Winnie the Pooh: Blood and Honey

As a horror and a comedy, Winnie-the-Pooh: Blood and Honey has no rhythm with either, and it's too dim to be worthy of a curious look.

By being finished and distributed, "Winnie-the-Pooh: Blood and Honey" will already be a win for some (and a sequel has been announced). "Blood and Honey" then lumps her in with other easy targets for easier shocks: the women are as gullible as anyone deeply offended by this movie, and we're meant to laugh at each poor choice these characters make. A sentence I never thought I'd write: Pooh and Piglet proceed to terrorize these women, with a few other victims thrown in, sometimes in a way akin to ritual sacrifice. Take away the Pooh and Piglet stuff, and you have a ho-hum stalker thriller that treats its one-dimensional characters as punchlines for gory scenes its budget can't fully deliver on. The best joke is that you see Pooh's round ears and button-nose in ominous shots where Leatherface or Michael Myers are supposed to be, with red overalls and a rubbery mask that's frozen to a type of honey-suckling grin. This English production, making its way to 1,500 theaters in America this week, aims to take the piss out of one's childhood nostalgia, which is mirrored here by what happens to poor Christopher Robin (

The viral horror movie based on A.A. Milne's characters — and carefully working around Disney's copyright — turns Pooh and Piglet into gruesome, ...

But Blood and Honey is so straight-faced and unrelievedly grim that the audience is inevitably being set up to laugh at it instead of with it. There’s no theme to Winnie-the-Pooh: Blood and Honey, no bigger idea at work, and barely even a story. C’mon, the idea of figures as cuddly and bumbling as Pooh and Piglet turning into slaughter-monsters is inherently a bit hilarious. There’s no sense that the filmmakers behind Blood and Honey have ever read a Winnie-the-Pooh story, or have any idea what goes into one. So is the idea that kids’ fantasies have weight and meaning that outlasts childhood. Particularly during clunky moments like the one where a group of women find the words “GET OUT” scrawled in blood on the windows of their rental cabin. Frake-Waterfield leans hard into the “honey” part of Blood and Honey, with Pooh repeatedly taking breaks from the slaughter to cover his inexpressive face in dripping, sticky slime, which he sometimes drizzles over his victims as well. The acting is often stiff and the script is repetitive, but the cast uniformly pulls off screams of agony and terror convincingly as Pooh and Piglet are menacing, torturing, or killing them. The whole film has a distinctively raw “Texas Chain Saw Massacre 1974” vibe, from Pooh’s woodsy cabin filled with antlers and bones to his Leatherface-style silent, bulky menace to the focus on the grotesque. Blood and Honey does have a few things going for it, for viewers in love with practical-effects gore and classic exploitation cinema. For people who are into horror less for storytelling tension or a sense of real threat, and more because they really enjoy watching gnarly levels of human suffering, Blood and Honey has plenty of that. (Disney’s copyright over its own version of Milne’s characters remains in effect.) In the horror-movie version, Pooh and his timid friend Piglet are all grown up and have become serial killers.

Winnie the Pooh: Blood and Honey is noteworthy only for its name, as it turns out that blending slasher blood with Pooh's honey together is like oil and ...

Ultimately, to save the world that he is in and return to the future that he knows, Barry’s only hope is to race for his life. Children of the Corn, written and directed by Kurt Wimmer, opens in theaters on March 3, 2023, and will be available on Demand and digital on March 21, 2023.](/videos/children-of-the-corn-2023-official-red-band-trailer) Based on the short story by Stephen King, Children of the Corn is a chilling new re-telling for a whole new generation. Milne's beloved Winnie the Pooh children’s stories, doom and gloom is a theme that starts on the right foot. Check out the launch trailer for another look at Lara Croft in action.Tomb Raider Reloaded allows players to jump back into the boots of groundbreaking adventurer Lara Croft in an action-filled quest to obtain the ancient Scion artifact, clearing ever-changing rooms filled with new and familiar enemies as well as hazardous traps and puzzles. Nobody seems comfortable in their positions – actors underselling reactions, photographers blurring the frame, directors mixing tones like oil and vinegar – and the resulting movie is soured well beyond any sweet goodwill Pooh's honey-dripping scowl allows. Yes, the kills are approvably vicious, and they’re just about the only thing that makes this movie remotely watchable. Christopher Robin still exists, Winnie the Pooh’s crew still inhabits the 100 Acre Wood, but everything goes south when Christopher leaves for college – a smart play on Pooh seeing Christopher’s maturation as abandonment and creating a vengeful motive for his Jason Voorhees-style murder spree. [The Mean One](/articles/the-mean-one-review) or Ahockalypse, which adapted The Grinch and a Goon-style hockey story, respectively, to weak and largely unfunny horror comedies. A whimsical then wicked pencil-doodled introduction sets the grim fairytale tone in the right way and we're ready to get ridiculous… The same goes for lesser digital effects that spew animated red chunks, which naturally don’t look nearly as good as the practical guts. Continuity and composure are not this film’s friends.

In the new film Winnie the Pooh: Blood and Honey, AA Milne's beloved storybook bear embarks upon a murderous rampage, driven to homicidal madness by ...

[Bambi](https://www.theguardian.com/film/2022/nov/28/prepare-for-bambi-on-rabies-beloved-fawn-to-become-killer-in-new-horror) and [Peter Pan](https://collider.com/peter-pan-horror-movie-adaptation-rhys-frake-waterfield/)), they will have an advantage in not needing to tiptoe around the most well-known version of the concept. (Any trash connoisseur will tell you that it’s a fine line between so-bad-it’s-good and just bad.) It’s a primal human impulse to corrupt our totems of juvenile innocence, a natural part of shedding the naivete of youth for the obscenity of the grown-up world. All of this is to say that even when purloining someone else’s idea to make a quick-and-dirty buck, expertise and effort make a difference. As explained by a prologue in crude stick-figure animation, a cold winter in the Hundred Acre Wood left Pooh and the rest of the gang with no choice but to cannibalize melancholic donkey Eeyore for survival, which marked a nightmarish surrender of all civility for a return to their basest beastly natures. A warped Pooh and Piglet, the latter wielding the savage force of 30 to 50 feral hogs, loose their unslakable hunger for carnage on a cadre of young hotties unaware that their weekend getaway to the woods is about to uphold horror-movie tradition in grisly fashion. Pooh has been made over by way of The Texas Chain Saw Massacre, now a hulking, silent humanoid in a dirty pair of overalls and lumberjack flannel.

Forrest Gump is Andrew Scott Bell's origin story, in a manner of speaking. When his parents bought the two-disc soundtrack, packed with cuts from Bob.

I wanted Kevin and Ernest to have to connect on a deeper level and that they wouldn’t have the advantage of conversation to do it. I woke up in the middle of the night, recorded a voice memo, and then I went back to bed. That was something that we focused on because what I had seen in prior films was a lot of washed-out transparency, and that was it. That we’re all a bit messy and that we’re all trying to figure out our way through life and how we fit into the world. It’s just me playing with a microphone really close so that you hear the breathiness of the horsehair on the bow. That was one of the first ones I did. I distinctly remember 一 I must have been in first or second grade and we were taking a hard test 一 finishing the test and walking up to my teacher and humming in my head the Dun, dun, dun, dun, dun, dun. The simplest version of this is like the pop song, where when you’re listening to it, you’re like, ‘This sounds cool.’ You hear the chorus the first time you’re listening, and you’re like, ‘I like this. When I start to orchestrate it, that’s when I start to play things in different instruments and have fun with that. I wanted to join in on the fun. “I would run around with a video camera with my friends,” he reflects, adding that telling stories is “one of the best things that humans do.” “I didn’t know I was doing this, but I had a song about a robot and a kid.

When Superman enters the public domain in 2033, Winnie-the-Pooh: Blood and Honey director Rhys Frake-Waterfield may be ready to put his own dark spin on the ...

[Superman](https://www.denofgeek.com/superman) and [Batman](https://www.denofgeek.com/batman)!” the director admits to Den of Geek. But all of these stories happen through the control of DC Comics and its parent-company Warner Bros., which either approves official versions of bad Superman or forces competitors to create their own legally-distinct imitators. There’s no doubt he could do the same with a nasty Superman story, whether or not Warner Bros.—or anyone else—likes it. Anything that wasn’t in the story is still property of Warner Bros. And, of course, Zack Snyder couldn’t resist making Superman bad, first when he was resurrected and then in the “Knightmare” epilogue to [Zack Snyder’s Justice League](https://www.denofgeek.com/justice-league). [Winnie-the-Pooh: Blood and Honey](https://www.denofgeek.com/movies/how-winnie-the-pooh-blood-and-honey-horror-movie-exists/) offers a compelling look at the future of storytelling. Of course evil Superman stories have been done before. And in 10 years, one of the most important characters from Disney’s biggest competitor become public domain, the Man of Steel himself. Frake-Waterfield has already indicated that he plans to keep working with public domain characters, including not only Pooh but also Bambi and Peter Pan. Each year, new characters join in the public domain, including Mickey Mouse next year. For decades, the Walt Disney Corporation has controlled stories about Pooh and the gang from the Hundred Acre Wood, overtaking in the public consciousness even depictions by the characters’ creators A.A.

The director of a Winnie-the-Pooh slasher horror parody said people have threatened to kill him following the film's release in America.

“Because they’ve had to fend for themselves so much, they’ve essentially become feral. So they’ve gone back to their animal roots. I’ve had death threats.

He's ruthless and occasionally machete-wielding like Jason Voorhees. He's seen surrounded by bees like Candyman. And he's got an appetite for, ...

When Christopher Robin (Nikolai Leon) abandons the creatures to go to college, their resentment toward him curdles into bloodlust, and Pooh and Piglet decide to terrorize a group of five nearly identical-looking and underwritten young women (lead by Maria Taylor) vacationing in a rental home nearby. [into the public domain](https://www.washingtonpost.com/arts-entertainment/2022/01/08/winnie-pooh-public-domain/). He’s ruthless and occasionally machete-wielding like Jason Voorhees.