8 Horror Movie TV Series Adaptations That Didn't Quite Work Out - Dread Central
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8 Horror Movie TV Series Adaptations That Didn’t Quite Work Out



Rather than remakes, the big trend at the moment is turning popular horror movies into TV series, and shows based on The Evil Dead, The Omen, and possibly even Suspiria are soon going to join successful small screen adaptations like “Scream,” “From Dusk Till Dawn,” and “Bates Motel.”

While TV adaptations of beloved horror films are all the rage right now, the road to success for such projects hasn’t always been an easy one. Over the years we’ve seen many come and go, either failing to catch on with audiences or just plain never even finding their way in front of the cameras.

Today we take a look at eight of those horror TV series that didn’t quite work out as planned for one reason or another.

operation aliens


Believe it or not, 20th Century Fox actually tried to turn Aliens into a Saturday morning animated cartoon series for children, back in the early 1990s. Titled “Operation: Aliens,” the series was meant to tie in with the release of Alien 3, and though production did start on the show at a Korean studio, it never actually aired. It’s been rumored that a pilot episode was put together, though the footage has to this day never been seen. All that remains of the project are several production stills, which you can see above.

Interestingly enough, Kenner’s line of Aliens toys from the 1990s were actually based on the failed “Operation: Aliens” series, which would explain why the figures looked so different than the characters in the movies – and why Xenomorph creatures not even seen in the movies were turned into toys. Though many pieces of merchandise did make it to store shelves with the “Operation: Aliens” title attached to them, the Kenner toys were released under the title Aliens.

Bates Motel


Though A&E’s “Bates Motel” has proven that fans are into the idea of a Psycho TV series, the same idea didn’t work out so well back in the late 1980s. After the release and box office failure of Psycho 3 in 1986, Universal thought it’d be best to stop with the movies and instead try to rejuvenate the classic story by turning it into a TV series. Anthony Perkins refused to be a part of the project, but production rolled on and a pilot episode was shot. Kurt Paul – who had previously doubled for Perkins on Psycho 2 and 3 – was brought in to play Norman Bates.

The series was to center around a new character named Alex West, who inherits the infamous Bates Motel when Norman dies, but it was never picked up by a network. With the pilot shot, Universal decided to air it as its own standalone movie, premiering the original “Bates Motel” on July 5th of 1987.  The 100-minute pilot garnered mostly negative reviews, and Universal got to work on the made-for-TV Psycho 4 shortly thereafter.

Blade TV


Despite the fact that badass vampire-killer Blade caught on with fans in the worlds of both comic books and feature films, the character wasn’t so lucky in the world of television. First up, Showtime had planned a spin-off series several years back, which was to see Wesley Snipes reprising the role. But the plug was pulled on that idea when Snipes dropped out, leaving Spike TV to pick up the ball and attempt to run with it.

Replacing Snipes with rapper “Sticky Fingaz,” “Blade: The Series” became Spike’s very first original scripted series, the 2-hour pilot premiering on June 28, 2006. Written by David S. Goyer – who wrote all three Blade films – and acclaimed comic book writer Geoff Johns, the pilot episode of the series pulled in big numbers for the network, and it seemed that they had a hit on their hands. Taking place after the events of 2004’s Blade: Trinity, the series saw Blade teaming up with a new character named Krista Starr, and a total of 12 episodes were aired on Spike.

Unfortunately, the ratings plummeted after the pilot, negative word of mouth delivering a death blow to the series that once showed promise. Spike announced shortly after the final episode of the season aired that they were not renewing the series.

Carrie Angela Bettis


Prior to the big screen remake we got in 2013, the 2002 made-for-TV adaptation of Carrie that starred Angela Bettis was actually intended to be the pilot episode for a spin-off TV series, which would see Carrie traveling around and helping out others with telekinetic abilities. According to Bettis, the plan was to have Carrie and Sue Snell embark on a Thelma and Louise-style road trip and to possibly delve into the town’s reaction to the prom night massacre.

The 2+-hour TV movie aired exactly 26 years and 1 day after the release of Brian De Palma’s film, premiering to low ratings on November 4, 2002. Due to the poor reception, the series was never picked up, and it left behind a pointless remake that did absolutely nothing to improve or expand upon the original film – or the novel. Its only saving grace was that the always impressive Bettis nailed the part of Carrie White – a role she was perhaps born to play.


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Check Out the Opening 2 Minutes of Another WolfCop



It was just earlier today that we brought you guys The Dude Design’s the newest poster for writer-director Lowell Dean’s horror-comedy sequel Another WolfCop.

And now we have the movie’s opening 2 minutes!

The clip showcases the new flick’s villain trying to sell us on his “Chicken Milk Beer” before losing his cool and taking it out the commercial’s crew. We then cut to a ragtag group of criminals, dressed as homeless Santas trying to outrun the cops.

A fun two-minutes if you ask me!

You can check out Another WolfCop‘s opening scene below and then make sure to hit us up and let us know what you think in the comments below or on social media!

The film is written and directed by Lowell Dean, produced by Bernie Hernando, Deborah Marks, and Hugh Patterson, and distributed worldwide by Cineplex.

Another WolfCop co-stars Amy Matysio, Jonathan Cherry, and Serena Miller. The film also features special appearances from Canadian music icon Gowan and legendary filmmaker Kevin Smith. It was executive produced by Sean Buckley, J. Joly, Bill Marks, Brian Wideen, Michael Kennedy, and Michael Hirsch.

The film is slated for a wide Cineplex theatrical release on Friday, December 8, 2017, with the film seeing a Blu-ray/DVD/Digital home entertainment release through A71 and Black Fawn in 2018.


A month has passed since the eclipse transformed hard-drinking Officer Lou Garou into the crime-fighting hellion WolfCop. Although the Shape Shifters controlling the town have been extinguished, Woodhaven is far from returning to normal. Lou’s liquor-fueled antics and full moon outbursts are seriously testing his relationship with Officer Tina Walsh – the new Chief of Police. An old friend has mysteriously reappeared with a truly bizarre secret to share, and a homicidal new villain has emerged from the shadows looking to finish what the Shape Shifters started. To defeat this lethal adversary, it will take more than a lone wolf packing a pistol.

Prepare for the next chapter of WolfCop that will be more dirty and hairy than the original! Consider yourself warned.

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The Axiom Review – A Stylish and Clever Slice of Independent Horror




Starring Hattie Smith, Zac Titus, Nicole Dambro

Directed by Nicholas Woods

The Axiom is an ambitious, well directed, impressively acted and stunningly shot independent horror film that has just a few, teensy little flaws holding it back from greatness (and therefore will have to settle for just being really, really good, instead).

The first thing you realize when watching The Axiom is that this is a beautiful film. Everything is framed and shot in a lush and stylish manner, but one which is always tonally appropriate for the scene.

The second thing you’ll notice, and keep noticing as the film plays out, is that the movie really struck gold with this cast. Not only is there a total lack of the sort of stilted and unnatural acting seen in countless other microbudget horror affairs, but the performances are genuinely fantastic across the board. The main characters are believably chill and relatably normal in the early scenes, and the acting remains just as impressive once things start getting a bit more… intense. It’s not often that an independent horror film has so many good performances that it makes it hard to pick the movie’s acting VIP, but that is undeniably the case here. Taylor Flowers delivers what is probably the showiest performance (and does it very well, indeed), but the entire cast really is quite good.

The central premise of the film is both interesting and original, and touches upon the real life fact (given some recent attention in the ‘Missing 411’ books and documentary) that a lot more people sure seem to go missing out in the woods than seems reasonable, while simultaneously weaving all sorts of folklore, fairy tales and urban legends into the mix. It’s also clever in the way that it very naturally reveals aspects to the relationships between characters that serve to later – or sometimes retroactively – explain some of the more questionable decisions they make or attitudes they display. While that may sound like screenwriting 101, it’s surprising how many films fail to do this. The Axiom rewards the viewer’s attention in other ways as well, with many aspects of the movie that initially feel odd or unnatural receiving reasonable explanations (within the context of the movie) by the end. It’s not quite as challenging (or as rewarding) in this regard as, say, something like Session 9, but it does add a nice layer of complexity to the storytelling.

The film’s score, by Leo Kaliski, is also quite good. There may be a moment here or there where the music hits an overly familiar beat, but overall it not only fits the movie’s tone, but does quite a bit to help set that tone as well.

The only thing that I don’t feel the movie quite pulls off – and I’m trying to be vague here, because I feel like the less you know going into this film, the better – is some of the makeup effects work. The gore stuff is very well executed, but some of the other stuff feels like it was crafted with the intention of shooting it in a more… stylized manner. Instead, filmed as it is here, the result is sometimes less than impressive and can fail to make the impact that the movie seems to be implying that it should. And while some of what the makeup effects lack in execution is made up for with the ingenuity and creativity of their design, it’s still a bit of a shame when they don’t quite pull them off because, aside from a few niggles that I have with the writing, the effects are the only aspect of the film that occasionally fails to live up to the high level of technical proficiency that The Axiom otherwise demonstrates.


  • Man, the acting in this movie is really good. The dialogue may stumble once or twice, but these actors always sell it anyway.
  • Give back Mia Sara’s DNA, Hattie Smith!
  • If you’re going to put your female lead in shorts this small, I hope you’re not sensitive to viewers unleashing a nonstop parade of “Has anyone seen my pants / OH GOD WHERE ARE MY PANTS!” jokes.
  • “You just pop this here ‘Blair Witch Stick Person / Anarchy sign’ sticker up on that there windshield of yours, and them park rangers? Well – heh heh – they won’t bother you none, no sir.” Hmmmmm…
  • The film really is shot amazingly well – better than a lot of mainstream releases. Cinematographer Sten Olson has a real future ahead of him.
  • As does writer / director Nicholas Woods, for that matter. Any director who can get this level of quality out of their cast and crew on their first ever film is someone to keep an eye on.
  • “I’ll make a run for it and get help,” says the female lead, and I’m like “Yeah, let her go – she has no pants to weigh her down.”
  • The gore effects in the movie are both realized and utilized very well.
  • Welcome back to horror movies, “I’ll be right back” dialogue spoken unironically by and/or to ill-fated characters.
  • The Axiom


In the end, The Axiom is a solid and entertaining flick that manages to wring a level of quality and originality out of the somewhat tired “Don’t Go in the Woods” horror subgenre not seen since 2012’s Cabin in the Woods. The cinematography and acting are hugely impressive, it features a nice, unnerving score, the premise is original and captivating, and the whole thing moves at a nice pace that helps keep the film’s flaws from dragging it down.

User Rating 3.86 (7 votes)
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Hotel Transylvania 3: Summer Vacation – First Trailer and Artwork!



As a fan of flicks like Mad Monster Party, I was surprisingly pleased with the last two Hotel Transylvania affairs. For my money you can put the classic monsters in just about anything, and I’ll watch it happily, and these animated features feel like a natural progression of the 1967 Rankin and Bass classic. Which is why I’m looking forward to Hotel Transylvania 3: Summer Vacation, and if you are too, check out the film’s new trailer and poster.

Directed by Genndy Tartakovsky, who co-wrote the film with Michael McCullers, Hotel Transylvania 3: Summer Vacation features the voices of Adam Sandler, Andy Samberg, Selena Gomez, Kevin James, Fran Drescher, Steve Buscemi, Molly Shannon, David Spade, Keegan-Michael Key, and Mel Brooks.

Look for it in theaters on July 13, 2018.

In Sony Pictures Animation’s Hotel Transylvania 3: Summer Vacation, join our favorite monster family as they embark on a vacation on a luxury monster cruise ship so Drac can take a summer vacation from providing everyone else’s vacation at the hotel. It’s smooth sailing for Drac’s Pack as the monsters indulge in all of the shipboard fun the cruise has to offer, from monster volleyball to exotic excursions, and catching up on their moon tans.

But the dream vacation turns into a nightmare when Mavis realizes Drac has fallen for the mysterious captain of the ship, Ericka, who hides a dangerous secret that could destroy all of monsterkind.

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