Scary Stories to Tell In The Dark
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It’s 1968 in America. Change is blowing in the wind...but seemingly far removed from the unrest in the cities is the small town of Mill Valley where for generations, the shadow of the Bellows family has loomed large. It is in their mansion on the edge of town that Sarah, a young girl with horrible secrets, turned her tortured life into a series of scary stories, written in a book that has transcended time—stories that have a way of becoming all too real for a group of teenagers who discover Sarah’s terrifying home.
- Zoe Margaret Colletti
- Michael Garza
- Gabriel Rush
- Austin Abrams
- Dean Norris
- Gil Bellows
- Austin Zajur
- Natalie Ganzhorn
- Lorraine Toussaint
- Kathleen Pollard
Did You Know?
- The film is based on the "Scary Stories to Tell in the Dark" book series published in the 1980s, written by Alvin Schwartz and illustrated by Stephen Gammell.
- In the mental hospital lobby/waiting area there are a pair of modern drinking fountains mounted on the wall. This model did not exist in the 1960s.
- Stella Nicholls: Stories hurt, stories heal.
Atom User Reviews
#boring just so you will read this review!! This movie was refreshing to watch! That del toro fella really knows how to put a great flick together. I had goosebumps the whole time and it almost made me climax!
the people that sat next to us made the movie horrible they did not shut up
A sort of welcome throwback, a horror movie cleverly designed to be more spooky than truly grisly. That leaves it, however, in a bit of a no-man's land, as this PG-13-rated film is still too scary for the tweens that might be drawn to the challenge and not jarring enough for older horror buffs accustomed to far worse.
Scary Stories to Tell in the Dark is drenched with symbolism and layered with ideas about lost innocence and the power of stories — and the power of creating something that resonates with an audience for years and years. I suspect this movie will do exactly that.
All of these beasties are scary. Though they'd be much more so if they felt less like franchisable IP and more like fervent expressions of the ills of the eras on which the film aims to comment.