Midlands Review of Cursed Words
midlandsmovies • November 3, 2020
Cursed Words (Haunted Edition)
Directed by Joe and Lloyd Stas
2020
Holomax
In our trawl of Midlands spooky shorts we’ve come across new film Cursed Words from Joe and Lloyd Stas which tells a bloody story of horror using historic cinematic techniques from yesteryear.
The short opens with a large “Presented in Holomax” title echoing the old-style anamorphic format trade names such as Cinemascope. But we’re in firm television ratio here and this mix of anachronisms brilliantly underpins all aspects of Cursed Words.
We push in on a man who waits trance-like at a local pub as other customers around him jovially drink traditional pints and play darts. Some older clothes and set décor give it a feel of the past – but again, what period it is, I don’t know – but this mix of old-timey quirkiness at odds with the modern and keeps the short off-kilter. It also creates a successful unsettling vibe perfect for any horror tale.
As time is called, the ding of the pub bell awakens the man from his thoughts and we see him hold a blood-stained letter with a wax seal featuring a pentagram.
The basic camera moves and shot choices echo classic black and white horrors and it becomes increasingly self-aware as the content of the letter is obscured by a large ‘censored’ sign. As he reads to himself from the letter, beads of sweat and a gulp of breath suggests something ominous forthcoming without the audience knowing what words are written.
And with a jolt from the sound of a storm and a sudden shattering of glass, our protagonist suddenly smashes his head to the table in self-inflicted terror. The pub patrons look on confusingly as the man violently hits his head again and again until grotesquely disfigured. He finally stands up with eyes rolled back, before his neck snaps and sticks a blade into his own skull. Woah!
Technical wise, the archaic style is spot on in every aspect. The sound is suitably gramophone-lite with record scratches and added spooky theremin soundscapes filling out the aural aesthetic. The black and white filter injects film scratches and a juddery projector feel to the proceedings.
The nods don’t stop there as some of the themes of the “undead” hark to the Universal movie monsters of the past, yet there is a more modern nod to the likes of comedies Inside Number 9 and The League of Gentlemen with dollops of jet black humour.
The story continues as a bar maid picks up the letter and reads the censored words aloud herself and suddenly all hell breaks loose with *SPOILER* a cacophony of bones breaking, fork stabbing, decapitations and body horror filling the pub.
The directors have thrown everything they can to inject Cursed Words with nasty nostalgia but also add new ideas too. 1931’s Frankenstein was subject to the enforcement of the Motion Picture Production Code censorship guidelines and the short self-referentially pokes fun and uses the trope to create an intriguing set-up.
The cast give it their all and the film gets surprisingly gory, and funnily enough words aren’t able to fully describe how off the wall the short is. And the gross special effect make-up is brilliantly nauseating as skin ruptures, blood drips and heads roll. Coming highly recommended, Cursed Words comes together because of its mix of fresh modern gore and the winning formula of time-honoured horror cinema, ultimately making it a satisfying slice of dark comedy and hellish horror.
Michael Sales
On Sunday 26th April Midlands Movies Editor Michael Sales & awards ceremony co-host Ed Stagg (BBC Radio) announced the nominations for the 2026 Midlands Movies Awards live from the Queen of Bradgate Vintage Cinema in Leicester. A big thanks was given to the entire Jury Panel of industry experts who gave up their precious time to watch a huge selection of creative projects and as always, had a difficult time choosing from the excellent number of films from the region. You can read the full list of nominations across all 16 categories below and watch our announcement videos here: Part 1 & Part 2 And please also check out our great awards partner Chrome Video Best Actress in a Leading Role Karendip Phull for Family Kate Bracken for The Lace Rachel Baker for Throwing Fruit Chloe Wade for How Long Sophie Bullock for Ma Prison Best Animated Film Of All the Things by Steff Lee Big Red by James Pyle Statue in the Garden by Qianhui Yu Butterfly by Jacob Christie Best Director Luke Worrall for The Waterline Lily Portman for Quiet Jack Richardson for Daniel’s Room Jonathan Hawes for Sorry We’re Closed Sophia Dall'Aglio for Man from Mars Best Documentary Nothing's Impossible by Jacob Thomas McClean A Birmingham Symphony by Jemma Saunders We Bring Light: Leicester's Diwali Legacy by Kieran Vyas The Sunshine Café by Jill Lampert Through the Viewfinder by William North Best Sound (Editing or Mixing) Neil Evans & his team for Artificial Insanity Alasdair Gretton for Dead on Distribution Deepanjali Patel for Earworm David Hamilton-Smith for The Pause Heidi Wilson for Of All The Things Best Actor in a Supporting Role Devon Junior for Lazar Tim Sparrow for Safety Net Shaiek Ahmed Rana for Family Luke Rollason for Quiet Peter Willoughby for A Story of Spring Best Visual & Special Effects Jake Wesley-Worrall for Soul Trader Steve Askey & team for The Correction Unit Nick Willett, Matt Burkey & Jayne Hyman for Black Goat JaqD SFX MUA, Mind Magic Studios and Ben Harker for Beyond the Witching Hour Pete Key, Jai Blanks and Jacob Christie for Countenance Best Cinematography Gary Rogers for The Pause Laurence Mason-Guetta for Sorry We’re Closed Ian Snape for Soul Trader Ash Connaughton for Daniel’s Room Duane Adamoli for Surfing (nominations continue below...)
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