Fantasia Fest 2026: Trauma Or, Monsters All Review

This will be one of many reviews during this year’s Fantasia International Film Festival, to keep up with our latest coverage, click here.

Larry Fessenden’s Trauma Or, Monsters All is the unexpected culmination of his unintended monster-verse quadrilogy that started with his vampire flick Habit (1997), Frankenstein flick Depraved (2019), and recently his werewolf flick Blackout (2023). Based on such a concept alone, one would expect a bloody, gory massacre, but his gathering of monsters provides a remarkable story of trauma and grief in the aftermath of carnage. Fessenden’s efforts in reuniting cast members that span three films over thirty years can be commended for his extensive experience in independent cinema.

When writer Cassandra (Hollard) moves into the upstate New York town of Talbot Falls, she writes an article exposing the monsters lurking around after reading about the town’s dark history. This motivates vampire Sam (Fessenden) and other characters connected to previous films in finding the monsters, hoping to get answers to unresolved conflicts. Adam (Alex Breaux), inspired by Frankenstein’s monster, and Charley (Alex Hurt), a werewolf, are found hiding next door to Cassandra where many confrontations transpire throughout the film.

It is pertinent to note that Fessenden’s ultimate crossover does not require previous knowledge of his aforementioned installments to understand this film. Trauma Or, Monsters All is also intended to function greatly as a standalone film as he integrates important flashbacks for the most specific story elements while still leaving audiences the capability of deducing the obvious to fill in the gaps. Fessenden’s effort also serves as an epilogue towards the aftermath left by the monsters’ devastation, as the town citizens are given ample time to discuss their trauma and grief in great detail. These “monsters” are provided equitable occasions to atone for their transgressions as well, leaving audiences with a riveting horror drama dealing with regret, anguish, remorse that you would not expect from this monster mash.

Fessenden’s familiar campy horror style is apparent through his intense superimposed imagery to emphasize the frenetic scenes, complemented with jagged cinematography and editing to showcase the spirited indie environment. His reprisal of Sam becomes the core of such cheeky style, using dynamic camera work to amplify Fessenden’s attributes in vampire form. Such hyperactive filmmaking also runs rampant when Charley fully turns into a werewolf – reminiscent of WolfCop – giving comprehensive clarity to the town’s trauma while also understanding Sharon’s (Timlin) need for closure.

Overall, Larry Fessenden’s Trauma Or, Monsters All is an interesting culmination of his monster flicks that is capable of standing on its own with cautious use of storytelling through ambiguity and flashbacks. The film provides a surprising concentration on the psychological impact of his previous films through trauma, grief, regret, and remorse – while still utilizing Fessenden’s indie horror style.

still courtesy of Yellow Veil Pictures

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Costa Christoulas

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