Entertainment
The best horror movie you’ve never seen
Last Updated on March 11, 2026 by Daily News Staff
Scott Malia, College of the Holy Cross
It’s scary movie season, a time when many people watch films about zombies, serial killers, werewolves, magic and mysterious monsters who are impossible to kill.
However, as far as I know, there’s only one film that features all of those elements – and you’ve probably never seen it.
Made in 2007, “Trick ‛r Treat” consists of four interconnected horror stories, each about 15 to 20 minutes long, that all take place on a single Halloween night.
While characters from one story sometimes appear in other segments, the unifying force in the film is Sam, a mysterious creature wearing a burlap mask. He takes umbrage whenever a character disrespects a Halloween tradition, whether it’s by scaring away trick-or-treaters or blowing out a jack-o’-lantern before Halloween is over. Each meets a gruesome end.
Horror buffs eventually discovered the film. Today, it’s hailed as a modern classic. https://www.youtube.com/embed/NJ66Htmmq4M?wmode=transparent&start=0 ‘Trick ‛r Treat’ ended up forgoing a theatrical run. 
What went wrong?
“Trick ‛r Treat” was produced by a major studio, Warner Bros. It featured A-list stars, such as Brian Cox and Oscar-winner Anna Paquin. It was produced by Bryan Singer, who was known for churning out hits such as “X-Men” and “The Usual Suspects.” And though its director, Mike Dougherty, was making his directorial debut, he had worked as a screenwriter on films such as “X2: X-Men United” and “Superman Returns.”
Despite all of these credentials, the film’s theatrical release was delayed from fall 2007 to 2008. Then a theater run was canceled altogether, with Warner Bros. finally releasing it on video in 2009.
The studio never gave an official reason for pulling the theatrical release; however, some critics have speculated that the box office success of the “Saw” franchise and Rob Zombie’s “Halloween” remake were factors.
Other reports suggest that the film’s anthology format, its mixture of horror and comedy, and a plot featuring murdered children made it too hard a sell.
Given the cost of marketing and promoting “Trick ‛r Treat” to a nationwide audience, perhaps the risk wasn’t worth it for a film with a relatively small US$5 million budget. Dougherty himself said these hang-ups constituted a “perfect storm,” suggesting that no one development sealed the film’s fate.
Bypassing the box office
As recently as a decade ago, films released directly to DVD were viewed as flops or cash grabs. In fact, there’s an entire subgenre called “mockbusters” – low-budget rip-offs of studio films, such as “Transmorphers,” which tried to piggyback the success of the “Transformers” franchise, and “Atlantic Rim,” which attempted to do the same for the 2013 blockbuster “Pacific Rim.”
Then there are direct-to-video sequels meant to capitalize off hits. Disney made a lot of money in the late 1990s and early 2000s producing widely panned, direct-to-video animated features such as “The Return of Jafar” and “Pocahontas II: Journey to a New World.”
But second lives for films that were initially snubbed or ignored are nothing new.
“The Boondock Saints” was briefly screened in a handful of theaters for a single week in 1999 before being dumped into the video market. Only then did viewers find it, and it became a cult favorite that eventually begat a sequel.
The stigma of direct-to-video release has diminished over the past decade thanks to the rise of streaming, in which content made directly for home viewing can receive critical acclaim and attract subscribers.
Actor Nicolas Cage has made a cottage industry of this format. While some have attributed his massive output in the past decade to his financial difficulties, Cage’s films “Joe” (2013), “Mandy” (2018) and “Pig” (2021) have all received critical acclaim, despite sometimes only running in a handful of theaters for a week before their release into streaming markets and video on demand.
It’s this sort of tradition that led to the rediscovery of “Trick ‛r Treat.”
Hipster horror
The appeal of “Trick ‛r Treat” is rooted in its subversion of horror tropes.
For example, women and children, who’ve historically served as victims in the genre, have a lot more agency in Dougherty’s Halloween tale. In fact, the mysterious Sam was played by Quinn Lord, who was only 8 years old when the film was shot. In the film, the character’s origin, age and gender remain undefined since Sam is masked or covered in prosthetics for the entire film, blurring the line between human and monster.
In addition, the film’s complex structure, which some speculated might have hurt its chances for commercial success, helped fuel the film’s critical praise. Dougherty called it “‘Pulp Fiction’ meets ‘Halloween,’” a nod to the interlocking structure of Quentin Tarantino’s breakout film and the setting of John Carpenter’s horror staple, which also unfolds over one Halloween night.
It has become somewhat of a cliché to say that esteemed art, initially overlooked, was “ahead of its time.”
Still, it would be fair to say that “Trick ‘r Treat” arrived on the cusp of what has been called a “horror renaissance” in the past 15 years. Directors like Jordan Peele, Ari Aster, Robert Eggers and Mike Flanagan have found critical and commercial success by branding themselves as horror auteurs.
In addition, Peele and directors like Nia Dacosta, who helmed 2021’s “Candyman,” have opened up a brand of horror that deals with social issues and identity. Dougherty’s film also anticipated a trend of horror films with a darkly humorous streak, including Peele’s “Get Out” and David Gordon Green’s reimagined “Halloween” sequels.
Despite the film’s rocky beginnings, “Trick ‛r Treat” received a belated theatrical release in 2022, which has spurred talk of a potential sequel.
Dougherty even acknowledges that the film may owe its current popularity to its botched release. While some mainstream films disappear quickly, “Trick ‛r Treat” – currently streaming on Max – reappears every Halloween. Just like Sam.
Scott Malia, Associate Professor of Theatre, College of the Holy Cross
This article is republished from The Conversation under a Creative Commons license. Read the original article.
Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/
and let your entertainment journey begin!
Author
awards and contests
The Largest AI Film Competition Is a Snapshot of Where AI Filmmaking Is Headed
Higgsfield released results from its largest AI filmmaking competition: nearly 8,800 submissions from 139 countries and $500,000 in prizes—highlighting a fast-growing, global, creator-led filmmaking ecosystem.
A year ago, “AI film” still sounded like a niche experiment—cool demos, rough edges, and lots of debate about whether it could ever look truly cinematic. Higgsfield’s latest competition results suggest we’ve crossed into a new phase: AI filmmaking is becoming a real, global production lane, driven by independent creators working outside traditional studio systems.
According to the company, its AI Film Competition drew nearly 8,800 submissions from 139 countries, with a $500,000 cash prize pool distributed to independent filmmakers. Beyond the winners, the dataset reads like a market signal: generative tools are lowering the cost of entry for high-end visuals, and the talent pipeline is no longer geographically locked to legacy production hubs.
A global creator map is replacing the old studio map
One of the most telling takeaways is where the work is coming from. Higgsfield reports the largest volume of entries came from:
- India (1,805)
- United States (1,041)
- Germany (278)
- France (230)
- Italy (228)
- Brazil (212)
- United Kingdom (196)
Historically, cinematic action and high-end VFX were concentrated in a handful of established centers—places with the budgets, infrastructure, and specialized crews to pull off complex sequences. Higgsfield’s results point to a different reality: subscription-based, production-grade AI tools are reducing geographic barriers, enabling creators across Latin America, Southeast Asia, and Eastern Europe to compete in the same visual arena.
Higgsfield CEO Alex Mashrabov framed it as a creator inflection point, arguing that the scale of participation signals the next breakout franchise “can come from anywhere on Earth.” Whether or not you buy the blockbuster prediction, the underlying shift is hard to ignore: global access is now a feature of the production model.
The judging criteria hints at what matters next
Another important detail: the prize pool wasn’t awarded for “best render” alone. Higgsfield says the jury—made up of both traditional production veterans and AI-native creators—prioritized storytelling and directorial intent over technical polish.
That’s a meaningful signal for where AI filmmaking is headed. As tools improve, the baseline for visual quality rises. What differentiates creators isn’t just the ability to generate a shot—it’s the ability to direct one: pacing, tone, character, and clarity of vision.
The jury included names and studios spanning both worlds, such as Secret Level (founded by Emmy-winning filmmaker Jason Zada), Buralqy, concept artist Jama Jurabaev, and PJ Ace of Genre.ai—who called it “the best-looking AI film contest” they’ve seen.
Decentralized production is no longer theoretical
The Grand Prize winner is also a case study in how AI changes collaboration. 1st Place ($150,000) went to Muhannad Nassar (Detroit) and Simon Meyer (Germany) for “GRANDMA vs WASP.” The pair reportedly never met in person, instead using an asynchronous workflow across time zones with Higgsfield’s Cinema Studio.
That’s not just a fun anecdote—it’s a preview of a parallel production ecosystem where teams form around taste and capability rather than geography. If the toolchain is centralized in the cloud, the “studio” becomes a workflow, not a building.
Winners show two pathways: new creators and experienced pros
The rest of the top placements reflect how broad the adoption curve is becoming:
- 2nd Place ($100,000): Nikolay Shestak for “CUPID,” using Higgsfield to execute concepts that would normally be budget-prohibitive. He plans to apply the prize toward an independent superhero film.
- 3rd Place ($50,000): Brothers Ash and Aram Gevorkyan for “SCRATCH,” created in five days. Ash noted audiences mistook it for a studio-backed theatrical release and asked for a link to the “full movie.”
What’s emerging is a two-lane future: newcomers using AI to enter filmmaking for the first time, and established creatives using it to expand what they can produce independently.
Money is starting to loop back into production
Higgsfield also highlights something that looks a lot like early-stage industry deal flow: one top winner is reportedly reinvesting prize money back into the platform to produce a feature-length film, and the project has already attracted involvement from a major Hollywood figure.
That matters because it suggests AI-generated work isn’t staying in a separate “AI corner.” It’s beginning to intersect with the traditional financing-and-distribution ecosystem—especially when the output looks cinematic enough to be taken seriously.
The market is growing—and the infrastructure is consolidating
The competition results land in a market that’s expanding quickly. Citing Grand View Research, Higgsfield notes the global AI video generator market was estimated at $788.5 million in 2025 and is projected to reach $3.44 billion by 2033 (a 20.3% CAGR).
Higgsfield is positioning itself as an all-in-one workflow layer, combining its own models with third-party options (including OpenAI’s Sora and Google’s Veo, among others) so creators can choose the best model per task without rebuilding pipelines. The company says it serves 20 million+ users who have generated 50 million+ videos, and it reports a most recent valuation of $1.3 billion.
What to watch for next
If you’re tracking where AI filmmaking is going, this competition offers a few clear “watch points”:
- More global breakout creators as the cost of cinematic visuals continues to fall
- Decentralized teams forming around projects, not locations
- A shift from “can it look good?” to “can you direct it?” as quality becomes more accessible
- Traditional industry crossover as AI-native projects attract recognizable partners
Want to see the winning films and action scenes? Higgsfield has them here: https://higgsfield.ai/contests/make-your-action-scene
Source: Higgsfield press release distributed via PRNewswire (March 18, 2026).
Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/
and let your entertainment journey begin!
Festivals
Presqu’ile Winery Partners With LAND to Bring Contemporary Art to Santa Maria Valley
Presqu’ile Winery and LAND are partnering to bring free, site-responsive contemporary art to the Santa Maria Valley estate in Santa Barbara Wine Country.
Santa Barbara Wine Country is about to get a fresh reason to linger a little longer. Presqu’ile Winery has announced a new collaboration with Los Angeles Nomadic Division (LAND), the nationally recognized nonprofit known for taking contemporary art out of traditional museums and galleries and placing it directly into the environments that shape it. The result: curated, site-responsive works—some created specifically for the property—installed across Presqu’ile’s Santa Maria Valley estate.
A winery becomes an open-air gallery—at no cost
Under the partnership, Presqu’ile will serve as a host site for LAND programming, opening its estate to the public for free. Visitors can expect contemporary art integrated into the vineyard setting, with select installations shaped by the landscape itself. The goal is simple and ambitious at the same time: expand no-cost access to contemporary art along California’s Central Coast while creating a cultural experience that feels inseparable from the place it inhabits.
LAND’s approach is rooted in the belief that art should be experienced where people actually live, work, and gather. Rather than building exhibitions around white walls and controlled lighting, LAND supports projects driven by place—work that engages the environment, the community, and the lived experience of the artists creating it.
“Nourishing reciprocity” between art, landscape, and community
Laura Hyatt, Director of LAND, emphasized how the Central Coast setting opens new creative possibilities for artists.
Hyatt noted that collaborating with Presqu’ile gives artists the opportunity to engage with the region’s natural beauty and unique ecology—placing artworks in what she described as “nourishing reciprocity” with the landscape and the visitors moving through it. She also highlighted the long-term potential of the partnership, which allows for deeper exploration over time, expands LAND’s geographic reach, and strengthens connections between Southern and Central California.
For Hyatt, the collaboration is personal as well: her family has roots in the area going back five generations, adding another layer of community connection to the work LAND hopes to cultivate.
A shared mindset: tradition, experimentation, and a sense of place
Presqu’ile framed the partnership as a natural extension of what the winery already does—balancing tradition with experimentation. In the same way winemaking can honor time-tested methods while still pushing toward new expressions, contemporary art can offer new ways of seeing familiar processes and landscapes.
Matt Murphy, co-founder of Presqu’ile Winery, said the family’s appreciation for the visual arts made the collaboration an easy “yes.” He pointed to the opportunity to create “fun, compelling and unexpected” ways for the community to engage with both the installations and the estate itself—and to experience Presqu’ile through each artist’s creative lens.
What happens next
In the near term, LAND will install artworks developed through its programming on the Presqu’ile property, with public access remaining free. The collaboration is designed with community benefit at its center, positioning the estate as a cultural and agricultural destination—not just a tasting room.
Looking ahead, Presqu’ile has submitted plans for approval to develop expanded spaces intended to support free public art, cultural programming, and community gathering. If approved, those improvements would signal a long-term commitment to integrating arts and culture into the estate experience and welcoming future partners whose work aligns with Presqu’ile’s values of openness, creativity, and place-based expression.
Additional details—including participating artists and installation timelines—will be announced as the collaboration progresses.
About the partners
Presqu’ile Winery
Presqu’ile (pronounced press-keel) is a family-owned estate winery in Santa Maria Valley on California’s Central Coast. Founded in 2007, the winery produces cool-climate wines from its sustainably farmed estate vineyard and from a select group of growers across Santa Barbara County. The name—French Creole for “almost an island”—reflects the Murphy family’s Gulf Coast heritage and the winery’s deep emphasis on place.
Los Angeles Nomadic Division (LAND)
Founded in 2009, LAND is a nonprofit arts organization dedicated to connecting people and places through site-responsive public art and programs. Over 15 years, LAND has presented more than 500 artists across 300+ programs and exhibitions, ranging from large-scale sculptural commissions to billboards, roadside screenings, workshops, and city-wide video presentations—reaching millions of people.
Why it matters
This collaboration isn’t just about adding art to a winery—it’s about rethinking where art belongs, who gets to access it, and how landscape can become part of the creative process. For the Central Coast, Presqu’ile and LAND are setting the stage for a new kind of cultural destination: one where a walk through the vines can also be a walk through contemporary ideas, made visible in the open air.
Source: Presqu’ile Winery
Organization: Los Angeles Nomadic Division (LAND)
- Presqu’ile media contact: diana@solterrastrategies.com
- LAND media contact: kyle@hellothirdeye.com
Our Lifestyle section on STM Daily News is a hub of inspiration and practical information, offering a range of articles that touch on various aspects of daily life. From tips on family finances to guides for maintaining health and wellness, we strive to empower our readers with knowledge and resources to enhance their lifestyles. Whether you’re seeking outdoor activity ideas, fashion trends, or travel recommendations, our lifestyle section has got you covered. Visit us today at https://stmdailynews.com/category/lifestyle/ and embark on a journey of discovery and self-improvement.
Author
Food and Beverage
NYC to Host 5th International Volcanic Wines Conference on June 10
New York City will host the 5th International Volcanic Wines Conference on June 10, 2026 at Manhatta, featuring global volcanic regions, masterclasses, a Grand Tasting, and the Volcanic Wine Awards with JancisRobinson.com.
New York City is about to get a crash course in “wines with a sense of place.” Volcanic Wines International (VWI) announced the 5th International Volcanic Wines Conference (IVWC), set for June 10, 2026 at Manhatta in Manhattan. The one-day event brings together producers, sommeliers, buyers, journalists, and educators for tastings and masterclasses focused on wines grown in volcanic soils—an increasingly talked-about category known for its tension, mineral-driven structure, and unmistakable origin.
Why volcanic wines are having a moment
Volcanic vineyards sit on some of the planet’s most dramatic landscapes—think steep slopes, black sand, and lava-strewn terrain. But the conference isn’t just about scenery. The IVWC is built around a simple idea: volcanic terroir can shape wine in distinctive ways, influencing everything from texture and acidity to aromatics and perceived “energy” in the glass.
As VWI co-founder John Szabo, MS put it, volcanic wines often stand out for their “energy, structure, and clear sense of origin,” making them a natural fit for wine lists that prioritize discovery.
A global tasting tour—without leaving Manhattan
Hosted in what VWI calls the largest and most influential wine market in the U.S., the conference offers a rare side-by-side look at volcanic regions from around the world. Participating producers are expected from territories including:
- Etna (Sicily)
- Santorini (Greece)
- Canary Islands (Spain)
- Hungary
- Pantelleria (Italy)
- Lake County (California)
Masterclasses, seminars, and a Grand Tasting
The June 10 program is designed for wine professionals who want to go deeper than a quick sip. Attendees can expect guided tastings and educational sessions exploring how different volcanic soils—and the climates that surround them—can influence grape varieties and wine styles.
Seminars are slated to spotlight volcanic wines from:
- Soave (Italy)
- Etna
- Hungary
- Canary Islands
- Lazio (Italy)
The day also includes a Grand Tasting, where exhibiting wineries will pour for a curated audience of sommeliers, buyers, importers, educators, and media.
A new “Volcanic Origin” certification will be announced in the U.S.
One of the headline moments: the conference will host the official U.S. announcement of a new Volcanic Origin certification, created by the Vinora association of Auvergne, France. The certification is designed to help recognize authentic expressions from volcanic regions worldwide—an important step as interest grows and consumers look for clearer signals of provenance.
Volcanic Wine Awards + JancisRobinson.com partnership
VWI also highlighted a major media partnership with JancisRobinson.com for the Volcanic Wine Awards, an international competition celebrating standout wines from volcanic regions.
Award-winning wines will be featured on JancisRobinson.com and showcased in a dedicated space during the NYC conference.
“Volcanic regions produce some of the most characterful wines in the world,” said Tara Q Thomas, Managing Editor at JancisRobinson.com, adding that the partnership aims to bring greater attention to these terroirs.
The big picture: story-driven wine in a crowded market
Beyond the technical details, the conference is tapping into something the wine world is actively chasing: narrative and identity.
“Today more than ever, the wine world needs compelling stories that reconnect wine lovers with place and identity,” said Gino Colangelo, President of Colangelo & Partners and partner in VWI. Volcanic wines, he noted, offer “dramatic landscapes, ancient soils, and wines with unmistakable character.”
How to attend or exhibit
For information about exhibiting or attending, VWI directs inquiries to Bianca Panichi at bpanichi@colangelopr.com. Updates are also available at www.volcanicwinesinternational.com, with social channels on Instagram (@volcanicwines_intl) and Facebook (Volcanic Wines International).
What to watch for (STM Daily News)
- Whether the new Volcanic Origin certification becomes a widely adopted benchmark
- Which regions and producers dominate the Volcanic Wine Awards spotlight
- How volcanic wines continue to move from “sommelier obsession” to broader consumer demand
Hungry for what’s next? STM Daily News’ Food and Drink section dishes up the latest in restaurant news, beverage trends, seasonal recipes, culinary events, and food culture stories readers love to share.
