Ice Cream Man

"We all scream."

2026 1h 26m EN

💀

4.9

SKIP

🥫

25%

ROTTEN

😬

METACRITIC

⭐

3.8

IMDB

★4.9TMDB · 118🥫25%Rotten Tomatoes●33Metacritic★3.8IMDB · 4,763

ComedyHorrorThriller

Synopsis

Spoiler shield

An idyllic summer town descends into madness when an ice cream man serves kids sweet delights with horrifying results.

“We all scream.”

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Where to watch · US

Cast

Ari Millen
The Ice Cream Man / Jonathan Smiley
Charlie Zeltzer
Jared
Shiloh O’Reilly
Tommy
Kiori Mirza Waldman
Mia
Sarah Abbott
Lizzie
Benjamin Byron Davis
The Priest
Karen Cliche
Alison
Dylan Hawco
Chris

Credits

Behind the camera

Director: Eli Roth
Writers: Eli Roth, Eli Roth, Noah Belson
Languages: English
Countries: United States of America, United Kingdom, France, Japan

Want more? Switch to Cinephile mode in the header for DP, composer, budget, box office, production companies, keywords, and release history.

Did you know?

Fun facts 🍿

1 / 8

RUNTIME

Did you know

86 minutes exactly — the "classic feature" runtime most directors aim for.

MoodPlayr · trivia#01

2 / 8

ERA

Did you know

Released this year — you're seeing it while it's still in the cultural conversation.

MoodPlayr · trivia#02

3 / 8

WORLD

Did you know

International production across 4 countries: United States of America, United Kingdom, France, Japan.

MoodPlayr · trivia#03

4 / 8

DIRECTOR

Did you know

Directed by Eli Roth, shot by Simon Shohet. Note their partnership — DPs and directors often return to each other across a career.

MoodPlayr · trivia#04

5 / 8

DIRECTOR

Did you know

Original score by Brandon Roberts. Worth a dedicated listen after — most great films lose half their impact without the score.

MoodPlayr · trivia#05

6 / 8

DIRECTOR

Did you know

Editor Matt Lyon shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.

MoodPlayr · trivia#06

7 / 8

CAST

Did you know

Ari Millen and Charlie Zeltzer and Shiloh O’Reilly carry the top of the cast.

MoodPlayr · trivia#07

8 / 8

FACT

Did you know

Marketing tagline: "We all scream.".

MoodPlayr · trivia#08

Cinephile deep dive

The take

Eli Roth directs. Simon Shohet behind the camera. Brandon Roberts scores. Matt Lyon cuts. Runs lean at under 100 minutes. Profitable at the box office. Produced in United States of America, United Kingdom, France, Japan. Dialogue in English.

Trivia

Things worth knowing

186 minutes exactly — the "classic feature" runtime most directors aim for.
2Released this year — you're seeing it while it's still in the cultural conversation.
3International production across 4 countries: United States of America, United Kingdom, France, Japan.
4Directed by Eli Roth, shot by Simon Shohet. Note their partnership — DPs and directors often return to each other across a career.
5Original score by Brandon Roberts. Worth a dedicated listen after — most great films lose half their impact without the score.
6Editor Matt Lyon shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.
7Ari Millen and Charlie Zeltzer and Shiloh O’Reilly carry the top of the cast.
8Marketing tagline: "We all scream.".
9IMDB entry: tt36893729 — still the authoritative cross-reference for credits and trivia.
10Classified under 13 themes, including "gore", "murder", "serial killer", "summer".

The technical file

Cinematography: Simon Shohet
Original score: Brandon Roberts
Editing: Matt Lyon
Production design: Peter Mihaichuk
Costume design: Jenifur Jarvis
Makeup / hair: Cassandre Bouchard
VFX supervisor: Lisa K. Sepp
Stunt coordinator: Stephannie Hawkins
Runtime: 86 min · 1h 26m
Aspect ratio (typical): 1.37:1 (Academy)
Status: Released
Budget: $5,500,000
Box office: $7,788,193
Return: 142% of budget
Original language: EN
Certification (US): NR
IMDB: Ice Cream Man (2026)
Rotten Tomatoes: 25% 🥫 Rotten
Metacritic: 33/100
IMDB rating: 3.8/10 · 4,763 votes
MPAA: Not Rated

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Eli Roth

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Community reviews

What people are saying

inaneswine2026-08-04
There are films that are so bad they’re good. Then there are films that are simply bad. And then, right at the bottom of the barrel, there are films that aren’t merely bad but deeply offensive. Ice Cream Man is what Eli Roth has scraped from beneath that barrel. Remember Hostel? One of Roth’s earliest films, it caused such a furore that it helped popularise an entire subgenre: “torture porn”. Yet, for all its reputation, Roth actually demonstrated considerable restraint. Some of its most frightening moments occur precisely when the camera turns away from the violence. His subsequent films—including Hostel: Part II, The Green Inferno and Knock Knock—suggested a steady erosion of that restraint and a descent into gleeful gore, obnoxious provocation and increasingly cringeworthy camp. There is plenty of all three in Ice Cream Man, and that is not necessarily a problem. Gore and camp can be enormously entertaining when handled with wit, imagination or technical skill. Here, however, everything is executed so artlessly that the film quickly becomes numbing. The effects look fake, the dialogue is juvenile, and the characters are little more than bodies waiting to be dissected. The performances are uniformly amateurish, from adults and children alike. Even allowing for the leeway usually afforded to young actors, it is painfully apparent that Roth has no idea how to direct them. Nothing is shocking because nothing feels consequential. It is simply boring. The film never finds a workable pace or tone. It lurches constantly between idiotic adults walking willingly towards their deaths, extreme close-ups of mutilation and tedious scenes in which the child protagonists recite dialogue so insipid that it sounds as though they wrote it themselves—although that is probably an insult to child writers. One character, temporarily paralysed, spends what feels like two solid minutes flopping from room to room like a landed fish. Whatever comic potential the sequence initially possesses is exhausted long before the scene ends. All of that would be disappointing enough. What makes Ice Cream Man genuinely enraging, however, is its relentless parade of offensive ideas masquerading as transgressive humour. A young woman is forced to promise that she will reconcile with her ex-boyfriend before he agrees to rescue her—and then she actually does. Paedophilia becomes the premise for a ludicrous comedy-horror that never comes close to establishing a coherent tone. A protagonist casually uses the ableist R-slur before another character turns autism into the punchline of the very next joke. In one grotesquely misjudged sequence, a Black person is chained to the back of a truck and dragged along the ground, invoking the imagery of racist violence and lynching, seemingly in pursuit of one more cheap shock. But the pièce de résistance—the final insult, the cherry on top, if you’ll pardon the pun—is the moment when a child actor, in a film released in 2026, is made to utter the following appalling line: “I’m a 12-year-old girl. Of course I know how to throw up.” At that moment, it took everything I had not to get up and walk straight out of the cinema. Even by the low standards Roth has increasingly set for himself, Ice Cream Man is a disgrace. It is a film that mistakes misogyny for edginess, ableism for humour, and racist imagery for entertainment. Beneath all the gore and desperate provocation, there is no intelligence, no daring and no discernible humanity—just an ugly, witless film congratulating itself for having the nerve to be offensive.
KieranFreemantle2026-08-06
★ 3/10
I was hoping Ice Cream Man would be a fun piece of schlock, and there was some of that in the film. Sadly, Ice Cream Man was a one-joke movie that rammed it hard into the ground. Eli Roth's mean-spirited nature was present in the film, and it felt uncomfortable watching very young children commit violent acts, and a joke involving a 12-year-old girl's eating disorder. Also, fuck generative AI!\ \ popculturemaniacs.com/ice-cream-man-2026-review/
CinemaSerf2026-08-12
★ 5/10
Oh, now come on - who hasn't enjoyed delicious Mint Romney ice cream? Unfortunately, there is a side effect if you feed it to our children - it turns them into marauding murderers intent on killing every adult they see whether they be parent, guardian, granny or teacher. Luckily, though, "Jared" (Charlie Zelzter) is lactose intolerant and his sister "Lizzie" (Sarah Abbott) won't let him have any. Phew! That leaves him, "Mia" (Kiori Mirza Waldman) and "Tommy" (Shiloh O'Reilly) as the only kids in the town not determined on a rampage of gory slaughter. What's causing all of this? Well they (and we) quickly deduce that it must have something to do with the creepy ice cream man (Ari Millen) whose van appears at all hours of the day and night to top up their dose of coned-delights and so fuel their antics - even the hunky fireman isn't safe! After about ten minutes, this descended into a most puerile and unsophisticated dose of CGI-driven nonsense that did, at least, invoke a degree of unanimity from the dozen or so of us in the cinema who were all looking at each other wondering how this ever got off the drawing board. It's repetitious; there's no jeopardy nor is there even the vaguest attempt to craft any characters that we might care less about as their killing spree finds as many ways of carving someone up and then sets it all to music. It's as if Messrs. Belson and Roth just typed the word kill into a digital thesaurus and then let their computers run riot with the results. To be fair to Zeltzer, he tries to inject a little stoic humanity in to the proceedings - even if his some of his riper dialogue uses language that people his own age wouldn't be able to sit on the other side of the screen and actually watch; but the remainder of the cast just look like they've been just been told to go make some mess for the cameras. Even Hammer or John Carpenter at their abject worst managed to keep us interested in what was happening to some extent, but this really hasn't anything to redeem it at all - except perhaps the end credits. It smacks of something that someone might think has legs for another scoop, but I really hope those with the cash take a stance against such auto-trash and invest in cinema that actually requires people to screw up rather than just our machines.