With their new film, Rabid, the Soska Sisters take on Cronenberg, Haute Couture, and “Schadenfreude Culture”
Schadenfreude (ˈshä-dᵊn-ˌfrȯi-də) noun: enjoyment obtained from the troubles of others.
It might be said that in the horror film industry, nothing puts you at risk of being the object of Schadenfreude more than doing a remake of a classic horror film.
An endless cycle of uninspired remakes has made ridiculing them into something of a glib parlor game. They are gleefully derided as either soulless money grabs or blasphemous and unfaithful train wrecks.
When it comes to horror movies, give me a good remake over a good sequel any day.
Horror films are self-contained magic acts, and sequels strip away all the mystery that drew you to the original movie in the first place by inevitably adding backstory and blowing a small magic act out of proportion. A remake, by its nature, has the potential to take a brilliant idea and resurrect it for new audiences to discover.
Notice that I stressed good remakes. When remakes are done for nothing but brand recognition, they are a fresh hell in themselves. But the rare ones that remake a decades-old film that got lost in the shuffle of time, and strives to update the central theme to show the brilliance of the original story, those are wonders to behold that become classics.