Occasionally, a little background helps under not only how a major motion picture gets made but also why.
All the way back in the year 1928, Walt Disney and Ub Iwerks produced an eight-minute short cartoon named Steamboat Willie. Basically, the film served as an introduction to Mickey and Minnie Mouse with the seminal rodent serving as the captain of his very own paddle steamer. While the bulk of the story sees the Mickster basically providing a kinda/sorta musical accompaniment to the action on the screen, the short is renowned for serving as one of the earliest examples of how effective synchronized sound works; and many consider it one of the most influential cartoons ever. Indeed, it was inducted into the U.S.’s National Film Registry in 1998, that organization which seeks to preserve the finest arts that have demonstrated a lasting appeal to society as a whole.
Well …
According to the fine folks at Wikipedia.org, Steamboat Willie entered into the public domain effective January 1, 2024; so one needn’t be a rocket scientist to suspect that some enterprising entertainers couldn’t help but latch onto the iconic creation and – ahem – pervert it for their own purposes. Largely, that’s all there is behind 2025’s Screamboat: it’s meant to subvert the childhood inspiration into yet one more cold-blooded killer for audiences who find that kind of low-brow and simple humor funny. Written (in part) and directed by Steven LaMorte, the film stars Allison Pittel, Amy Schumacher, Jesse Posey, Jarod Lindsey, Rumi C. Jean-Louis and others in a Horror/Comedy about the passengers trapped aboard a wayward Staten Island Ferry coming face-to-face (erm … face-to-mouse?) with the littlest terrorizer who has a thirst for gore.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“On the last ferry of the night in New York, passengers and crew are hunted by a merciless rat, and what should have been a peaceful crossing turns into a bloody massacre.”
All the way back in the year 1928, Walt Disney and Ub Iwerks produced an eight-minute short cartoon named Steamboat Willie. Basically, the film served as an introduction to Mickey and Minnie Mouse with the seminal rodent serving as the captain of his very own paddle steamer. While the bulk of the story sees the Mickster basically providing a kinda/sorta musical accompaniment to the action on the screen, the short is renowned for serving as one of the earliest examples of how effective synchronized sound works; and many consider it one of the most influential cartoons ever. Indeed, it was inducted into the U.S.’s National Film Registry in 1998, that organization which seeks to preserve the finest arts that have demonstrated a lasting appeal to society as a whole.
Well …
According to the fine folks at Wikipedia.org, Steamboat Willie entered into the public domain effective January 1, 2024; so one needn’t be a rocket scientist to suspect that some enterprising entertainers couldn’t help but latch onto the iconic creation and – ahem – pervert it for their own purposes. Largely, that’s all there is behind 2025’s Screamboat: it’s meant to subvert the childhood inspiration into yet one more cold-blooded killer for audiences who find that kind of low-brow and simple humor funny. Written (in part) and directed by Steven LaMorte, the film stars Allison Pittel, Amy Schumacher, Jesse Posey, Jarod Lindsey, Rumi C. Jean-Louis and others in a Horror/Comedy about the passengers trapped aboard a wayward Staten Island Ferry coming face-to-face (erm … face-to-mouse?) with the littlest terrorizer who has a thirst for gore.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“On the last ferry of the night in New York, passengers and crew are hunted by a merciless rat, and what should have been a peaceful crossing turns into a bloody massacre.”
As I’ve often suggested, Horror flicks tend to be one of the entertainment industry’s most bankable commodities.
General speaking, audiences come in with judicious expectations to be scared silly even if that means storytellers incorporate a respectable level of humor. Furthermore, these features tend to cost much less by comparison to conventional Comedies, Dramas, and Science Fiction films; because they can be made affordably with a better-than-average chance of turning a profit, studios big and small are willing to risk producing even the most inane ideas if the filmmakers can ‘get it in the can’ under or around the budgeted price. Also, a good number of these films do well enough to justify a sequel (if not a small franchise); so, given the fact that audiences tend to reward the genre at the box office, what’s not to like?
That’s why an outing like Screamboat – clearly inspired by the 1928 cartoon short as well as an attempt to satirize (lightly) its content and characters – seemed like a safe bet to its producing parties (four of them of record on IMDB.com). Writer/director Steven LaMorte liberally spreads on some gallows humor here and there – this is Horror, after all – directing barbs at both the idea of an oversized rodent playing a delightful critter as well as creator Walt Disney turning such theatrical fascinations into a multi-trillion-dollar industry. To my surprise, the effort accomplishes probably all the cast and crew set out to with it; and yet it’s still a bit disenchanting, nonetheless.
In the film’s opening moments, Selena (played by Pittel) is on-the-run but don’t dismay: she’s merely rejecting the friendly advances of an all-female birthday bar crawl party that wants her to join forces with them on a ride aboard the Staten Island Ferry. Thankfully, ship’s mate Pete (Jesse Posey) distracts that band of rebel rousers whilst our lead slips away to the upper decks; but it isn’t before long that these perpetual Mean Girls – led by birthday girl herself Cindi (Kailey Hyman) – find her again and pressure her into their inner circle. However, young Selena has also caught the spellbound gaze of Screamboat Willie (David Howard Thornton), the murderous vermin who thinks she bears a passing similarity to his missing mate (Minnie?) he mistakenly believes to be lost at sea.
General speaking, audiences come in with judicious expectations to be scared silly even if that means storytellers incorporate a respectable level of humor. Furthermore, these features tend to cost much less by comparison to conventional Comedies, Dramas, and Science Fiction films; because they can be made affordably with a better-than-average chance of turning a profit, studios big and small are willing to risk producing even the most inane ideas if the filmmakers can ‘get it in the can’ under or around the budgeted price. Also, a good number of these films do well enough to justify a sequel (if not a small franchise); so, given the fact that audiences tend to reward the genre at the box office, what’s not to like?
That’s why an outing like Screamboat – clearly inspired by the 1928 cartoon short as well as an attempt to satirize (lightly) its content and characters – seemed like a safe bet to its producing parties (four of them of record on IMDB.com). Writer/director Steven LaMorte liberally spreads on some gallows humor here and there – this is Horror, after all – directing barbs at both the idea of an oversized rodent playing a delightful critter as well as creator Walt Disney turning such theatrical fascinations into a multi-trillion-dollar industry. To my surprise, the effort accomplishes probably all the cast and crew set out to with it; and yet it’s still a bit disenchanting, nonetheless.
In the film’s opening moments, Selena (played by Pittel) is on-the-run but don’t dismay: she’s merely rejecting the friendly advances of an all-female birthday bar crawl party that wants her to join forces with them on a ride aboard the Staten Island Ferry. Thankfully, ship’s mate Pete (Jesse Posey) distracts that band of rebel rousers whilst our lead slips away to the upper decks; but it isn’t before long that these perpetual Mean Girls – led by birthday girl herself Cindi (Kailey Hyman) – find her again and pressure her into their inner circle. However, young Selena has also caught the spellbound gaze of Screamboat Willie (David Howard Thornton), the murderous vermin who thinks she bears a passing similarity to his missing mate (Minnie?) he mistakenly believes to be lost at sea.
Given that none of this is to be taken entirely seriously (well, certainly not beyond the parameters of wishful thinking), this structure lends itself nicely to crafting a Horror film. Audiences are introduced to a central villain along with a cast of rationally likable characters, most of which everyone knows going in are likely going to be properly reduced to dead bodies before the credits role. Predictably, that’s exactly what happens here – no surprises all around – as Willie goes about the dirty business of stabbing, slashing, biting, eating, cutting, gouging, electrocuting decapitating, and generally exsanguinating those passengers who had the misfortune of stepping aboard the ferry this fateful night. Occasionally, a kill is interesting. Occasionally, a demise might be funny. As I said, it’s a dirty business, but Willie knows this is what folks show up to see.
What’s missing – at least, so much as I cared – is a central motivation.
Oh, this isn’t to suggest that LaMorte’s and Matthew Garcia-Dunn’s script lacks a defining reason for Willie’s bloodlust. To their credit, they give one elderly passenger – Barry (Jarlath Conroy) – a bit of exposition with which to – ahem – flesh out the legend of Screamboat Willie; and – meh – I suppose it works. But the bigger the legend, the harder they fall … and this miniscule background could’ve used a bit of a makeover. Willie is no Jason Vorhees, and yet we’re supposed to accept him as a suitable replacement for the purposes of these 100 minutes. Is it too much to ask that his legend be vastly larger in size and scope than this scampering li’l nutcase?
Additionally, Screamboat is somewhat plagued by some ill-conceived special effects work.
Willie – for all intents and purposes – is meant to be a bit diminutive; but his exact height kinda/sorta seems a bit of a mystery throughout his appearances in the film. For example, an early scene depicts him holding a grown man by the ankles off the rear of the boat; and – given that scale – he’s approximately one-half the size of the adult victim. However, as the film progresses, we’re treated to different scales of Willie – one shot has him looking like an oversize Barbie Doll while another clearly suggests the height of perhaps a three-year-old – and this inevitably wound up confusing me more than it should have. Come the big finish, I had the feeling that effect technicians simply turned Willie into whatever size they needed to make the visual gags work; and I think a bit more preparation and planning was required to truly make this gimmick memorable.
What’s missing – at least, so much as I cared – is a central motivation.
Oh, this isn’t to suggest that LaMorte’s and Matthew Garcia-Dunn’s script lacks a defining reason for Willie’s bloodlust. To their credit, they give one elderly passenger – Barry (Jarlath Conroy) – a bit of exposition with which to – ahem – flesh out the legend of Screamboat Willie; and – meh – I suppose it works. But the bigger the legend, the harder they fall … and this miniscule background could’ve used a bit of a makeover. Willie is no Jason Vorhees, and yet we’re supposed to accept him as a suitable replacement for the purposes of these 100 minutes. Is it too much to ask that his legend be vastly larger in size and scope than this scampering li’l nutcase?
Additionally, Screamboat is somewhat plagued by some ill-conceived special effects work.
Willie – for all intents and purposes – is meant to be a bit diminutive; but his exact height kinda/sorta seems a bit of a mystery throughout his appearances in the film. For example, an early scene depicts him holding a grown man by the ankles off the rear of the boat; and – given that scale – he’s approximately one-half the size of the adult victim. However, as the film progresses, we’re treated to different scales of Willie – one shot has him looking like an oversize Barbie Doll while another clearly suggests the height of perhaps a three-year-old – and this inevitably wound up confusing me more than it should have. Come the big finish, I had the feeling that effect technicians simply turned Willie into whatever size they needed to make the visual gags work; and I think a bit more preparation and planning was required to truly make this gimmick memorable.
Because this is a Horror feature, I think it’s easy to dismiss some of the shortcomings, turn the brain off, and roll with the punches. On that level, one might find Screamboat a modestly successful venture: nothing truly legendary occurs, but the return of the investment is … well … ordinary. Perhaps there was a greater story somewhere in this rat-fest if it was conceived around the character of Amber (Amy Schumacher), a wandering, scrappy EMT whose skills actually fulfill a purpose the longer Willie gets into his antics. This isn’t any slight against Pittel as her work as Selena – looking and working like a more affordable version of Doctor Who’s popular Karen Gillan – is perfectly fine. My point here is that her character’s story just wasn’t as interesting as was that of the EMT; and I think it would have been nice to see Schumacher’s pluckiness more central to the bloody parade of Willie’s schtick.
Screamboat (2025) was produced by Fuzz On The Lens Productions, Kali Pictures, Reckless Content, and Sleight Of Hand Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Deskpop Entertainment. As for the technical specifications? While I’m no trained video expert, I found the provided sights and sounds to be quite good throughout the film: there was some post-production trickery (mentioned above) that felt muddled, but it worked fine all the same. Lastly, if you’re looking for special features? Dang it all, there isn’t a single one loaded on the disc. Call me old-fashioned, but I do love a little extra, even if it’s nothing more than outtakes or a fawning interview. A big miss.
Alas … only Mildly Recommended.
Sigh. It’s not as if Screamboat (2025) is a bad film because – mind you – I’ve seen far worse. Sadly, it’s that the flick really only lazily goes about the bloody business of lampooning Walt Disney’s seminal inspiration with predictable barbs and reasonably sub-standard practical and optical effects. Everything in here audiences have likely seen before (ad nauseam, in some cases), leaving the finished product truly lacking any of the creative freshness one might think and expect from an attempt to vividly deconstruct one of Hollywood’s biggest and longest-lasting intellectual properties. While it’s a small world after all, it didn’t need to be.
In the interests of fairness, I’m pleased to disclose that the fine folks at Allied Vaughn provided me with a complimentary Blu-ray of Screamboat (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Screamboat (2025) was produced by Fuzz On The Lens Productions, Kali Pictures, Reckless Content, and Sleight Of Hand Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Deskpop Entertainment. As for the technical specifications? While I’m no trained video expert, I found the provided sights and sounds to be quite good throughout the film: there was some post-production trickery (mentioned above) that felt muddled, but it worked fine all the same. Lastly, if you’re looking for special features? Dang it all, there isn’t a single one loaded on the disc. Call me old-fashioned, but I do love a little extra, even if it’s nothing more than outtakes or a fawning interview. A big miss.
Alas … only Mildly Recommended.
Sigh. It’s not as if Screamboat (2025) is a bad film because – mind you – I’ve seen far worse. Sadly, it’s that the flick really only lazily goes about the bloody business of lampooning Walt Disney’s seminal inspiration with predictable barbs and reasonably sub-standard practical and optical effects. Everything in here audiences have likely seen before (ad nauseam, in some cases), leaving the finished product truly lacking any of the creative freshness one might think and expect from an attempt to vividly deconstruct one of Hollywood’s biggest and longest-lasting intellectual properties. While it’s a small world after all, it didn’t need to be.
In the interests of fairness, I’m pleased to disclose that the fine folks at Allied Vaughn provided me with a complimentary Blu-ray of Screamboat (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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