Screamboat follows a group of late-night Staten Island Ferry passengers in who find themselves trapped with a murderous, mischievous mouse—a corrupted version of the once-wholesome Steamboat Willie.

Don’t Mess with the Mouse

David Howard Thornton, whose performance as Steambo… er Screamboat Willie is fun to watch. Known for his performances in Damien Leone’s Terrifier 2 and Terrifier 3 as Art the Clown and as The Mean One in the movie by the same name, Thornton once again proves why he’s one of the most popular figures in horror. His energy and creativity make you want to focus on every scene he’s in for fear of missing something, all without saying a word..

It All Started with a Mouse

The film cleverly plays with the legacy of Steamboat Willie, the iconic 1928 short that introduced the world to Mickey Mouse. Steamboat Willie entered the public domain in 2024. Screamboat takes full advantage, twisting familiar into something twisted while paying tribute to the animated short that became the cornerstone of what would become “The House of Mouse”.

Meet the Crew and Passengers of Screamboat

Behind the film is Steven LaMorte, who directed and co-wrote the screenplay alongside Matthew Garcia-Dunn. LaMorte, known for his work on The Mean One, brings his signature blend of horror and humor to Screamboat, crafting a film that is terrifying and entertaining.
The supporting cast manages to bring some fun, memorable performances, with Kailey Hyman (Terrifier 2/3, A Man Called Otto) as Cindi, Tyler Posey (Teen Wolf, Jane the Virgin) as Radio Operator Mike, Jesse Kove (Cobra Kai, Magnum PI) as Lieutenant Diaz, and Jesse Posey (Selena: The Series, NCIS) as Pete. Their performances help bring the chaotic world of Screamboat to life, balancing the tension and horror with moments of humor.

All Aboard the Screamboat

Screamboat thrives on its over-the-top, yet clever way of tying it into the story of Steamboat Willie, all while never losing sight of the horror aspect. It’s a film that knows exactly what it wants to be; a ride that horror fans will appreciate and enjoy. Connecting it to a classic allowed the filmmakers to add a bit of nostalgia to an already fun film.

Screamboat is now available in both digital and physical formats. Board the boat today!

Following a discussion with Cox about his vision for the film, it’s clear that “Call of the Void” aims to be more than just another cabin-in-the-woods fright fest. It’s poised as a “sonic experience,” deliberately designed to unsettle audiences by weaponizing the very sense we often rely on for orientation and comfort.

Echoes of Grief and Unwanted Noise

The premise centers on Moray, portrayed by Caitlin Carver (known for her roles in Chicago Fire, I Tonya, and Netflix’s Dear White People). Reeling from the tragic death of her brother, Moray does what many seeking solace attempt: she retreats. Her destination is a remote mountain cabin, a place intended for quiet contemplation and escape – escape from work, from family pressures, from the crushing weight of her old life.

However, as horror often dictates, true escape is elusive. Moray’s hoped-for tranquility is quickly shattered by intrusions both mundane and menacing. First, the quintessential disruption: a boisterous college band moves into the adjacent unit, replacing silence with unwanted rhythm. More unsettling, however, is the presence of a suspicious professor studying a peculiar local phenomenon – a persistent, pervasive, and deeply mysterious “Hum.”

This Hum, Cox explains, is the film’s narrative and thematic core. It’s not merely background noise or a simple auditory plot device. Moray discovers it’s something far more sinister: a gateway, a threshold to something “otherworldly, unnameable.” And crucially, once truly heard, once it resonates within you, there is no turning back, no unhearing it. The film directly confronts the terrifying question: “How can you escape your own senses?”

Weaving Folk, Cosmic, and Sonic Threads

“Call of the Void” proudly wears its influences while forging its own path. Cox describes it as a “folk horror tale,” grounding its otherworldly elements in a specific, potentially isolated setting ripe with unspoken history (a common trope of the subgenre). This sense of place is further enriched by a unique musical element: the film features songs from the traditional Appalachian folk songbook, performed live by the cast members themselves. This integration promises an authenticity and raw emotional resonance, embedding the region’s cultural sounds directly into the narrative’s fabric.

Layered upon this folk foundation is a distinct vein of cosmic horror, drawing inspiration from the master of existential dread, H.P. Lovecraft. The “unnameable” nature of the Hum’s source, the idea of a gateway to realities beyond human comprehension, and the potential for sensory input to shatter one’s sanity all echo Lovecraft’s signature themes. It’s the horror of the unknown, the vast indifference of the universe, and the fragility of the human mind when confronted with things it wasn’t meant to perceive.

Perhaps most intriguing is the film’s billing as a “sonic experience.” Centering horror around sound offers fertile ground for innovation in a visually dominated medium. Cox seems intent on exploring how auditory phenomena – both the structured beauty of folk music and the unnerving presence of the Hum – can build suspense, create atmosphere, and directly impact the characters’ psychological states. This focus suggests that sound design will be paramount, potentially making the film a uniquely immersive (and disturbing) watch, especially with good headphones.

Behind the Vision: James B. Cox and His Cast

James B. Cox, pulling double duty as writer and director, is no stranger to genre filmmaking. His previous credits include Hacked and, notably, Grey Matter, an adaptation of a short story by horror maestro Stephen King. This background suggests a filmmaker comfortable navigating suspense, atmosphere, and character-driven horror. With “Call of the Void,” Cox appears to channel these sensibilities into a deeply personal and conceptually ambitious project, blending established genre tropes with innovative sensory gimmickry. Discussing the project, his passion for exploring these intersecting genres and the specific auditory hook becomes evident.

Bringing this auditory and psychological nightmare to life is a compelling cast. Alongside Caitlin Carver’s central performance as the grieving Moray, the film stars Mina Sundwall, familiar to audiences from Netflix’s Lost In Space and Jesus Revolution. Christian Antidormi (Starz’s Spartacus, Netflix’s The Lincoln Lawyer) and Ethan Herisse (Nickel Boys, When They See Us) round out the principal players tasked with navigating the encroaching dread and the haunting melodies. The live performance aspect adds another layer of challenge and potential authenticity to their roles.

Tune In, But Beware the Hum

Premiering at the respected Flickers’ Rhode Island International Film Festival, “Call of the Void” arrives on digital platforms today, April 15, 2025, distributed by Gravitas Ventures. With a runtime of 93 minutes and pointedly not rated by the MPAA (often suggesting filmmakers opted out of the rating process to maintain their unfiltered vision), it presents itself as a taut, potentially intense offering for discerning horror fans.

For those weary of jump-scare reliant features or predictable plots, “Call of the Void” offers a potentially refreshing alternative. Its blend of folk atmosphere, Lovecraftian themes, a strong cast, live musical elements, and its central, unnerving focus on sonic horror makes it a standout prospect in the current indie horror scene. Can Moray confront her grief while battling a phenomenon that attacks her very perception of reality?

As James B. Cox has crafted it, the film invites you to listen closely. But be warned: once you truly hear the Hum, you might find it impossible to get it out of your head.

Purchase and rent links on https://www.justwatch.com/us/movie/call-of-the-void-2025

“Call of the Void” is available on digital platforms starting today, April 15, 2025.