Out of all the major holidays, horror movies tend to set themselves around Halloween or Christmas. Halloween works for obvious reasons, whereas Christmas is an easy target for subversion. So what about Thanksgiving? The number of times the genre observes Turkey Day is small, at least when compared to all the Halloween and Christmas horror […]
Out of all the major holidays, horror movies tend to set themselves around Halloween or Christmas. Halloween works for obvious reasons, whereas Christmas is an easy target for subversion. So what about Thanksgiving? The number of times the genre observes Turkey Day is small, at least when compared to all the Halloween and Christmas horror stories in existence, but it’s still a little more than you would imagine. These morsels of Thanksgiving terror include a less talked-about movie called The Boneyard (1991). The story doesn’t in any way require its Thanksgiving backdrop, yet after one viewing of this hidden gem, you’ll be thankful it exists. Hell, you might even come back for seconds.
Even without knowing The Boneyard was shot in 1989, your snap assumption that it’s an ’80s horror movie wouldn’t be completely off base. Its energy and aesthetic don’t quite mesh with that of the early-’90s output. Also, director James Cummins started out in the industry as an FX guy, and he worked on titles like The Thing, Strange Invaders, and House (1985). His time on those effects-driven productions had a supposable influence on his debut, especially once all the ghastly creatures come out to play.
Pictured: Phyllis Diller and Floofsoms in The Boneyard.
Filmed over the course of five weeks in Statesville, North Carolina, and limited to a few locations, The Boneyard feels a bit removed from your typical Hollywood horror movie. This, of course, had a bigger budget than a genuine regional production. Nevertheless, it’s not only the aesthetic that separates this from the commercial horrors of the time; the cast is a mix of no-name actors and locals, as well as vets like Ed Nelson and Phyllis Diller. Oh, and how can anyone forget Mr. Roper himself, Norman Fell, as the coroner? And had things gone differently, Alice Cooper or Clu Gulager would have also been a part of this wacky movie.
The Boneyard is often billed as a horror-comedy, yet it comes off as heavy in the first act. Cummins had, in fact, planned on making a darker movie until Diller was cast; the comedian’s addition led to the change in tone. Even so, you digest some sad backstory before the movie turns silly. Most of that sorrow belongs to famed police psychic Alley Oates. The troubled clairvoyant, who’s played by Deborah Rose, is busy wallowing in her own misery when Nelson’s character, a police lieutenant, and his young partner come sniffing around for help with a new case. This introduction to Oates is not without its comic relief, but what immediately follows is the anguish of a bereaved parent.
Callum (Nelson) and Mullin (James Eustermann) are coming up empty in a baffling case of child murder and possibly the occult. The culprit, a mortuary owner named Mr. Chen (Robert Yun Ju Ahn), claims the victims are actually ancient demons called “kyoshi”, and they only look like dead children. Chen comes from a family that has sworn to watch after these creatures, a duty that entails feeding the kyoshi human flesh. So you can see why the cops would think Chen is a kid killer.
Pictured: A kyoshi from The Boneyard.
Funnily enough, it’s at the ominous mortuary where The Boneyard starts to show signs of life. Apart from Diller as Miss Poopinplatz, the eccentric morgue attendant and doting dog mommy, the building turns into a different sort of house of the dead. One where, around every corner, is some demonic fiend waiting to chase and maim. First, it’s the kyoshi doing what kyoshi do best, then it’s the aforementioned Poopinplatz and her pup as ceiling-high monsters. What on earth possessed this movie to churn out a super-sized, animatronic Diller ghoul and a poodle to match, you might ask. Whatever the answer, hats off to both Cummins, who helped design, and future Oscar-winning makeup artist Bill Corso. This pair assembled an impressive assortment of creatures that, without question, are the movie’s highlights.
As it turns out, it’s not just Alley who has a tragic story here. A recently wheeled-in body awakens on the autopsy table, ahead of all the mayhem. Denise Young played Dana, a woman who ended her life because it hurt too much to live. Now, another filmmaker might have decided to follow this new character rather than the ones already established, or split the spotlight between her and Rose’s role. Cummins, however, kept the focus on Alley. And in thematic terms, Dana’s second chance benefits not only herself but also the psychic. Alley is reminded that her life, even with all the setbacks, is one still worth living.
Pictured: The Floofsoms Ghoul in The Boneyard.
The tonal shifts don’t go unnoticed, yet The Boneyard manages to find a balance. Those kyoshi creatures are always gonna be the stuff of nightmares, regardless of how goofy they act. Alley’s serious moments are kept in check, thanks to the overall situation or some other character. As for Diller, she never feels inappropriate. Her natural sparkle adds shine in all the right places. And most of all, Cummins himself knew how to lighten the mood without sapping all the dread and urgency from the story.
Perhaps the Thanksgiving holiday is on display simply because this movie was lensed in November. Be that as it may, The Boneyard does ultimately capture a sense of togetherness, which many would say is the most important part of any Thanksgiving celebration nowadays. As the ending shows, there is much to be thankful for after surviving this thing we call life, particularly if that life includes doing battle with a giant monster poodle and living to tell the tale.
The Boneyard is currently available to stream on Tubi and Prime Video.
This article is presented by Silent Night, Deadly Night. Produced by Bloody Disgusting, the grizzly update to the most controversial horror film ever made stars Rohan Campbell (Halloween Ends) and Ruby Modine (Happy Death Day), directed by Mike P. Nelson (V/H/S 85). Exclusively in theaters December 12, 2025.
