As far as quintessential Halloween movies go, other than maybe Hocus Pocus, and the titular masked babysitter slasher, it really doesn’t get much better than Trick ‘r Treat. Writer/director/creator Michael Dougherty revealed an obsession for Halloween and his early inspirations for making an avenging mascot during a Q&A celebrating the 30th birthday of his original short, Season’s Greetings. For a film with such a tumultuous journey to the big screen, Dougherty is surprisingly easy-going about the whole thing. Brooklyn Horror made this a true event, positioning Dougherty for a graphic novel signing for the new release, and showing Season’s Greetings on 35mm paired with the 2007 film, and a fresh set of hilariously campy bumpers about Halloween safety, as told by a sassy, utterly ridiculous pumpkin. Basking in this film in a proper theater with an audience gave me an all-new experience with the flick, recontextualizing my mad dash to locate a Blockbuster that had it in stock once it finally released to shelves in 2009. A perfectly spooky masterpiece, Trick ‘r Treat stands the test of time as a tasty fall treat that goes down easier than Halloween candy.
Sam, the freaky yet somehow adorable pumpkin/child hybrid actually started life in 1996, while Dougherty was attending NYU. He created an animated character that would become instantly iconic, though it would not undergo a transformation to the live action format until much later. I loved hearing Dougherty chat about the origins of Sam, and how he was born from a kind of vigilante justice towards Halloween. Channeling one’s own experiences into art actually fully worked in the favor of this creator. Additionally, I had no idea that the film was originally envisioned to be directed by different masters of horror in entirely separate segments, similar to Creepshow.
Those are just a couple of the tidbits from Dougherty’s Q&A, but the real meat and potatoes come from the movie itself. I have never seen it look better, complete with film grain and screen artifacts. The kind of nostalgic presentation is practically a lost art at this point, and it felt totally apt to absorb in this manner with a rabid audience soaking it all in. Thanks to the stellar cinematography, bright colors, and a bold gothic orchestral score, Trick ‘r Treat feels like it hasn’t aged a day since 2007. It also probably helps that the cast is comprised of major talent, including Leslie Bibb, Anna Paquin, Brian Cox, and Dylan Baker. It’s honestly no wonder Dougherty could pull this ensemble given how genuinely phenomenal his script is. Imbued with Halloween knowledge and a totally immersive atmosphere, Trick ‘r Treat is truly one of a kind.
The overarching story has been comprised of several different segments tied together by a comic book aesthetic. Bucking the typical trend for an anthology feature, this time everything has been weaved together, and the direction from Dougherty makes it seamless. In one story, we have a group of kids going to a haunted quarry to pay tribute to fallen spirits. In another, a curmudgeonly old man hates the holiday, and his rule-breaking earns the attention of little Sam. A virgin amongst her friend group, a woman dressed as Little Red Riding Hood gets stalked by a fanged figure. A school principal turned serial killer takes out his issues on unsuspecting trick-or-treaters. What ties these disparate tales together makes for an intriguing and altogether satisfying collection. Looking for the parallels rewards watchful eyes. There’s just enough crossover to make a mark, and enough weight has been given to the foreshadowing to supercharge repeat watchers.
The scenarios are genuinely suspenseful, and captivating to watch unfold. A synergy flows through the entire film. Dougherty’s unique visual style fits the material like a glove. His Halloween expertise results in a set of stories hand-crafted with the utmost care. Who would have thought a female werewolf pack and a rogue serial killer could intersect within the same narrative? Additionally, the comic style bookends are never overused. They pull you in over the opening title sequence, teasing just enough to raise eyebrows. Having seen the film many times (admittedly, it’s one in my regular spooky season rotation), an applauding, rapturous audience added a new element. This is the kind of reception the movie should have been given from the onset, with a proper grand theatrical release rather than a gradual film festival rollout. Still, perhaps that was the best for building the cult status it has maintained over many years.
Perhaps the largest compliment one can give is that this genuinely feels like a film that would come out today and be largely embraced by the masses. The mere idea that WB would attempt to essentially delete this movie as a tax write off is infuriating. That also makes the fact that we still have no sequel nearly 20 years later equally upsetting. What an easy concept to build a franchise upon. Sam, essentially the face of Halloween, could be the cryptkeeper of a sprawling, Halloween-set franchise. If V/H/S can keep churning out yearly installments, why can’t we get Trick ‘r Treat 2 off the ground? It’s certainly not for lack of trying. You can feel that Dougherty views Sam as his child, one that’s now out in the world in a very real way. He has helped spearhead an Instagram account where short-form Sam content gets released daily, and his new graphic novel, Trick ‘r Treat: Witching Hours, brings back the pumpkin-gutted baddie in a major way. Clearly the passion is there, so fingers crossed for more soon on that front.
It doesn’t really feel like Halloween season until Trick ‘r Treat. Thanks to Brooklyn Horror Film Festival, this modern classic lives up to its reputation with a spectacular presentation and hilariously perfect Halloween safety bookends. I can’t think of a better way to experience October. Darkly funny and wickedly grotesque, Trick ‘r Treat remains an absolute masterclass of the genre that proves Dougherty needs to be given free rein to make whatever he wants next.
Trick ‘r Treat and Season’s Greetings were screened at 2026’s Brooklyn Horror Film Festival.
