With less than two weeks remaining until the debut of R.L. Stine’s Pumpkinhead, Tubi has released a poster and trailer for the upcoming film adaptation of Stine’s short story from the 1999 children's horror anthology, Nightmare Hour. Directed and written by Jem Garrard, the movie centers around Sam, a boy adjusting to his recent relocation to the peculiar town of Redhaven. He embarks on a quest to locate his older brother Finn, who mysteriously vanishes just before Halloween, with everyone seemingly forgetting he ever existed. The cast includes Bean Reid, Adeline Lo, Kevin McNulty, Bob Frazer, Matty Finochio, Seth Isaac Johnson, Kendra Anderson, Troy James, Dominic Mariche, Chase Petriw, Vera Frederickson, Rorelee Tio, and Mike Desabrais. Take a look at the trailer below… “A teenager, Sam believed moving to Redhaven was the worst part—until his brother Finn disappears, and no one, not even their mother, remembers him. With Halloween approaching, Sam, along with his friend Becka and Rusty, the town’s most eccentric outcast, must break a harvest curse before Finn is lost forever.” R.L. Stine’s Pumpkinhead premieres on October 17th.

      Let's reflect on the often-overlooked visionary Andrzej Zulawski and his significant films…

      When discussing cinematic visionaries, many prominent names come to mind, such as Ingmar Bergman, Andrei Tarkovsky, Akira Kurosawa, Stanley Kubrick, Martin Scorsese, David Lean, and Zack Snyder (naturally). These great auteurs possess an extraordinary talent for storytelling that is distinctly their own, continuously innovating and presenting their vision in striking new ways. They set trends, motivate others, and create works that either capture audiences instantly, prompting repeated viewings, or leave a lingering impression that draws you back even after initial skepticism.

      However, some visionary directors, despite creating remarkable films, remain largely unnoticed by mainstream audiences. These are the influential creators cherished by true cinephiles. For various reasons—such as courting controversy or having films left unfinished or temporarily banned in significant regions—Andrzej Zulawski stands out as a cinematic titan who, particularly outside of France, doesn’t receive the recognition he rightfully deserves.

      Those familiar with Zulawski often know his most famous film, Possession. Some have watched it, while others recognize it through out-of-context clips or memes, notably featuring Isabelle Adjani’s infamous subway breakdown. Yet, there’s far more to him than that, and for those unacquainted, here are the essential films of Andrzej Zulawski...

      **The Third Part of the Night**

      Zulawski's debut feature would set the stage for much of his later work, showcasing an arthouse sensibility and a bold dismissal of conventional narrative boundaries. This unsettling psychological horror represents an early precursor to the A24-style horror genre. Although facing constraints and opposition from established producers, Zulawski, a newcomer at the time, succeeded in creating a film that is undeniably auteuristic.

      Set against the backdrop of war-torn Poland, it follows a man who loses his family to the Gestapo and joins the resistance. He finds himself in the grim job of feeding lice (which was, regrettably, a real occupation during World War II) while haunted by visions of his deceased son and encountering a doppelgänger of his late wife as his sanity unravels. The closest English-language comparison capturing the same sense of surrealism and spiraling madness might be Orson Welles’ *The Trial* (a film so unconventional that Welles had to shoot it in Europe). Zulawski’s work features his signature vivid visual style, dynamic camera movement, extended takes, and breathtaking cinematography. Unfortunately, it remains relatively underappreciated outside of Poland and France, but it is sure to leave a lasting impression.

      **The Devil**

      Zulawski's previous film had already hinted at his anti-establishment themes, but *The Devil*, a higher-budget folk horror, stirred significant controversy in Poland. Seen as an anti-communist allegory, the film faced a ban in Poland, leading to Zulawski’s brief exile as he was told to leave the country without delay.

      As for the film itself, it is a striking work that pairs well with Ken Russell’s *The Devils*. While they differ widely in content, both tackle religious horror through the distinctive styles of their respective directors. Visually bold and unforgettable, Zulawski also embraced a tendency to shatter the fourth wall with characters directly addressing the audience.

      Like *The Third Part of the Night*, *The Devil* has been gradually rediscovered thanks to recent HD restorations, enhancing its already stunning visuals. Following a change in perception, the film was eventually reaccepted in Poland after Zulawski garnered renewed positive recognition at home.

      **The Most Important Thing: Love**

      Zulawski's return was facilitated by his time spent in France, where his earlier films were well received. This led to the opportunity to direct *The Most Important Thing: Love*, starring Romy Schneider, which became a notable success in France.

      This film navigates a love triangle through Zulawski’s unrestrained lens, showcasing his bold approach to performances. Featuring an eclectic cast, including the intense Klaus Kinski, it amplifies the emotional stakes far beyond many contemporary Hollywood films, with Schneider delivering an outstanding performance.

      **On the Silver Globe**

      A caveat accompanies this entry: the film was only 80% completed. Upon returning to Poland to a warm reception, Zulawski attempted to create his rendition of *2001: A Space Odyssey* and Tarkovsky’s *Solaris*. An epic sci-fi endeavor poised to redefine the genre, it touches on the themes of social constructs emerging and disintegrating.

      However, authorities sensed the possible underlying commentary within the story of settlers seeking a new Earth, paralleling a critique of a communist regime. With only 20% left to shoot, production was halted, and orders were issued to destroy footage, props, costumes, and sets. Fortunately, the reels were preserved