Eli Roth admits AI was used in Ice Cream Man
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Director Eli Roth has reversed his earlier position and confirmed that generative artificial intelligence was used in parts of his new slasher film, "Ice Cream Man", having previously insisted that its animated sequences were created using traditional techniques. He made the admission in a recent interview but offered few specifics on how extensively AI tools were used or which scenes were affected, leaving open questions about the scale of the technology's role in the production.
The reversal comes as the film is already facing heavy critical backlash, with reviewers ranking it among the worst-reviewed horror releases of 2026. Made on a low budget and reportedly rushed into production as a throwback to retro horror style, the film marks a rare misstep for Roth, falling well short of the standard expected from a director with his genre pedigree.
- Roth now admits AI was used in Ice Cream Man's animation
- Contradicts his earlier claim of traditional filmmaking techniques
- Film already ranked among 2026's worst-reviewed horror releases
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Generative AI tools can create images, video and animation from text prompts, and their use in film-making has become a flashpoint in Hollywood, with concerns ranging from job losses to whether AI-assisted work should be credited or disclosed at all. "Ice Cream Man" is a slasher film from director Eli Roth, known for horror titles such as "Hostel" and "Cabin Fever", and part of the film's promotion had rested on claims that its animated sequences used traditional, non-AI techniques.
Eli Roth built his reputation on graphic, practical-effects-driven horror, so any use of AI in his work draws particular scrutiny given the wider industry debate over the technology replacing traditional craft. His admission that AI was in fact used, after earlier denying it, raises questions about transparency in film marketing as well as the growing role of AI tools in productions that are made quickly and on limited budgets.
The film's reception adds another layer to the story, as it has been widely panned by critics, making the AI disclosure part of a broader conversation about the quality and integrity of the production.
Both sides, in good faith
The strongest fair case each way — we don't pick a winner.
The case for
Supporters of Roth's position would argue that generative AI is simply another tool in a director's kit, no different in principle from CGI or digital compositing, and that using it for isolated animated sequences on a low-budget genre film is a pragmatic choice rather than a moral failing. They would note that independent horror productions often lack the resources of major studios, so leaning on new technology to realise a creative vision is understandable, and that the finished film should ultimately be judged on its craft and entertainment value rather than on which techniques produced a handful of scenes. Roth's eventual admission, even if later than some would like, could also be read as a willingness to be honest once pressed, in an industry still working out norms for discussing a genuinely new technology.
The case against
Critics would counter that Roth's initial denial followed by a reversal is precisely the problem, since it suggests an attempt to avoid scrutiny rather than an oversight, and that trust matters in an industry where audiences increasingly want to know how a film was actually made. They would point out that animators, artists and other crew members have fought hard for protections against being displaced by generative tools, and that quietly incorporating AI without upfront disclosure can be seen as undermining that labour and the craft it represents. The vagueness of Roth's admission, offering no detail on scale or which scenes were affected, only deepens the concern that audiences and industry peers are being left in the dark about how much genuinely human work went into the film.
Coverage
- Deadline — Eli Roth Admits ‘Ice Cream Man’ Features Generative AI After He “Mispoke” About Using The Technology
- The Guardian — Ice Cream Man review – Eli Roth’s junky slasher is one of year’s worst horrors