses the finish
59:50line.
59:51>> And the prime rib for best director goes
59:54to
59:56>> Ryan Cougler.
59:57>> Congratulations, Ryan, for conducting
59:59the Symphony of Brotherhood, Blues, and
1:00:01Blood.
1:00:02>> Congratulations.
1:00:04>> Congratulations to Ryan Cougler for
1:00:06combining horror, drama, comedy, and
1:00:08music into one real barn burner of a
1:00:11film.
1:00:12If there's one thing we hope to do on
1:00:14this channel, it's to shine a light on
1:00:16just how much talent and passion goes
1:00:19into making a film. The horror genre is
1:00:23possible because of the collaboration
1:00:25between so many different artists, and
1:00:28since our last show, we've sadly had to
1:00:30say goodbye to many. We'd like to take a
1:00:33moment now to honor them and their
1:00:35legacy in this genre that we all love so
1:00:38much.
1:00:59I told her, "No one ever really
1:01:01disappears. They're always around
1:01:04somewhere.
1:01:26The children are wandering through the
1:01:28wilderness of sin these days. Mrs. Neil,
1:01:30these [music] are godless times. Mrs.
1:01:31Neil,
1:01:32>> I'll drink to that.
1:01:34>> There is an evil awakened in this land.
1:01:37Your brother's soul is mine.
1:01:43Our
1:01:56ancestral [music] spirits never died.
1:01:58They were here long before we were and
1:02:00they'll be here long after we are gone.
1:02:04Is your nature [music] to do one thing
1:02:05correctly? Tremble. But fear is not what
1:02:09you owe me. You owe me all.
1:02:32Jason,
1:02:34my special special boy.
1:02:37>> This kills monsters.
1:02:40If you believe it does, if you believe
1:02:43it does.
1:02:45If you believe it does,
1:02:47if you believe it does
1:03:13We cannot sincerely celebrate all that
1:03:15was good about our dearly departed.
1:03:17[music] Not until we release the horror
1:03:19that they inflicted upon us.
1:03:21>> For me, I really like the visual nature
1:03:23of a horror film. Usually, horror just
1:03:25gets you into kind of another realm.
1:03:48the
1:03:49>> uh uh
1:03:51>> wrong set.
1:03:52>> What the hell are you?
1:03:54>> I'm a lexicon, meteor.
1:03:56>> It's tragic and dramatic and it's
1:03:58[music] funny, too. And if you can
1:04:00figure out a way to blend those things,
1:04:02[music] that's capturing the human
1:04:04experience. And so that's what I tried
1:04:06to do in in all the films.
1:04:19The coming months are going are going to
1:04:20be hard, I suspect, on all of us. But if
1:04:25it's guilt you're looking for, Buffy,
1:04:26I'm I'm not your man.
1:04:29All he will get from me is is my support
1:04:34and my respect.
1:04:41Before we get into our final categories,
1:04:43it's time to present the award that was
1:04:45voted on by you, the audience.
1:04:47>> After all, the horror genre, and this
1:04:49channel, for that matter, would be
1:04:51nothing without the dedication of its
1:04:53fans.
1:04:54>> That is right, James and Chelsea. While
1:04:57it's been amazing to see mainstream
1:04:59award shows embrace the genre this year,
1:05:01horror's backbone has always been you,
1:05:03the fans. You are the ones that support
1:05:06people like me, filmmakers through thick
1:05:08and thin, turning good movies into
1:05:11must-sea classics, and some other ones
1:05:13into personal or cult favorites. This
1:05:16year, thousands of you cast your votes,
1:05:18and the results were loud and clear. So,
1:05:20I'm thrilled to announce that the prime
1:05:23rib for fan favorite film is
1:05:26Sinners.
1:05:28Congratulations to the cast and crew of
1:05:30Sinners for piercing the veil between
1:05:32fans and critics, as well as giving us
1:05:34perhaps this year's scariest Irishman,
1:05:37although I would like to think that that
1:05:39is still me.
1:05:41>> Congratulations again to Sinners, which
1:05:44won with a whopping 40% of the votes
1:05:46this year. The number of remakes and
1:05:48sequels in the horror genre is an old
1:05:50cliche by now. Freddy kept having new
1:05:53nightmares. Leatherface was always
1:05:55entering the next generation, and Jason
1:05:57didn't quite make it to 13 Friday the
1:05:5913th, but he got pretty close. But
1:06:02tonight's nominees aren't just cash
1:06:04grabs based on recognizable IP. We saw
1:06:06dead franchises resurrected and classic
1:06:09stories reinterpreted. These remakes and
1:06:11sequels truly built on what came before
1:06:13them, keeping old ideas fearsomely
1:06:15fresh. Grab yourself a bowl of popcorn
1:06:17as we bring in our penultimate presenter
1:06:20for best franchise horror film.
1:06:23>> Well, thank you, James and Chelsea. You
1:06:25know, there is nothing more exciting for
1:06:27a horror fan than a new release in their
1:06:29favorite horror franchise,
1:06:32but rehashing old plots and storylines
1:06:36can be a nightmare. Luckily, these
1:06:39nominees are more than just comfortable
1:06:42and familiar. They are interesting,
1:06:44thoughtprovoking, and surprising. I
1:06:47mean, why make safe choices in a genre
1:06:49as dangerous as horror? So, the nominees
1:06:53for best franchise horror film are 28
1:06:57years later.
1:06:58>> The third installment in the series that
1:07:00began with 28 Days Later in 2002. 28
1:07:03Years Later is a British American
1:07:05[music] co-production. It follows a
1:07:06young boy coming of age in an isolated
1:07:08Great Britain shaped by nearly three
1:07:10decades of the Rage Virus. The film was
1:07:13a collaboration between returning
1:07:14director Danny Bole and writer Alex
1:07:16Garland, who also produced alongside
1:07:18Bernie Bellow, Peter [music] Rice, and
1:07:20Andrew McDonald.
1:07:22>> You know the rules of our community,
1:07:23Spike. If you leave, you can come back,
1:07:26but if you don't come back, no one is
1:07:28permitted to go and find you.
1:07:30>> Black Phone 2,
1:07:31>> a sequel to 2021's [music]
1:07:33The Black Phone. Black Phone 2 is an
1:07:35American film that follows the Blake
1:07:36siblings as they investigate the mystery
1:07:39of the Grabbers's first victims. The
1:07:41film was once again directed by Scott
1:07:42Derekson, co-written by Derekson and C.
1:07:45Robert Cargill, and produced by
1:07:46Derekson, Cargill, and Jason Blum.
1:07:49You're dead.
1:07:51>> Oh, Vinnie.
1:07:54UFO people know
1:07:58that dead is just a word.
1:08:01>> Final Destination Bloodlines,
1:08:03>> the sixth entry in the Final Destination
1:08:05franchise. Final Destination Bloodlines
1:08:07is an American film that sees an entire
1:08:09family tree targeted by death. It was
1:08:11directed by Zach Leavsky and Adam Stein,
1:08:14written by Guy Busk and Lorie Evans
1:08:16Taylor, and produced [music] by Craig
1:08:17Perry, Sheila Hanahan Taylor, John
1:08:20Watts, Diane McGunnle, and Toby Emerick.
1:08:22>> Don't you see this?
1:08:24Death is coming for us because we were
1:08:26never supposed to exist.
1:08:28>> Frankenstein. [music]
1:08:29Germo del Toro's reimagining of this
1:08:32timeless tale blends Mary Shel's [music]
1:08:34novel and the universal horror classic
1:08:36into a sweeping gothic epic. The film
1:08:39was written and directed by GMO del Toro
1:08:41[music] and produced by Del Toro, J
1:08:43Miles Dale and Scott Stuber.
1:08:45>> You knew I had created something truly
1:08:47horrible.
1:08:49Not something
1:08:52someone
1:08:54>> toxic avenger. This remake of the 1984
1:08:57trauma cult classic sees a mildmannered
1:09:00janitor become an unlikely superhero
1:09:02after falling into a vat [music] of
1:09:03toxic waste. The film was written and
1:09:06directed by Min Blair and produced by
1:09:08Mary Parent, Alex Garcia, Lloyd Kaufman,
1:09:11and [music] Michael Herz.
1:09:12>> I promise you,
1:09:15I am not going in.
1:09:18>> VHS Halloween, [music]
1:09:20>> the eighth installment in the VHS
1:09:22franchise. VHS Halloween is an American
1:09:25horror anthology made up of segments
1:09:27revolving around the titular holiday.
1:09:30The gory soda themed wraparound diet
1:09:32fantasma was written and directed by
1:09:34Brian M. Ferguson. The film also
1:09:36features five segments including [music]
1:09:38Coochie Cuchi Coup written and directed
1:09:40by Anna's Lokovic at Supra Sik Infra
1:09:43directed by Paco Pla who co-wrote with
1:09:46Alberto Marini. Fun size written and
1:09:48directed [music] by Casper Kelly.
1:09:50Kidprint, written and directed by Alex
1:09:52Ross Perry. And finally, Home Haunt
1:09:54written and directed by Michelene Pit
1:09:56Norman and RH Norman. The anthology was
1:09:59produced by Josh Goldblum, Brad Misca,
1:10:01James Harris, and Roy Lee. [snorts]
1:10:03>> Same old shit every year, Keith. Come
1:10:05on, man.
1:10:07>> RICH, THAT IS NOT ONE OF MINE.
1:10:09>> AND THE prime rib for best franchise
1:10:12horror film goes to 28 Years Later.
1:10:15Congratulations to the cast and crew of
1:10:1728 years later. Your moving take on the
1:10:20zombie genre was truly all the rage.
1:10:24>> Congratulations to 28 years later.
1:10:27Instead of a retread of what came before
1:10:28it, it took a chance and ventured away
1:10:30from what was safe and comfortable.
1:10:32>> Horror is a genre that has always pushed
1:10:34the envelope when it comes to
1:10:36originality. After all, it's hard to be
1:10:38afraid of something if you feel like
1:10:39you've seen it before.
1:10:40>> As with every year, we saw plenty of new
1:10:43and surprising films come out in 2025.
1:10:46Our nominees tonight include exciting
1:10:48entries from horror's upandcomers as
1:10:50well as veteran filmmakers making a
1:10:51foray into the genre.
1:10:53>> It's our final and most competitive
1:10:55category, best standalone horror film.
1:10:59>> Hi everyone, it's me. We've got one more
1:11:01award to hand out and I hope you've
1:11:03enjoyed the show so far. It's our fifth
1:11:05one, which is [music] hard to believe. I
1:11:07remember filming the first one in front
1:11:08of this fireplace. Just Chelsea and I
1:11:11here in our home with our then assistant
1:11:13Ben off to the side there. We've
1:11:15certainly come a long way since then and
1:11:17we want to keep going further. Ever
1:11:19since the beginning, I have always tried
1:11:21to improve and expand what Dead Meat can
1:11:23do. [music] I mean, this award show is a
1:11:25great example. We love honoring the
1:11:27people who have created great art in the
1:11:28horror space. But now, we want to look
1:11:30forward and find the [music] next great
1:11:32horror artists. We want to give them a
1:11:34platform and work handinand to create
1:11:36your next favorite horror movie. That's
1:11:38why I'm excited to announce DeadMat's
1:11:40next major project, aptly titled Fresh
1:11:42[music] Meat. If you're a filmmaker
1:11:44who's made a horror short within the
1:11:45past two years or want to make one in
1:11:48the next four weeks, you will have the
1:11:49chance to be part of an anthology film
1:11:51with a deadmeat stamp of approval. And
1:11:53after that, who knows, maybe even a
1:11:55featurelength version of your idea. More
1:11:57details will be announced on July 25th,
1:11:591 week from this show's air date. That's
1:12:01also when submissions will open. So, if
1:12:03this sounds interesting to you, start
1:12:05preparing right now. When I look around
1:12:07at everything DeadMe has accomplished,
1:12:08it it feels like we're at the top of a
1:12:10mountain. And now I think it's time to
1:12:11reach down and help the next generation
1:12:13of horror filmmakers ascend. So stay
1:12:16tuned for fresh meat.
1:12:24So you know how sometimes the repetition
1:12:26of IP and franchises, well it can make
1:12:28you feel like you're stuck in a time
1:12:29loop watching the same movie again and
1:12:33again and again. Well, lucky for us,
1:12:37horror has an affection for originality,
1:12:40providing us with sights, sounds, and
1:12:42experiences that are uniquely
1:12:44disturbing. And I mean, that's probably
1:12:46why this year's nominees, they're not
1:12:47just some of the best in the genre,
1:12:49they're the best films of 2025. And our
1:12:51nominees for best standalone horror film
1:12:54are
1:12:55Bring Her Back. Bring Her Back is an
1:12:58Australian film that follows two foster
1:13:01siblings who are adopted by a new
1:13:03caretaker with a dark [music] secret.
1:13:05The film was directed by Michael and
1:13:07Danny Philippo, the latter of whom
1:13:09co-wrote with Bill Hinsman. It was
1:13:11produced by Samantha Jennings and
1:13:12Christina Satan.
1:13:14>> Let me go.
1:13:14>> I didn't [laughter] think it would work,
1:13:15but it's working.
1:13:18>> It's working.
1:13:19>> Let me go.
1:13:19>> It's going to bring it back.
1:13:21>> Companion.
1:13:23>> Companion is an American film about
1:13:25[music] a bloody weekend retreat set in
1:13:27a world where advanced robots can be
1:13:30turned into the perfect partner. The
1:13:32film was written and directed by Drew
1:13:33Hancock and produced by Rafael Margalz,
1:13:36JD Lifchitz, Zack Kger, and Roy Lee.
1:13:39>> Remember to smile and and act happy.
1:13:42Okay.
1:13:45>> The Long Walk.
1:13:47>> The Long Walk [music] is an American
1:13:49film that takes place in an alternate
1:13:51dystopian universe where 50 teenage boys
1:13:54march in a deadly competition for the
1:13:56chance at a life-changing prize. The
1:13:58film was directed by Francis Lawrence
1:14:00and written by JT Molner. Lawrence
1:14:02[music] produced alongside Steven
1:14:03Schneider, Cameron McCannomy, and Roy
1:14:05Lee.
1:14:06>> Now, boys, who's set to fucking win?
1:14:10>> I said, who's ready to fucking win?
1:14:14[screaming]
1:14:17>> Sinners.
1:14:19>> Sinners is an American film that sees a
1:14:22pair of gangster brothers clash with
1:14:24vampires in the KKK in 1930s
1:14:26Mississippi. The film was written and
1:14:28directed by Ryan Cougler, who produced
1:14:31alongside Zindsey Cougler and Seahanian.
1:14:33>> You keep dancing with the devil.
1:14:37>> One day it's going to follow you home.
1:14:39>> The Ugly Stepsister. [music]
1:14:41>> The Ugly Stepsister is a Norwegian,
1:14:44Polish, Swedish, and Danish
1:14:46co-production. The film is a body horror
1:14:48reimagining of Cinderella told from the
1:14:51perspective of one of her less beloved
1:14:53steps [music] sisters. It was written
1:14:54and directed by Amelia Blickfeld and
1:14:56produced by Maria Ekerhov.
1:14:59[screaming]
1:15:05[groaning]
1:15:08[screaming]
1:15:11>> Weapons.
1:15:13>> Weapons is an American film [music] that
1:15:15sees a small town descend into chaos
1:15:18after an entire third grade class goes
1:15:20[music] missing one night. The film was
1:15:22written and directed by Zack Kger who
1:15:24produced alongside Mary Yun, Raphael
1:15:26Margalas, JD Lifchitz, and Roy Lee.
1:15:29>> Talking about 17 kids and one classroom.
1:15:33What happened in that classroom? Why
1:15:35just her classroom? Why only hers?
1:15:38>> Marles and Lift Shitz are also nominated
1:15:41for companion alongside Lee, who [music]
1:15:43is also nominated for The Long Walk. And
1:15:46this year's prime rib for best
1:15:48standalone horror film goes to
1:15:53Sinners. Congratulations to the cast and
1:15:56crew of Sinners for your fifth win of
1:15:59the night. Now that's something to
1:16:01scream about. Killing it.
1:16:04>> Congratulations to Sinners. This award
1:16:07is the film's fifth prime rib win of the
1:16:09night.
1:16:10>> We've said this a lot this decade, but
1:16:11it doesn't make it any less true. This
1:16:13was a truly incredible year for horror
1:16:15films.
1:16:16>> As the night winds down, we want to
1:16:18thank the many people who make this show
1:16:20possible. Of course, our wonderful
1:16:21co-host, Saurin, as well as the entire
1:16:24Dead Meat team. They've been hard at
1:16:25work for months to make this show
1:16:27possible and will continue to do so
1:16:29after we wrap.
1:16:30>> We'd also like to once again thank our
1:16:31panelists as well as the production crew
1:16:34that's here with us tonight. This year's
1:16:35show was shot at Slasher World located
1:16:37in Fairfax, Los Angeles, and owned by
1:16:39our friend Kiko Bailey. Say hello when
1:16:41you stop by. There's also El Fox who
1:16:44performed our opening monologue. And
1:16:46finally, we'd like to thank all of you
1:16:47in the audience tonight. Your support
1:16:49and loyalty not only make our show
1:16:51possible, but it's helped elevate this
1:16:53genre we all love to new heights.
1:16:55>> We'll see you all next year. But until
1:16:57then, I'm James Aanise.
1:16:58>> I'm Chelsea Rebecca.
1:17:00>> And this has been the DeadMat Horror
1:17:01Awards. Be good people.
1:17:15>> [music]
1:17:38>> Heat. Heat.
1:17:51[music]

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