10 Times Horror Movies Broke Their Own Rules


For better or for worse, horror movies (especially slashers) are notorious for breaking their own rules. Every movie is guilty of occasionally breaking its logic, but horror movies are infamous for practically making it a tradition.

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This habit is common in long-running horror series, and it’s usually a gift that filmmakers grab at the straw. While this violation of the rules turns some movies into silly guilty pleasures, it elevates others in rare cases.

ten The Hellraiser Series – The Cenobites Dropped Their Neutrality After Two Movies

Aside from their overt ties to BDSM culture, what made the Cenobites unique among horror movie killers was that they were a neutral force in their first two films. As otherworldly arbiters of pain and pleasure, Cenobites followed a strict set of rules and explicitly made no effort to kill and torture people for pleasure or selfish gain.

But when the hellraiser movies became popular, cenobites became villains or anti-heroes. The third and fourth films featured a villainous Pinhead, who wanted to turn Earth into a new hell. Meanwhile, the direct-to-video sequels mistakenly gave Pinhead a zealous but fair sense of justice, seemingly inspired by the Bible.

9 The Halloween Series – Michael Myers’ Simple Origin Got Unnecessarily Complicated

Even today, John Carpenter Halloween stands as one of the best examples of less being more. The fact that Michael Myers has no known history, character, or humanity is exactly what makes him terrifying, since he is essentially pure evil incarnate. The sequels, however, mistakenly saw it as a flaw that needed improvement.

Less Halloween III: Season of the Witchmore Halloween the sequels (especially the Rob Zombie remakes) fleshed out Michael and explained his evil. By breaking Carpenter’s rule, the sequels undid everything that made Michael work. The Blumhouse Trilogy has gone back to basics, which is why his version of Michael is the closest to Carpenter’s original vision.

8 The Godzilla Series – Godzilla Stopped Being Terrifying After One Movie

Godzilla’s makeover from hulking terror to destructive hero is a well-known fact of pop culture, but what few may realize is just how quick this change was. In Ishiro Honda’s 1954 horror classic, Godzilla was established as a metaphor for Japan’s fear of nuclear weapons and a monster that left death and destruction wherever it went.

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But then in Godzilla is still raiding, Godzilla battled Anguirus in a fun creature feature. From then on, Godzilla became an anti-hero who defended Japan against the deadliest kaiju. movies like Godzilla, Mothra and King Ghidorah: All-out Giant Monster Attack and shin godzilla true to Godzilla antagonism were the exceptions, not the rule.

seven The Saw series – Jigsaw was a moralizing hypocrite

According to John Kramer (or the Jigsaw Killer), he traps shady people in games of life or death to make them see the value in the life they’ve given up. But for all his lofty talk, Kramer was not above killing for his own gain or gratification. Kramer is a self-righteous serial killer, and the Seen the movies couldn’t decide whether to condemn it or justify it.

Saw III made his philosophical failure its central theme, but the series never questioned the fact that Kramer began his killings out of selfish revenge as seen in Saw IV, where he killed the man responsible for his wife’s miscarriage. In Kramer’s mild defense, his apprentices fared worse and constantly broke the few moral rules therein.

6 The A Nightmare On Elm Street series – Freddy Kruger escaped death through ridiculous loopholes

While he was essentially a god in the dream realm, Freddy could be easily killed like any other person in the physical world. Although nearly every hero across the freddie the movies did exactly that, Freddy always came back thanks to a technicality. If it wasn’t by burning his remains hidden in a landfill, it was through having a baby.

Freddy’s flaws grew more and more ridiculous with each sequel, the most extreme case being that the mere idea that Freddy could summon him. The latter, however, was far from hackneyed, as it was the driving force behind Wes Craven’s postmodern classic New nightmare, which questioned Freddy’s very being as a fictional killer.

5 Friday The 13th Series – Jason Voorhess’ Immortality Never Made Sense

After being featured as Pamela Voorhees’ motivation for the murder and a last-minute jumpscare in Friday 13, Jason took over the franchise, starting with Part 2. At first, Jason was established to be an abnormally gigantic and strong but still human killer, but that slight grip on reality quickly faded with each sequel.

Of Part III From there, Jason took inhuman damage but always came back, either as a zombie or something else. What Could Kill Jason has changed with each movie, making it all too easy for sequels to piece together Jason’s previous deaths. That wasn’t a bad thing though, as it cemented Jason’s status as a campfire story.

4 The Candyman Series – The Candyman mythos endured against all logic

If the original candy man had its way, there would be no need for sequels. Bernard Rose’s film ended with the Candyman mythos (or the vengeful spirit of Daniel Robitaille) being replaced by that of Helen, as she defied his legend and cemented his own mythical immortality by becoming the next vengeful specter. tragic.

But in the sequels, Candyman went from a haunting mythos to a generic killer with a tangible weakness, like a mirror or a painting. These inconsistencies were ironed out in Nia DaCosta’s legacy sequel, which doubled down on Candyman being a generational story whose details may change, but its vengeance remains.

3 The Happy Death Day series – Movies mocked their own internal logic

The happy day of the dead duology is a cross between slasher and time loop movies. As such, the rules of these genres were carried over to Christopher Landon’s films, only for them to poke fun at. But if happy day of the dead I made the distinction between a horror comedy and a parody, Happy Death Day 2U broke all the pre-made rules like a gag.

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happy day of the dead didn’t take Tree’s Groundhog Day loop too seriously, as evidenced by the way it ignored its implied stakes to become a morbid comedy where Tree found hilarious ways to die. The sequel, meanwhile, took the rule to the next level by ditching the time loop for an alternate universe that comically contradicted everything that had been set before.

2 The Texas Chainsaw Massacre 2 – The Sequel Spoofed Its Legendary Predecessor

Despite its sadly convoluted continuity, most Texas Chainsaw the films follow a simple horror formula: hapless teenagers attempt to survive a deadly encounter with the cannibalistic Sawyer Clan. The only film in the series to break this tradition was the first sequel, The Texas Chainsaw Massacre 2, which was a self-parody.

Tobe Hooper had no interest in repeating his historic directorial debut, so he used the sequel to relentlessly poke fun at his legacy. Texas Chainsaw Massacre terror and lore have been replaced with bloody slapstick and dark humor, resulting in a wild sequel that lives on as a cult classic, and the only interesting thing the franchise did after 1974.

1 Book Of Shadows: Blair Witch 2 – The sequel was a real mockumentary on the first film

The Blair Witch Project was kind of a flash movie in a bottle, and its sequel was made with that in mind. Rather than simply repeating the original formula like most found footage sequels do, director Joe Berlinger took a meta approach and created a true crime/horror hybrid on the real impact of the first film rather than a sequel. typical.

book of shadows didn’t bother to solve any of the mysteries of the first film and instead focused on amateur documentarians succumbing to psychological horrors as they analyzed the mass hysteria it inspired. The sequel was hampered by studio interference, but that didn’t diminish Berlinger’s ambition to defy the entire original. Blair Witch represented.


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