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    Scary Moviemaking

    Screams & Dreams: First SplatterFest awards ceremony is a real cut-up

    Cynthia Neely
    Oct 13, 2010 | 9:20 am
    • Kerry Beyer, co-founder of Splatterfest
      Photo by Cynthia Neely
    • Sara Gaston, from left, Joe Grisaffi and Michael Colburn
      Photo by Cynthia Neely
    • Kelly Smith's shoes
      Photo by Cynthia Neely
    • Kelly Smith, SplatterFest co-founder, with actor John Lansch
      Photo by Cynthia Neely
    • A boy actor dressed the SplatterFest part
      Photo by Cynthia Neely
    • Young actresses in winning films
      Photo by Cynthia Neely
    • Videos from SplatterFest 2010
      Photo by Cynthia Neely

    It’s a bona fide hit — and most definitely an ear splitter: SplatterFest Houston rocked the Alamo Drafthouse Cinema West Oaks Tuesday night with screenings of 18 little movies of horror in our town’s first marathon 54-hour short film competition devoted to the genre.

    Where else but Houston could a film with killer plastic wrap win a prize for “Best Use of a Prop?"

    And how about the film focused on a stockbroker winning “Best Splatter?” Did the audience have fun or what?

    The theater lobby was jammed with actors, directors, crew, family members, and plenty of others who just love scary movies. A Saint Arnold beer, from Texas’ oldest craft brewery, and a bowl (not served in a paper bucket) of really good popcorn made it perfect.

    SplatterFest co-founders Kerry Beyer and Kelly Smith, sporting her “blood” splashed stilettos, handed out 21 awards including the more unique “Best Kill” and “Best Scream,” for which actress Ashlye Elyse obliged the audience with a deafening demo. No microphone needed.

    There were tiny budding horror actresses and actors in the crowd, baby Carries and Freddy Kruegers, and these youngsters helped bring home the gold for their team’s productions. Their mommas and papas were so proud.

    If you hate your employer, you’d just love the top prize-winning Don’t Look in the Attic from Joe Grisaffi and Michael Colburn. They conjured up a rather novel way to get rid of the boss in their film. Suffice it to say that his health plan won’t cover his problems.

    Kudos to all the winners and to festival founders Beyer and Smith. They told us for certain that SplatterFest will be b-a-a-a-ck, bigger and better, again next year!

    Best Film: Don’t Look in the Attic

    First Runner Up, Best Film: It’s Not Your Grandma

    Second Runner up, Best Film: He’s Here for You

    Best Use of Assigned Character (a film critic): Cinephile

    Best Cinematography: He’s Here for You

    Best Sound Design: Devour

    Best Music: Te-Kill-Ya

    Best Use of Assigned Line of Dialogue: It’s Not Your Grandma

    Best Splatter: The Stockbroker

    Best Use of Prop (plastic wrap): Award-Winning Masterpiece

    Best Artistic Visuals: Image

    Best Writing: Award-Winning Masterpiece

    Best Editing: Te-Kill-Ya

    Best Special Effects: It’s Not Your Grandma

    Best Make-Up Special Effects: Don’t Look in the Attic

    Best Actress: Suzelle Pelacius (He’s Here for You)

    Best Actor: Matthew Carter (It’s Not Your Grandma)

    Best Scream: Ashlye Elyse (Don’t Look in the Attic)

    Best Director: Joe Grisaffi (Don’t Look in the Attic)

    Best Student Film: Cinephile

    Audience Favorite: Devour

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    Movie Review

    Michelle Pfeiffer visits Houston in new Christmas movie Oh. What. Fun.

    Alex Bentley
    Dec 5, 2025 | 3:30 pm
    Michelle Pfeiffer in Oh. What. Fun.
    Photo courtesy of Amazon MGM Studios
    Michelle Pfeiffer in Oh. What. Fun.

    Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.

    That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.

    Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.

    Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.

    The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.

    The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.

    Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.

    Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.

    ---

    Oh. What. Fun. is now streaming on Prime Video.

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