The FNAF Movie: Good for fans, also good for horror

How one indie game became a horror movie sensation.

By Gabriel Acevedo

 A banner featuring the animatronics in a ball pit with glowing eyes (Left to right: Freddy Fazbear, Chica the Chicken, Bonnie the Bunny, and Foxy the Pirate Fox)
Photo Credit: Peacock

If you were to tell 36-year-old Scott Cawthon in 2014 that the horror game he was making would become one of the biggest horror movie blockbusters in 2023, you might be seen as crazy. Nevertheless, that is exactly what happened. 

Debuting in 2014, Five Nights at Freddy’s went from being Cawthon’s last chance to produce a successful video game, to a cult classic revered among millions across the world: With 9 games in the franchise, 32 books published, and selling over 33.5 million units worldwide, a film adaptation was guaranteed for such a juggernaut franchise. 

Since 2015, the Five Nights At Freddy’s movie was an idea that plagued the back of mind of fans for years. After jumping from Warner Bros. to Blumhouse Productions, directors coming in and out, and multiple draft scripts, the Five Nights At Freddy’s movie was finally released to the public on October 27, 2023.

To start off, it is important to talk about one of the most divisive elements when discussing the movie: the plot. While many critics found the plot to be confusing and jumbled, fans found themself loving the plot and the way it displayed the games. I will have to agree with the latter, as the movie’s plot was one that was simple enough for both fans and strangers looking for the first time. One important element when discussing the first Five Nights At Freddy’s game is how simple it was. In contrast to the newer lore-driven games, the first installment was a simple game, with the only goal being to  survive five nights. The movie, as mentioned, does just that, only this time throws in Mike’s sister, Abby, as a way for the younger audience to connect with. It also keeps hinting at the mystery of the killer and shares it without any convoluted depth, making it easily digestible to a horror audience.

In reference to Mike and Abby, it is also important to discuss the characters. More specifically, I would love to highlight Josh Hutcherson’s performance of the rundown security guard Mike Schmidt. Schmidt is not the good role model or blank slate people are supposed to project onto, but rather Schmidt is this rundown, unemployed, and stubborn insomniac traumatized by the dissapparance of his little brother. Hutcherson does an amazing job showing not only how such trauma affects Mike throughout the movie, but how that also plays into his relationship with Piper Rubio’s character, Abby. Another well done performance is Elizabeth Lail, as the lead actress, Vanessa. Vanessa at first, seems like some random character that serves as a “guide” to Schmidt, but becomes relevant later on. While I felt she was a bit “underutilized”, it was a pleasure to see this character adapted from the video games onto the big screen. 

The human actors did not just do well, but the animatronic characters beloved by millions. I had no doubts that Blumhouse Productions would be stellar with bringing the animatronics to life, as their work on their movie Megan earlier this year shows that they are able to handle the eeriness of robots and animatronics. The way the animatronics move are very true to their game counterparts, as well as also gives them a more humanistic feel. While some may find the animatronics to be a bit too cuddly for a horror movie, I say it does its job to add to the creepy vibes the movie does. 

Whether you love it or hate it, you cannot deny the amount of effort and love put into this movie. Whether you are a fan since the inception of the series, or a newcomer curious to see what the hype is about, Five Nights at Freddy’s was definitely a movie that was worth watching this Halloween season. 

“This piece was written without the aid of studio-provided materials while SAG-AFTRA is on strike. These unions represent our writers, actors, and artists across TV and movies in their fight for a fair and equitable contract. SAG-AFTRA asks those who cover shows and films to refrain from promoting stricken content at this time.” 

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