Silo of Screams Haunted Attractions Review (2026)

Southern hospitality is real here, y’all. From the moment we turned into the parking lot, we were greeted by very friendly attendants directing traffic. Additional signage near the main turn-in would be helpful, especially for folks who must turn in on the side that doesn’t currently have a sign. It can be a bit easy to miss the turn depending on the direction you’re coming from, though luckily there are plenty of parking lots to turn around in if you miss that turn.

Walking up to the haunt, you’re greeted with the main entrance and a school bus off to the side where you can purchase tickets and pick up your tabbed haunt entry wristbands, plus wristbands for fast pass and the Crash Site if you choose to add it on. We did see a few people getting in line to enter without getting their wristbands. Larger, better-lit signage directing people to pick up wristbands before trying to enter would be helpful.

Staff across the board were highly attentive and did an amazing job of recommending us a haunt order based on what scared us the most and where crowds looked the lightest. Extra kudos are deserved for how they lit each haunt line with different colored lights and had a clear delineation between fast pass and GA through both signage and an attendant pre-checking tickets. Haunts were clearly marked, staff gave a ton of directions to visitors, and there were scare actors galore haunting the lines. We also appreciated that haunt exits were visible from almost every line – we found it helped build anticipation, and we always have a good time watching people sprinting back into the real world after a final scare.

We appreciated the simplicity of the ticket checking process – we were given a wristband with 5 pull-off tabs, and the attendants pulled off a tab for each haunt we entered. Guests could visit the haunts in any order, which was nice from a crowd-flow perspective. In general, staff did a great job of balancing the haunt experience and keeping the lines moving.

Generally, we found the website to be informative and clear about what to expect in the haunt. We did have one minor quibble, though – when you click “tickets,” it’s not immediately obvious where the tickets are since the YouTube videos take up most of the page. The banner with the ticket link is off to the side under the calendar and blends in with all the other info on the screen.

It’s hard to beat a rural area for building a creepy mood. Distant train horns, the buzz of insects, and little-to-no traffic noise made us feel isolated from the real world and immersed in the haunt from the moment we turned into the parking lot.

The Silo of Screams team leans into the abandoned farm aesthetic, building facades that look run down in all the right ways while teasing what guests can expect within. In general, we found that the themes and storylines were clear, and the three semi-disparate themes in Three Nightmares melted into one another in a way that felt logical rather than abrupt. Mystic Museum was a bit disjointed, with a mix of scenes that tied into classic stories and films plus general scary stuff like dolls or spiders, but in general the pop culture theme came through.

We did dock a few points for immersion inside the attractions. While the cast and set design suited the themes quite well, we did see some seams of the real world breaking through. We spotted water bottles, box fans, and visible tech elements throughout most of the haunts. The standout example of this was in the Incinerator, where a super modern speaker that lit up was quite visible in the scene and seemed out of place in a butcher’s shop. Credit where credit is due, though – the Funhouse and Three Nightmares were the most technically intensive haunts of the bunch and did an excellent job hiding immersion breakers in our walkthroughs.

The haunt actors also did a great job in trying to keep guests from piling up and forming the dreaded conga line. Despite their best efforts, there were a few groups that moved SO fast or slowly through the haunts that we did run into a few folks, but that seemed more like an issue with the groups themselves than the actors’ handling of them. You could see the actors working to move those folks forward or hold them in place for a beat by varying their scare tactics, and the effort was greatly appreciated.

We really enjoyed that each haunt brought guests back to the main hub, which had a great and spooky vibe. The Funhouse even exited guests through the gift shop, which was a fun connection with the amusement park approach to that sort of thing. One thing we did note is that there were visible workshop areas with masks and props in the exit area of the Funhouse that didn’t seem to be intentionally visible. As a haunt nerd, I loved seeing that, but as a guest I imagine it would probably be immersion-breaking.

Despite the delightfully dilapidated facades, these haunts are home to fabulous special effects packages. By and large, the sound effects were thoughtfully placed, the scenic design was impeccably detailed, animatronics fired on all proverbial and literal cylinders, and all five senses were leveraged to create some fantastic scares. Rather than risk writing a novel and risk spoiling some of the coolest effects, we want to call out our highlights and a couple of slightly weaker areas.

Details are important, and there’s only one haunt where we noticed a blank wall or empty-feeling space. Clever use of lighting helped hide any areas that might have looked sparse, and we felt like the other spaces were not just detailed but detailed creatively. There were wonderful twists on classic scenes with props that made these haunts feel quite unique.

If you’ve got mobility issues, beware of the many shifting floor effects you’ll encounter throughout these haunts. They’ve specifically designed several walkways to challenge a guest’s sense of balance (think crooked house effects from the funhouses of yore), and these are often paired with dizzying light packages and sounds to add to the disorientation factor. We found that these were deployed more often than we’ve seen in other haunts, but not so often that they became annoying rather than an effective scare or tension-building tactic.

As we mentioned earlier, the Funhouse and Three Nightmares stood out even amongst the other wonderful haunts in terms of technical wizardry and detailing. Animatronics were timed perfectly and had relatively realistic movement, making the actors pretend to be animatronics that are much harder to spot. We also loved the electrifying animatronic on the Crash Site – it was fun and unexpected!

The Mystic Museum was the weakest of the bunch in terms of special effects, and we believe it’s intentional. The high intensity of effects throughout the other haunts doesn’t really suit the lower-scare approach they’ve taken there – animatronics were sparser, and the scenic design was more limited. Even so, we were delighted by the “tornado” effect they created in the halls of their Wizard of Oz section, which was something we’d never seen before. Lighting is also very dim here since many of the props are static and while it adds to the “maze” feeling, sometimes it left us feeling more frustrated by than appreciative of the lighting package.

You’ll find a mix of well-known favorites and unique characters roaming about the grounds of the Silo. We were stalked by the man, the myth, Jason Voorhees, and chattered with a jovial pumpkin-headed fellow named Samhain, who was delighted for any photo opportunity.

Inside the haunts, we found a similarly charming assortment of characters. No two monsters were exactly alike from a design perspective, and the actors who spoke all brought their A-game in terms of creative lines and fun banter. You won’t hear a “help me” or a “get out” or a “you never should have come here” in any of the haunts.

At one point, the husband, half of our visiting duo, made a mad dash away from the chainsaws in Three Nightmares, leaving our poor team lead (me, the person writing the review) behind to face two terrifying chainsaws coming at them. One of them asked if he was my boyfriend – I said “Worse, husband.” They replied, “Not for long,” and rushed headlong at him, only to swing back at me and say, “Your turn,” once the husband cleared his way out of the area. The actors throughout the haunt also did a fabulous job embodying a wide variety of physicality, even if they were more of the “jump out and boo” type of scarer.

We did find that the level of detail on the makeup, masks, and costumes wasn’t always consistent. Some characters, like the butchers of the Incinerator, had gnarly masks that looked truly pieced together from bits of flesh. Others, like some of the patients in the Van Winkle memorial, wore more of a “drenched in blood as detailing” costume. Some of the clown masks in the Funhouse were less realistic than others, but that made us question, “Is this a real guy or just a dummy?”

Our biggest wish was for more scare actors, particularly in the Incinerator, the Crash Site, and in the first third of Three Nightmares. We were worried that we’d gone through Three Nightmares while folks were on a break since we hardly encountered anyone during the swamp portion of that haunt and there seemed like some great spots for an actor to lurk. As we got further into the haunt, the number of actors increased steadily and gave it their all.

There’s no escaping the scares here – scares will swoop in from every direction and angle, and the actors get creative with their scare tactics, for the most part. With five haunts plus the Crash Site, it would be easy for them to wash, rinse, and repeat scares, but we found that Silo of Screams kept things inventive, which kept us on our toes.

Sometimes, a scare was a blaring horn and crazy lights followed by a menacing disembodied laugh. Other times we found ourselves getting scared from above by a dangling animatronic or actor. We also learned that these actors like to get in multiple scares across the entire group. Timing was a bit iffy for some of the triggered scares in Three Nightmares, but the actors themselves hit us with high intensity at exactly the right times.

As mentioned previously, the Mystic Museum is designed to be lighter on the scares, but that doesn’t mean we didn’t get any. There was one scare actor who lurked and got us to shriek with just a quick peek out from her hidey hole. Unfortunately, we also found the Crash Site to be a bit light on scares as well. There were only three major scare moments that came to mind, and we’re not sure if that’s a factor of length, a lack of scare actors, or a bit of both.

When we visited, the general admission price came out to $40.50 on the website, including all fees. The Crash Site was priced at $8.92 for an add-on to the ticket. We’ll admit, the Crash Site didn’t quite feel worth the extra add-on price given how short it was for us, which really impacted our overall minutes per dollar calculation (coming in at 0.66).

For just the GA ticket though, Silo of Screams felt like it delivered strong value. The haunts were high quality, the lines kept moving, and there was plenty to do and see around the grounds. You could easily spend an entire evening at the Silo soaking in the spooky vibes they’ve built and interacting with all their wandering scare actors. This haunt felt like it was designed to be both a haunted attraction and a Halloween hangout spot, and we had a fabulous time.