Directed by

John Murlowski
Made by

A. Ninety-Three Productions
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SDRead the complete plot summary and ending explained for Amityville: A New Generation (1993). From turning points to emotional moments, uncover what really happened and why it matters.
Before the DeFeos moved into 112 Ocean Avenue in Amityville, the house was occupied by the Bronners. In 1966, the Bronner family’s eldest son, Franklin, killed his parents and two siblings during Thanksgiving dinner. Franklin, who had a long history of mental illness, claimed to have acted at the behest of otherworldly forces that resided within the house, and was committed to Danamore State Hospital. Years later, Franklin’s wife and their young son, Keyes Terry Ross Partridge, visited him. Despite being sedated, Franklin killed his wife in front of Keyes. Keyes repressed the memory of visiting Danamore, and never received any notification about his father being discharged from it in 1986.
In 1993, Keyes Terry Ross Partridge—now a photographer—lives in an inner city boarding house with his girlfriend, Llanie Lala Sloatman. The boarding house is owned by Dick Cutler David Naughton, and its other tenants include a painter named Suki Julia Nickson, and a sculptor named Pauli. Franklin tracks down Keyes, and gives him a mirror that he took from the house in Amityville. The mirror is demonic, and it kills Suki and her ex-boyfriend, Ray Robert Rusler. After Franklin is found dead, Keyes begins looking into his past, and realizes that Franklin was his father after visiting Danamore.
The demon in the mirror assumes Suki’s form to kill Dick David Naughton, and then begins tormenting Keyes by turning into Franklin. Keyes gets sucked into the mirror, which brings him to a Hellish version of Danamore where he encounters undead versions of Raymond, Suki, Dick, and Franklin. The demon then returns Keyes to the real world, and makes it clear that it wants Keyes to reenact the massacre of the Bronner family by shooting Llanie, Pauli’s wife Janet at the boarding house’s Thanksgiving art show. Keyes resists the demon’s influence and breaks the mirror, prompting his friend Detective Clark Terry O’Quinn to quip, > Seven years bad luck.
Follow the complete movie timeline of Amityville: A New Generation (1993) with every major event in chronological order. Great for understanding complex plots and story progression.
Bronner family occupies 112 Ocean Avenue
The house at 112 Ocean Avenue is occupied by the Bronner family prior to the DeFeos arriving. The peace is shattered when Franklin Bronner murders his parents and two siblings during Thanksgiving in 1966.
1966 Bronner family massacre
Franklin Bronner kills his parents and two siblings during Thanksgiving. He claims otherworldly forces inside the house compelled him to commit the murders. After the killings, he is committed to Danamore State Hospital.
Franklin Bronner committed to Danamore
Franklin Bronner is institutionalized at Danamore State Hospital following the 1966 murders. His treatment is described as a response to chronic mental illness, affecting the memory of the house's dark history.
Visit to Danamore ends in murder
Years after the initial killings, Franklin's wife and their young son Keyes Terry visit him at Danamore. Despite being sedated, Franklin murders his wife in front of Keyes. This traumatic visit plants the seeds for Keyes's later unraveling of his paternity.
Franklin discharged from Danamore
Keyes later learns that his father was discharged from Danamore in 1986, though he never received formal notification. The mystery of Franklin's fate lingers and stirs questions about Keyes's own identity. The past's shadow continues to influence Keyes's life.
Keyes moves into the boarding house
In 1993, Keyes Terry, now a photographer, lives with his girlfriend Llanie in an inner-city boarding house. The new setting places Keyes among a small, tense community that will soon be haunted by the house's legacy. The arrangement includes a shared space with other tenants and artists.
Boarding house residents introduced
Dick Cutler runs the boarding house, while tenants include painter Suki and sculptor Pauli. The dynamic among the residents creates a claustrophobic, creative atmosphere that the demon can exploit. This setup foreshadows the personal dangers to come.
Franklin delivers the demonic mirror
Franklin tracks Keyes and arrives with a demonic mirror taken from the Amityville house. The mirror becomes a vessel for malevolent forces, ready to manipulate the people around Keyes. Its arrival signals the start of the supernatural threats at the boarding house.
Mirror kills Suki and Raymond
Using the mirror, the demon kills Suki and her ex-boyfriend Raymond, making clear that the mirror's powers are lethal. The victims' deaths demonstrate the creature's reach and willingness to target the living. The murders escalate the sense of danger around Keyes.
Keyes discovers Franklin was his father
After Franklin is found dead, Keyes begins investigating his past and discovers that Franklin was his father during a visit to Danamore. The revelation tightens the eerie link between Keyes, his family history, and the house's evil presence.
Demon uses Suki to kill Dick
The demon, in Suki's form, murders Dick Cutler, demonstrating its ability to shapeshift and target Keyes's circle. The haunting intensifies as the threat expands to multiple people within the boarding house. The embodiment of Suki's identity intensifies the psychological horror for Keyes.
Keyes is pulled into the mirror
The demon returns Keyes to the real world after pulling him into the mirror, showing him a Hellish version of Danamore. He confronts undead versions of Raymond, Suki, Dick, and Franklin before being returned to sanity, but the threat remains tangible.
Demon's plan to reenact the Bronner massacre
The demon reveals its intent to force Keyes into reenacting the Bronner family massacre by shooting Llanie, Pauli, and Janet at the boarding house's Thanksgiving art show. The threat pushes Keyes toward a final decisive act to resist possession.
Keyes breaks the mirror
Keyes finally breaks the mirror, ending the immediate terror. Detective Clark dryly adds, 'Seven years bad luck,' underscoring the lingering curse of the house and the unresolved horror surrounding Keyes's life.
Explore all characters from Amityville: A New Generation (1993). Get detailed profiles with their roles, arcs, and key relationships explained.
Keyes Terry (Ross Partridge)
Keyes is a photographer living in a cramped inner-city boarding house who carries a heavy legacy from his father’s brutal past. He confronts the supernatural threat of the mirror demon, navigating fear, memory, and a stubborn resolve to uncover the truth. His survival hinges on resisting the demon’s attempts to manipulate him into reenacting the family massacre.
Llanie (Lala Sloatman)
Llanie is Keyes's girlfriend sharing the boarding house life and a fragile, supportive bond with Keyes. She becomes an indirect target of the demon’s plans, drawing danger into their home as the haunting escalates.
Suki (Julia Nickson)
Suki is a painter and fellow boarder whose presence injects creativity into the house. She falls victim to the mirror demon when it borrows her form to kill Dick, revealing the breadth of the haunting’s reach.
Dick Cutler (David Naughton)
Dick is the boarding house’s owner who becomes a victim of the mirror demon, illustrating how the haunting tears through the core of the tenants’ daily lives.
Janet Cutler (Barbara Howard)
Janet is Dick's wife who faces danger as the demon’s plan targets the boarding house during the Thanksgiving art show, placing her in harm's way as the haunting intensifies.
Franklin Bronner (Jack Orend)
Franklin is the Bronners’ patriarch whose 1966 killings set the house’s dark history in motion. In the present, his memory is weaponized by the demon to torment Keyes and reveal the true horror of the past.
Detective Clark (Terry O'Quinn)
Detective Clark is a pragmatic investigator who helps pursue the strange killings and eerie happenings. He delivers a wry, skeptical voice, punctuating the metalogical horror with a hint of dry humor as Keyes resists the demon.
Ray (Robert Rusler)
Ray is Suki’s ex-boyfriend who becomes one of the demon’s victims when the mirror demon assumes Suki’s form to kill him, illustrating the horror’s indiscriminate reach.
Learn where and when Amityville: A New Generation (1993) takes place. Explore the film’s settings, era, and how they shape the narrative.
Time period
1993
The present-day events unfold in 1993, with Keyes living as a photographer in a crowded urban boarding house. The backstory spans the 1966 massacre and the 1986 discharge, underscoring a long, unresolved trauma that resurfaces through the mirror demon. The era combines early 90s urban sensibilities with a gothic horror framework that anchors the haunting in a tangible, real-world setting.
Location
Amityville, New York, Danamore State Hospital, inner-city boarding house
The primary setting centers on the infamous Amityville house in Amityville, New York, where the Bronner family massacre history fuels the haunting. The plot also moves to the Danamore State Hospital, the site of Franklin Bronner's confinement, and to a cramped inner-city boarding house where Keyes and other tenants live. These locations merge suburban legends with contemporary urban life to heighten the film's supernatural atmosphere.
Discover the main themes in Amityville: A New Generation (1993). Analyze the deeper meanings, emotional layers, and social commentary behind the film.
🔮
Demon Haunting
A malevolent mirror acts as a conduit for a demon that manipulates the living, blurring the line between reality and the supernatural. The film explores how a malevolent force feeds on fear, misdirection, and past crimes to torment the living. The haunting expands from a single object to a pervasive threat that crosses generations.
🧬
Family Legacy
The story traces a brutal family history—from Franklin Bronner's 1966 massacre to Keyes's present-day struggle—to show how trauma can be inherited and re-enacted. The demon's power feeds on cyclical guilt and secrecy that taints relationships within the boarding house. The past repeatedly surfaces to shape current choices, testing loyalty and courage. Family trauma becomes the catalyst for the horror.
🌀
Memory vs Reality
The plot pivots on memories that resurface through the demon's manipulation, forcing Keyes to confront his paternity and the house's dark history. Illusions and transformations (such as the demon taking on others' forms) challenge what is real. Repressed memories drive characters toward dangerous actions, and breaking the mirror becomes a symbolic act of reclaiming agency.

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Explore the mobile appDiscover the spoiler-free summary of Amityville: A New Generation (1993). Get a concise overview without any spoilers.
In the dim, rain‑slick streets that border a forgotten Skid Row, a struggling artist makes his living capturing moments that most people would rather ignore. Keyes is a successful photographer whose eye for the gritty beauty of the city has earned him both admiration and a precarious place among the building’s eclectic tenants. He shares the cramped, low‑budget boarding house with a handful of fellow creators—a painter who finds solace in color, a sculptor whose hands are forever stained with clay, and Llanie, his steady‑hearted girlfriend whose optimism is a quiet counterpoint to the surrounding decay.
One evening, a solitary homeless man offers Keyes an odd, antiquated mirror—a piece that seems to pulse with a strange allure despite its tarnished surface. The photographer, compelled by an inexplicable fascination, persuades the man to sell it, bringing the tarnished glass into his cramped studio. From that point, the mirror becomes an unsettling presence, its reflective surface inviting more than ordinary contemplation. As the weeks pass, Keyes begins to notice subtle shifts in his own demeanor; the line between the images he captures and the reality he inhabits starts to blur, hinting at a deeper, self‑reflective unease.
The boarding house itself feels almost like a character, its faded walls echoing whispers of past ambitions and hidden anxieties. Within this close‑knit community, the camaraderie among the artists is tinged with an undercurrent of tension, each individual subtly affected by the mirror’s inexplicable pull. The film swirls with a moody, atmospheric dread that leans heavily on visual texture—shadows lengthening across cracked windows, the soft click of a camera shutter, and the low hum of the city outside. As Keyes wrestles with the growing disquiet that settles over his life, the story invites the audience to wonder just how far one can look into a reflection before the image starts looking back.
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