Director – Andy Edwards, Screenplay – Tom Jolliffe, Producers – Mark L. Lester, Jessica Mathis & Rebecca J. Matthews, Photography – Liam Hejsak, Music – Kristen Personius, Visual Effects – Pix Rock VFX Pvt Ltd, Makeup Effects – Mylene Alexandra Howson & Michal Wolf, Production Design – Nasir Simmons. Production Company – Sobini Films.
Katherine betrays her husband Arthur, framing him for the theft of an item of the king’s jewellery. After he is dragged away, Katherine force his daughter Cinderella to become a maid to her and her two daughters Josephine and Rachel. Three years later, there is the announcement that the prince is holding a ball to select a wife. Katherine and the stepsisters make plans to attend. Cinderella is left behind whereupon her Fairy Godmother appears, having heard her wishes. The Fairy Godmother snatches various designers from the future to outfit Cinderella for the ball and Elon Musk to chauffeur her in a luxury car. At the ball, Cinderella has the prince entranced. However, she must flee before midnight and leaves behind her glass slipper. The prince mounts a search for the owner of the slipper but when they come to their place, Katherine locks Cinderella away. There Cinderella calls up her Fairy Godmother who gives her a mask that allows her to wreak a bloody vengeance against the others.
The success of the Scott Jeffrey/Scott Chambers produced Winnie-the-Pooh: Blood and Honey (2022) led to a host of other horror versions of fairytales and children’s characters. Jeffrey is not credited as producer here, but Cinderella’s Revenge comes with a number of others who have Jeffrey connections including regular producer Rebecca J. Matthews and several of his regular actors. The film also came out the same year as other Jeffrey/Chambers associates and regular actors produced Cinderella’s Curse (2024) – indeed, both films feature Mike Kelson, who plays Cinderella’s father here. The film also comes produced by Mark L. Lester, a director of films like The Class of 1984 (1982) and Firestarter (1984), and a regular producer of genre material.
Unlike Cinderella’s Curse, Cinderella’s Revenge is a more traditional telling of the fairytale and doesn’t mess around with the main elements of the story. Where the horror elements come in is near the end where the stepmother and stepsisters prevent Cinderella from having the glass slipper fitted for her foot whereupon Cinderella calls up the Fairy Godmother who gives her a mask that allows her to tap her dark side and exact the titular revenge. We then see her going out and killing the assorted stepmother and sisters, as well as a groundsman. It’s Cinderella by way of The Mask (1961) and not always that gainly a concept ie. it is one where an outside gimmick has to be added to the story to push it over into the horror element. Both here and in Cinderella’s Curse, we see the glass slipper being used to stab people.
(l to r) Cinderella (Lauren Staerck) and the Fairy Godmother (Natasha Henstridge)
Cinderella’s Revenge is largely a film that is not too concerned about anachronisms – early on the show we see one of the stepsisters attacking Cinderella with what is clearly a modern chef’s knife. Later Cinderella is outfitted with a bulletproof vest to avoid assassin’s bullets. In particular, there is the scene where the Fairy Godmother dresses Cinderella for the ball and calls up Tom Ford, Vidal Sassoon and Christian Louboutin to create the dress, shoes and fix her hair. The bit that had everybody in this household wanting to throw their popcorn at the screen was where instead of creating a mouse-driven coach, Natasha Henstridge conjures up no less than Elon Musk to chauffeur Cinderella to the ball in a Tesla! We also get the Fairy Godmother – a very arch performance from Natasha Henstridge – referring to Cinderella as a client and advising her “Buy stock in Apple, trust me.”
Director Andy Edwards has first appeared with the zombie film Ibiza Undead (2016) and went on to make the thriller Graphic Desires (2022) for Scott Jeffrey and two other horror versions of fairytales with Punch (2023) and Rumpelstiltskin (2025), as well as episodes of assorted anthologies.
