‘Still Makes The Cut!’ Revisiting the Forgotten Mike Myers ’90s Horror Comedy [Video]
Mike Myers recently shared how he’d love to star in a horror movie. Anastasia Elfman revisits the time he basically did.
![‘Still Makes The Cut!’ Revisiting the Forgotten Mike Myers ’90s Horror Comedy [Video]](https://www.dreadcentral.com/wp-content/uploads/2026/05/So-I-Married-and-Axe-Murderer-main.png)
Somewhere between slasher movies, quirky rom-coms, and a midnight comedy fever dream sits So I Married an Axe Murderer. And honestly? It’s one of the most bizarre yet lovable horror comedies of the ’90s that everyone, including star Mike Myers, has somehow forgotten.
Recently, Myers claimed that he’d “never been in a horror movie,” which immediately sent me into a double-take because— HELLO, this movie absolutely counts. Sure, it may not drown itself in gore, but the entire premise is a pure horror setup: paranoid poet with massive commitment issues falls for a woman he suspects might be a serial killer known as the “Honeymoon Murderer.” That’s a classic horror film scenario.
While it’s not a perfect film, I still have an axe to grind—because this forgotten cult classic is packed with killer one-liners, tabloid hysteria, absurd romance, and enough campy charm to leave horror-comedy fans screaming. Now, I don’t want to brag or anything, but one of my passions is championing forgotten horror gems, so I happily dive into an absurd amount of horror research. Honestly, I may be the person who’s watched So I Married an Axe Murderer the most, as I got so caught up simply enjoying the film that I’d forget to take notes for my article.
What makes the film endure for a lifelong horror fan like myself is how sincerely it embraces its spooky, camp theatrics. As much as I love deeply unsettling horror like John Carpenter’s The Thing and Hereditary, I equally adore horror comedies that mix eerie atmosphere with absurdity, like Haunted Honeymoon, Joe Dante’s The ’Burbs, and Death Becomes Her.
Jam-packed with genius comedy cameos, like Charles Grodin (Clifford, Beethoven), Brenda Fricker (Angels in the Outfield, ) Michael Richards (), and Phil Hartman (, ), to name a few. Each delivers distinct, broad performances in outlandish vignettes, forming a series of left-field subplots. The film seems to get how ridiculous fear can become when your imagination spirals after too many late-night crime stories and oversized cappuccinos.