Amy (Hannah Deale) barely scrapes by; working two thankless jobs whilst simultaneously caring for her drug-addict mother, Debra (Jennifer Herzog). The hope of a brighter future for the hardworking young woman is on the horizon, with the prospects of exciting scholarships looming, however, her aspirations and entire selfhood are ripped to shreds when she unexpectedly falls pregnant.
No Choice is a startling feature from debut director Nate Hilgartner, that strips bare the horror of the modern world to the bone and reveals the insidious battle between the psyche and body when autonomy is stolen. The viewer is directly positioned alongside Amy throughout the horrid ordeal, taking each nerve-wrecking step with her and witnessing the excruciating consequences that materialise from her bodily constraints. Here is the crux of No Choice; Amy has no choice but to abide by and endure her pregnancy, as it is revealed that she lives in a pro-life state where abortion is illegal. The pressures of imminent childbirth, the ceasing of familiarity and the financial, emotional and societal implications of bearing children all seep into the narrative, yet what remains the pertinent theme is its bleak telling of Amy’s lack of free-will which is explored through a nightmarish smorgasbord of haunting hallucinations.
As Amy grapples with her reality, she begins to experience strange dreams that infuse surrealist thematics with unhinged, anxiety-inducing implications that bask in technicolour madness. The increasingly volatile spells that Amy visualises encompasses No Choice’s thesis of brooding atmospheres that show the turmoil in a distorting manner. Rather than overwhelm with copious exposition and explanations of Amy’s psychological state, No Choice screens insights into her subconscious, where the symbolism-heavy hazes deliberately disrupts the cognizant process, with Hilgartner alternatively optioning to provoke through allegorical power.
Further emphasising No Choice’s persistent surveying of reproductive chastising anchors on the film’s cast, mainly Deale, whose portrayal of Amy is not only cinematically impressive, but also incredibly diverse in a palpable, almost corporeal sense. Essentially, Deale grips the viewer through her genuine, believable rendering of such a situation, stirring a wealth of empathy that is a crucial component in No Choice’s affective nature. Joining Deale is Maria Prudente as the sympathetic Dr. McAnnis, Robert Denzel Edwards as Amy’s caring colleague and friend Lucas, Hayden Frank as the benevolent Seth, and Herzog whose evocation of an absentee yet overbearing and disdainful mother is brilliantly infuriating.
No Choice is not afraid to enact a gritty truth that torments and disturbs those affected, in turn fostering a filmic tone that is replicative of pure, unabashed, and most crucially lingering dread.
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In 2022 M3GAN dominated screens and for the most part, created a cult fanbase who seemingly could not get enough of the film’s titular android-robot-sentient-psychopath. The film situated around M3GAN (brilliantly voiced by Jenna Davis) and her chaotically violent, albeit humous advancements, which were in itself enjoyable to watch and fostered an irreverent feature that was enjoyable, camp and silly all at once. However, the positive reception to the deliberate ludicrousness of M3GAN does not necessarily allow its sequel M3GAN 2.0 to have the creative license to be as preposterous and overdone as it can be for the sake of it.
M3GAN 2.0 follows robotics specialist Gemma (Allison Williams) and her niece Cady (Violet McGraw) two years after Gemma’s AI creation M3GAN wreaked havoc upon society. Although Gemma is now an author keen on dismantling the regulatory gap on AI, she still has a hold of M3GAN’s coding, keeping her dangerous creation confined to a small android doll. However, M3GAN is unleashed once again when it becomes clear that the universe needs her sassy murderous ways to combat the evil military robot AMELIA (Ivanna Sakhno), who weaponises self-awareness and intelligence to instigate an AI takeover.
To continually compare M3GAN and 2.0 would be a disservice, but when a sequel rides the wave of its predecessor then dutiful correlations must be made. A common misconception is that satire is as simple as throwing absurdity and off-kilter unreal concepts around in a bid to stifle laughs. Good, effective and complex satire that truly gets under the skin and makes one feel uncomfortable, yet barely able to hold back the chuckles is those that know how to craft a farcical narrative. Personal preference most definitely comes into play here, but think of poor satire attempts such as ‘Epic Movie’ (2007) compared to a well-crafted satirical concept akin to ‘Triangle of Sadness’ (2022), or whilst it is certainly not everyone’s favourite ‘Borat’ (2006). M3GAN knew how to balance the plot points and comedy in a way that exploited irony, sarcasm and clever dialogue, whereas M3GAN 2.0 throws any funny quip, gag, pun, wisecrack and stunt at the viewer until any nuance is overridden by a pure surcharge of stimulation.
It is here where the film’s other downfalls lie. It was quite unfortunate to see M3GAN 2.0 blasted with many gimmicks, diluting any aspects that worked to outweigh the growing negatives of the film. Essentially, it appears as if the running motif was ‘quantity over quality’, in turn altering any funny moment to resemble an overwrought sitcom line.
Joining M3GAN and her antics onscreen is fellow android AMELIA, whose name is an abbreviation for ‘Autonomous, Military, Engagement, Logistics, Infiltration, Android’. With theming that stresses the larger threat of AI and futuristic technology, it can be assured that M3GAN 2.0 adds more than enough emphasis on robotic battles and the threat of the technology behind them. This soon forms an evident
lack of story development. To borrow from the major consensus that has formed, despite the film hitting screens extremely recently, M3GAN 2.0 heavily relies on the action subgenre (think ‘Terminator 2 [1991]). Action films as a topic are not the problem, instead, the overarching complaint is that M3GAN 2.0 would have thrived under a horror lens, akin to what M3GAN did. With the latest entry, it can be safely assumed that the world of M3GAN and the soon-to-be associated franchise has abandoned its roots and has detoured into full blockbuster, action comedy territory; forming a disservice to the potential that the future films had.
This is the major caveat that has seemingly irked many viewers, M3GAN 2.0 has stumbled into a pit of lazy narrative development. ‘Epic’ fight scenes between two menacing androids and quick one-liners that work with no context all seem to be fuel for viral marketing as the majority of the film demonstrates. It is seemingly tailored with social media and virality in mind. What could have been a dark and twisted, yet comedic take on M3GAN being resurrected to live another day attempting to kill anyone in her way has become a 2-hour scroll on a ‘for you page’, a mindless highlight reel.
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British director Danny Boyle and writer Alex Garland compelled the masses with their triumphant ‘28 Days Later’ (2002); as their twisted visions of enraged creatures ripping society apart limb by limb came to life in the most terrifying of circumstances. Although fans were treated with a sequel ‘28 Weeks Later’ – directed this time by Juan Carlos Fresnadillo – that itch for the same chaotic, horrific energy that 28 Days Later was not necessarily scratched (despite the sequel’s terrific opening scene). However, after all these years (23 to be exact), Boyle and Garland return to the plagueborn lands of infected, mutated monsters with the brand new ‘28 Years Later’.
The many years spent back and forth between the creatives and studios in making a third film can definitely be described as developmental hell, with audiences being teased and then let down with the prospect of a new project a fair few times. Therefore it came as quite a shock when it was announced in early 2024 that not only would there be a new film, but that this latest entry would be the first in an upcoming trilogy. But where do the plentiful givings stand now that viewers have had a chance to taste what is in store? As it turns out, the premiere has overseen a few mixed reactions…
This decisive film circles around the rage virus that was established as the catalyst for the terror that ensues across the land of all the ‘28’ entries. More pertinently, 28 Years Later explores how the outbreak was tamed across Europe, except Britain, which as an island has become ostracized and abandoned to the land of the zombie-like infected. However, nestled off of the mainland is the tidal area ‘Lindisfarne’, where a fairly large community of people live virus-free, quarantined from the world. Strict rules are put in place to avoid contamination from the nearby ‘rage’ sufferers, meaning that their way of life is primitive, self-sufficient and reminiscent of the far earlier times of simple living.
This is where Jamie (Aaron Taylor-Johnson) enters the frame, a young man who essentially grew up amid this trauma with his life being ravaged as a young boy at the start of the endemic. Jamie lives in Lindisfarne with his ill-stricken wife, Isla (Jodie Comer), and their son Spike (Alfie Williams). Although their life is far from glamorous, at least the red-eyed, bloodthirsty, rapid, gruesome infected herds are not lurking in their town.
In typical fashion, the somewhat harmonious life becomes under threat after Jamie and Spike head to the mainland to experience a rite of passage for the young boy; a chance to become desensitised to the threat of the infected, essentially becoming a ‘man’ in this new world. In spite of the precautions that the pair take, havoc is soon unleashed as Jamie, Isla and Spike encounter a new dawn where their understanding of the infected undergoes a metamorphosis that is either deeply naturalistic, in tune with the natural order and organic to the core of humanity or alternatively is deeply disturbing, worrisome and hellbound for a dark future.
It is through this mingling of story paths where the bones of 28 Years Later understandably holds most of its contention. As to preserve the suspense, the precise intricacies will remain unrevealed, that being said, it is within this balance of thematics where the uniqueness of the film lies. 28 Years Later thrives in its own lore, the universe-expanding premise where the emotional path of the characters takes center stage and forms this whole basis of ‘nature vs nurture’ or ‘people themselves turning into the savages’ arch that zombie-esque media slips into. These elements can work, as evidenced by its utilisation in 28 Days Later as we see society crumble and succumb, revealing the true colours of the worst kind of evil – people themselves. Yet, this trope has begun to feel overused, not necessarily due to its significance, with the trope being a fantastic ploy to develop some truly excellent narratives, but simply in how it is enacted.
In this instance, 28 Years Later does not feel like a product that takes a common motif and recycles it to be entirely distinguished against all the other countless products with the same formula. The film is far from boring or monotonous, but a large part of the flow mimics what has been done countless times before, and what will be done many times in the future.
Nevertheless, this small quibble will not irk every spectator, nor does it distract from the rest of the film’s frightening displays of madness and mayhem; it is pure subjectivity at its most decisiveness. The crux of 28 Years Later is how genuinely intense it is and how it stirs an almighty panic, the kind that dares you to watch the film without feeling the urge to tap your feet in trepidation, wield a white-knuckle grip to the arms of your chair and squint your eyes until you can just about see the screen at the sheer ferocity and endless appetite of the infected. There are no instances where the antagonistic actions do not elicit full-body chills, recreating that same fear that runs throughout the ‘28’ films.
Within the strain of fear lies the natural evolution of the infected, which takes center stage as a plot device throughout the film, with the infected experiencing new variants over the best part of three decades since patient zero. Ignited from this is a curiosity towards the creatures as we witness them in their varying forms that are the result of years of mutations. Throughout the film, the inclusion of the array of beasts assembles some truly great examples of the mastery of horror storytelling and the film’s potential to spawn off in an assortment of ways to learn and experience the evolution of some of the scariest antagonists seen on-screen in a long time.
28 Years Later examination of the infected culminates in an unusual way as the film dips into an almost experimental-like territory where the film echoes a nightmarish fever dream. Here, vivid colours and dream-like surrealist qualities are weaponized through the editing which ranges from quick, fast-paced action cuts and slow, drawn-out scenes that lull us into a sense of brief security before thwacking anarchy back into the frame. This visual seesaw is made all the more enthralling by the arresting soundtrack which indeed lives up to the epically unnerving scoring of the trailer.
Although trailers are often drenched in spoilers for an upcoming release, it was nearly impossible to not rewatch the teasers for 28 Years Later, all thanks to the captivating inclusion of Rudyard Kipling’s poem ‘Boots’ (1903). The poem was inspired by the thoughts that would plague soldiers as they marched during the war, the repetitive horror of the battle and the permanent scarring that is branded forever on their psyche. The spoken rendition featured in the viral trailer also makes an appearance in the film, with the haunting words parroting the infinite dread that has lingered on society ever since the rage virus was first unleashed. The line that is painfully screeched “There’s no discharge in the war” imitates the entire film’s philosophy; everything is wrecked and time is fixed in an infinite loop of peril.
The idea of civil unrest is magnified by the stellar performances of the lead performers, including Comer, Williams, and Taylor-Johnson, with the addition of Ralph Fiennes. All of the actors bring such integrity and rawness to their emotionally demanding roles, amplifying the sheer angst and disarray necessary for each of the characters. A special mention is particularly owed to Williams, whose portrayal of Spike was utterly captivating as he imbued the role with a nuanced grit and coarseness that elevated his character to be entirely multidimensional in every instance.
28 Years Later does not know when to pull the reins, and it is all the better for that reason. The constant barrage of ultraviolence, coated with its mystifying and powerful cinematography melds with the top-notch acting to create a horror film that does have its moments, but is overall a poignant and provocatively terrifying adventure.
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Acclaimed director, Ryan Coogler, has established a reputation for delivering heartfelt, brutally honest drama’s that infuse a passion for social commentary alongside entire world-building stories that force the viewer to feel that the narratives exist outside the platform of the film and live in the real world. Whilst Coogler has also cemented a similar hyped fan base in the Marvel world thanks to his ‘Black Panther’ contributions, his rich filmmaking process thrives in the likes of the brilliant ‘Fruitvale Station’ (2013) which showcases depth, vulnerability and power with a culturally rich lens. Coogler’s new film ‘Sinners’ epitomises all that the director has worked with throughout his career, leading to a result that cements his place as an exciting, creative and powerful creator, who (judging by Sinners) has the potential to be a standout horror director.
Sinners sees identical twins Smoke and Stack (both played by Michael B. Jordan) return to their hometown of Clarksdale, located in Deep South Mississippi, where they plan to open a ‘juke joint’ using stolen money. However, their hopes of escaping trouble and creating a haven is extinguished when sinister vampires infiltrate and bring ruin.
Vampirism in cinema is by no means a recycled trope. It can be generally agreed that there are a handful of films that emulate a rinse and repeat of one another with nothing riveting to add, however, on the whole, vampire themed horror films remain some of the most entertaining, promiscuously wicked to watch pieces of creature-based fiction. And despite the fact that vampires have been tried and tested in nearly every setting, character, theme and so forth, Sinners manages to structure the fanged-predator monster in an entirely fresh light. The antagonistic beasts throughout the film radiate a level of threat and terror that burns deep, surpassing the fear of death and intrinsically igniting a deep sense of menace to the community in Sinners.
In the interest of avoiding spoilers and keeping the secrets of Sinners intact, what can be revealed about the vampires is their strange affinity to music, which Coogler uses as a repeated metaphor throughout. The design of the vampires themselves are alluring yet creepy, particularly during scenes of pandemonium and bloodshed where the villains glow with red fury. But what is not to be underestimated is how the vampires drain not just blood, but the culture, humanity and identity of the living around them. Sinners takes place during the Jim Crow era where racial segregation, discrimination and oppression devastatingly ruled America.
Sinners exploration of systemic and historical prejudice is a theme that cannot be easily decoded as the level of its infusion runs deep throughout the bones of the film in a variety of ways, whether that be through the allegory of vampires representing the takers of freedom and will, the featuring of the Smoke and Stack’s juke joint being a haven that is encroached upon, or the parasitic nature of the film’s evil forces. In many ways Sinners is worthy of many rewatches, with each screening revealing the multitude of layers that Coogler threads throughout.
This same rawness and tonality of the symbolism is further enhanced by the film’s emphasis on the soundtrack, which acts as a keynote throughout. Music plays the role of a lead character, with its inclusion being a catalyst for many of the vital story beats. Besides being
brilliantly entwined with the characters and their relationships to the world, the music is incredibly haunting, textured and intense. The weaponisation of the sound relies on its affinity to the blues and its unrefined aura that comes from a place of soul and experience rather than enacting polished vocals and highly-processed instrumental work.
To crown it all are the performances which are all equally emotionally charged with an aura of authenticity, elevating the roles to possess a level of palpable tension. Notably, the work from Jordan, followed by Hailee Steinfeld, Jack O’ Connell, Miles Caron, Wunmi Mosaku, Delroy Lindo and Li Jun Li together form a troupe that speaks to the affective integrity of Sinners; essentially propelling the film to be the compelling and thought-provocative piece that it is.
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Josh caught up with Megan Tremethick in March about Hex Studios/British Horror Studio’s latest film, The Reign of Queen Ginnarra, a gothic horror-fantasy which premiered at Romford Horror Festival in the UK on March 1st, with the title character played by Megan.
Can you tell us a bit about The Reign of Queen Ginnarra and what audiences can expect from the film?
The Reign of Queen Ginnarra is a gothic horror fantasy that takes audiences into a world where faith, power and madness blur into something terrifyingly real. It is an operatic, character-driven epic inspired by the grandeur of Excalibur and the political intrigue of I, Claudius but with a much darker, Lovecraftian edge. At its heart, it is a psychological descent wrapped in a medieval war film.
It follows Queen Ginnarra, a ruler consumed by visions and an unshakable belief that she has been chosen by dark gods. As she tightens her grip on the throne, her exiled brother Elderon is forced to return and confront the sister he barely recognises. Their battle is not just for a kingdom but for reality itself, as Ginnarra’s unchecked devotion leads her down an apocalyptic path. Unlike many modern fantasy films, The Reign of Queen Ginnarra does not romanticise its world. It drags you into its bleak, mystical depths and challenges you to navigate the madness alongside its characters.
What drew you to the role of Queen Ginnarra and how did you prepare for it?
I was drawn to Queen Ginnarra because she was a character unlike any I had ever had the opportunity to play. I felt nervous at the thought of portraying someone with such a cold, callous exterior. Would I even be able to? I had always played characters who were full of emotion. But I pushed through and soon felt excited by the challenge. Ginnarra was a woman who had done despicable deeds, yet she fascinated me.
To prepare, I had a lengthy conversation with writer and director Lawrie Brewster about Ginnarra’s rise to power and how she became queen, which kept me grounded in her reality during filming. I also researched powerful and formidable rulers, particularly Queen Elizabeth I. In addition, I looked into the psychology behind cult leaders to understand what methods of manipulation Ginnarra may have used and which abilities she gained through the dark gifts bestowed upon her by the mysterious gods, The Old Ones.
Gothic horror has such a rich history. How does this film pay homage to the classics while bringing something fresh to the genre?
For me, gothic horror is a concoction of grandeur and decay, where power, faith and human fragility give rise to tales of obsession, tragedy and the supernatural. The Reign of Queen Ginnarra draws from that tradition, embracing the tragic figures, oppressive atmospheres and psychological intensity that define the genre. It has the gothic intensity of classic Hammer Horror, the unsettling brutality of Ken Russell’s The Devils and the otherworldly unease of Excalibur. At the same time, it brings something new by blending gothic horror with dark fantasy and cosmic terror.
Lovecraftian horror is rarely explored in a medieval setting, but here, it festers beneath the surface of the story. Instead of supernatural horror confined to haunted castles, the entire kingdom becomes a place of creeping dread and inescapable fate, where reality itself bends under the weight of Ginnarra’s belief in the dark gods. Unlike many modern fantasy films, The Reign of Queen Ginnarra does not indulge in heroism or grandeur. It strips away any sense of adventure and replaces it with psychological torment, stark brutality and an ever-present sense of doom. In that way, it both honours and reshapes gothic horror, delivering a world that feels both eerily familiar and yet mysterious.
What was the most challenging or rewarding part of portraying the title character?
The most challenging part of playing Queen Ginnarra was probably that in many of her scenes, especially in the throne room, she remains a still, silent presence as her subjects inform her of events occurring throughout the kingdom. She says very little, yet she is always watching, always listening. When an actor plays a role like this, there is a temptation to rely on larger reactions or stronger facial expressions, anything to feel like you are “doing enough acting” in the scene. I knew that if I took Ginnarra in that direction, however, I would instantly kill any sense of mystery or intrigue surrounding her. Instead, as guided by the script, I made sure to be as disciplined as possible, showing as little emotion as I could in these moments so that the audience would be left trying to read her. Once I felt confident in this choice, executing it during filming became one of the most rewarding parts of playing Ginnarra. Discipline can be satisfying.
How did your collaboration with Hex Studios British Horror Studio come about?
My collaboration with Hex Studios British Horror Studio began in an unexpected way. I first backed their Kickstarter for The Black Gloves. At the time, I just admired their work, drawn to their unique style of filmmaking. A few years later, I met the team in the British Pavilion tent at the Cannes Film Festival, which was surreal after having followed their films for a while. That meeting led to an audition for the role of a black-clad assassin in one of their projects, which I landed. From there, I kept working with them and the rest is history.
What do you think makes Hex Studios stand out in the indie horror scene?
What makes Hex Studios stand out in the indie horror scene is how grassroots it is. It is not just a production company, it is a growing community of independent creatives at all experience levels, coming together to make bold, original horror films. Unlike many indie studios that rely solely on external funding or industry connections, Hex is actively building its own network of supporters who are genuinely passionate about the work. They engage directly with their audience, whether through crowdfunding, exclusive behind-the-scenes content or opportunities for new and emerging creatives to get involved. This is through their free to join Patreon page, and I’d definitely recommend creatives who are interested in what we do to join it. It is rare to see a company so committed to cultivating a movement around independent horror, not just making films in isolation. That dedication makes their projects feel genuine and artist-driven, and it is a huge part of what makes working with them so special.
Are there any other exciting projects in the pipeline that you can tease?
I have a lot of exciting projects in the works right now, and I can’t wait for people to see what’s coming next! One of them is Spoiling You, an ASMR horror film that uses sound, silence and psychological tension to create an unnerving experience. It’s inspired by the eerie, slow-building dread of classic J-Horror, particularly the work of Takashi Miike’s Audition and Sion Sono’s Suicide Club. The way those films draw audiences in with quiet intimacy before spiralling into full-blown terror has had a huge influence on this project, and I think horror fans will find it deeply unsettling in a way they might not expect. Spoiling You also stars Laurence R. Harvey, known for his unforgettable performances in The Human Centipede films.
I’m also involved in Black Chariot, a project that’s shaping up to be something really special. It’s a dark, atmospheric film with a unique vision, and I’m thrilled to be part of it. Like Spoiling You, it also stars Laurence R. Harvey, adding his signature unsettling presence to the film.
Then there’s In The Grip of Terror, a horror anthology with a truly historic significance as it is the first Amicus Production in over 20 years. Amicus is legendary in British horror history, and to be part of the studio’s return is an incredible experience. The film brings together some seriously chilling stories, each with its own distinct style and eerie tone. It also features an amazing cast, including Laurence R. Harvey and Golden Globe nominee Jane Merrow, whose work in classic genre films makes her the perfect fit for an Amicus revival.
On top of all that, I’m incredibly excited about For We Are Many 2, the upcoming sequel to British Horror Studio’s cult anthology For We Are Many. This time, I had the chance to step behind the camera and direct three short film segments, which was an amazing experience. I’ve certainly ‘caught the bug’ for directing, and I can’t wait to see how audiences respond to the shorts. It’s a really exciting time, and I feel lucky to be working on so many different kinds of horror projects.
As an actress and filmmaker, what draws you to horror and particularly gothic horror?
I’ve always been drawn to horror, particularly gothic horror, because it so often offers rich, complex characters that are a joy to play. The genre embraces mystery, intensity and psychological depth in a way that allows actors to fully immerse themselves in their roles. Gothic stories in particular seem to create mysterious, enticing characters who are layered with drama, tragedy and intrigue, which makes them incredibly fulfilling to portray.
There’s also something about the romance and melancholy of gothic horror that fascinates me. It’s a genre that blends the beautiful with the unsettling, often weaving together love, obsession, grief and the supernatural in a way that feels timeless. From a purely visual perspective, period-set gothic films are breathtaking. The stunning locations, elaborate costumes and atmospheric cinematography all add to the immersive experience, making it even more exciting as an actor.
As a director, I’m just as excited by gothic horror as I am as an actress. The genre has such a rich history and stylistic potential, and I would love to explore it even more deeply in future projects of my own. The combination of heightened emotion, visual storytelling and psychological depth makes it an endlessly fascinating space to create in.
Do you have any personal horror inspirations—actors, directors or films that shaped your love for the genre?
For Spoiling You, the directors who inspired me the most are Sion Sono and Takashi Miike. Their films are masterful at building suspense, often lulling the audience into a false sense of security before delivering shocking moments that feel both earned and deeply unsettling. What I admire most about their work is their ability to explore deeper themes, whether it’s trauma, obsession or human depravity, while still leaving room for nuance and interpretation rather than spelling everything out. That balance between visceral impact and intellectual depth is something I aim for in my own work.
When it comes to horror actresses, I have immense admiration for Ingrid Pitt, especially for her role in Countess Dracula. She had such a commanding screen presence – seductive yet terrifying – and brought a real sense of tragic depth to the role. At the same time, she kept an element of fun, fully embracing the camp and theatricality of classic gothic horror. Charlotte Rampling is another major inspiration, particularly for her performance in Asylum, the classic Amicus horror anthology. She has a way of portraying characters who feel haunted, complex and psychologically unravelled, bringing a quiet intensity to the screen that lingers with you.
Her ability to convey inner turmoil with subtlety is something I find fascinating in psychological horror. Deborah Kerr in The Innocents is another standout. Her performance is so emotionally raw, and she captures the slow unraveling of a woman questioning her own reality with incredible precision. For a more modern inspiration, Mia Goth is someone whose work I deeply admire. She brings an unfiltered intensity to her performances, and her ability to navigate between fragility and full-blown madness, as seen in Pearl particularly, is nothing short of mesmerising. She’s fearless, and that’s something I strive for in my own approach to horror.
What’s your dream horror project or role? My current dream role would be to play a gothic heroine in a period-set psychological horror. A woman trapped in an isolated, crumbling estate where secrets lurk in every shadow. Whether she is being haunted by spirits or by her own unraveling mind, her world teeters on the brink of collapse, both physically and psychologically. I love the idea of a character who is intelligent, emotionally complex and deeply flawed yet resilient. She would navigate a story filled with dread, mystery and slow-burning terror. Something in the vein of The Innocents, Rebecca or The Others, where atmosphere and performance drive the horror just as much as the supernatural, if the horror is even supernatural at all.
The Reign of Queen Ginnarra just premiered at Romford Horror Festival – how was the experience? The Reign of Queen Ginnarra premiere at Romford Horror Festival was an unforgettable experience! One of the biggest highlights was getting to spend time with the amazing team at British Horror Studio, including Lawrie Brewster and Sarah Daly, both co-owners of BHS, as well as my Queen Ginnarra co-stars Dorian Ashbourne and Novarro Ramon. I also had a great time with our brilliant production assistant Oliver Revie, who has, without a doubt, the darkest sense of humour known to man.
It was also wonderful to catch up with the amazing festival organisers, Spencer Hawken and Natalie Bays. Spencer is leading the incredible Lumiere project, which will transform the former Premiere Cinema in Romford into a dynamic entertainment venue. The vision behind Lumiere is truly exciting as it will showcase a mix of mainstream, independent and classic cinema, live performances and community-driven events, creating a fresh alternative to traditional cinemas. Seeing how much passion is going into this project is so inspiring!
Another highlight was meeting so many fantastic actors and filmmakers from the British independent scene, some of whom I had never met before. And of course, it was a joy to see The Reign of Queen Ginnarra on the big screen with a festival audience! To make the screenings extra special, I also performed a live monologue in character as Queen Ginnarra before each showing – which was a bit nerve-wracking but a lot of fun!
Overall, it was an incredible festival, and I feel so grateful to have been part of it!
How important do you think horror festivals are for independent filmmakers and actors? Horror festivals are essential for independent filmmakers and actors. They provide a space where creativity thrives, and indie horror can connect with passionate audiences who truly appreciate the genre. More than just screenings, festivals foster a strong sense of community where filmmakers and actors can form lasting collaborations and support each other’s work. Indie filmmaking can be isolating, but horror festivals remind us that we’re part of something bigger. These events also help actors and filmmakers build their own audience, people who will follow their careers, engage with their work and champion independent horror. Horror fans are loyal and invested, making festivals the perfect place to grow as an artist. For anyone in indie horror, festivals aren’t just opportunities. They’re homes for creative risk-taking, connection and artistic growth.
What do you hope audiences take away from The Reign of Queen Ginnarra?
I hope audiences come away from The Reign of Queen Ginnarra feeling like they have experienced something operatic and uncompromising. This is not a story about heroes and villains in the traditional sense. Ginnarra is ruthless, terrifying and absolutely convinced of her own divine purpose. But while she is undeniably evil, the world around her is just as treacherous. No one is innocent, and I want the audience to constantly question who they can trust. Loyalties shift, motivations remain hidden, and even those who oppose Ginnarra may have their own dangerous ambitions.
It goes without saying the entire selection for this years fest deserve recognition for their talents as film makers and artists. So narrowing this down to just a handful of award winners has been extremely difficult for this year’s judges panel!
With that said, lets take a look at all the incredibly deserving award winners from the 2024 Dead Northern Horror Film Festival!
Best Feature Film – Kill Your Lover
Directing duo Alix Austin and Keir Siewert delivered a gnarly, grotesque, and emotionally raw feat of tainted love, where body horror and a cerebral narrative collide together to create the must-see ‘Kill Your Lover’.
From the initial setup right up until the credits begin to roll, the entire film is slick with an uncomfortable sense of intimacy. Intimate through its nature of chronicling a toxic relationship. Intimate through its portrayal of up close and personal graphic body horror, and intimate in how it feels as if we have been positioned to voyeuristically gaze like a fly on the wall as Dakota and Axel experience the terrifying motions of their damning monstrosity.
Kill Your Lover is a standout feature and deserving winner that speaks to the creator’s exhilarating storytelling talents. From Austin’s incredible short horror ‘Sucker’ (2022), to Siewert and Austin’s team effort on the anthological entry ‘It’s Inside’ in Isolation (2021), it is a sure thing that this duo is one to watch.
(Directors Alix & Kier celebrating along side Cinematographer Oscar Garth)
Dead Northern Award (Best northern Submission) – All This Time
Writer and director Rob Worsey delivered a standout, complex and thought-provoking second feature that, alongside his zombie-themed feature debut, Among the Living (2022), proves that Worsey is a talent to be watched.
The film dabbles in equal amounts of trepidation, theatrical drama, and gothic horror to form an unholy trinity of emotively triggered fear. For instance, as we see Grace come to terms with the disturbed histories that lie in wait, not once does the film become gimmicky in its scares; instead, bouts of unease are stirred, and waves of darkness are weaponised, collectively espousing a film that is as tonally rich as it is visually impactful.
Worsey’s uncanny ability to stir tension and assemble well-crafted scares that linger like a troubling night-terror are at an all-time high throughout All This Time – A worthy winner of the Best Northern submission to the 2024 fest.
(Writer & Director Rob Worsey, Producer Kate Worsey with cast members Emily Rose Holt and Lyndsey Craine)
Best International Feature Film – The Stickman’s Hollow
The Stickman’s Hollow resembles a multifaceted labyrinth, feeding its complex story bit by bit, acting like a serpentine. It is the slow feed of a terrifying story, the intricate weaving of eerie details and the intimate mode of filmmaking that make this found footage horror unmissable and the jury’s top international submission for 2024.
Composing the heart of the film is all of the plentiful mystery, mythology and lore, which is made all the more effective due to its detailed backstory. The Stickman’s Hollow is based on a chilling true story from Director Jack Cox’s childhood of girl who became lost in the local Vancouver woods. And the story goes… the lost child was presumed to be dead, but after a year had passed there were reported sightings of a feral child roaming the forest and eating the remains of animal carcasses. Found near the spotted sightings were strange carvings of male figures, which all point to sinister misdeeds.
Whilst The Stickman’s Hollow is a fictional story, Cox based the tale on the countless, spine-chilling questions that arise when one thinks of a story of such calibre. What happened to the missing girl? How did the carvings come about? And why do missing persons cases in the backwoods go unsolved? Fictional or not, this is nightmare fuel!
Amplifying the intensity is the fact that the filming location is that of where the backstory occurred, conjuring a level of dread that is often difficult to capture on screen. Adding to the unease felt is the film’s found footage fashion that immediately immerses and stirs a level of uncomfortable immediacy. The suspense brought forth, the anxiety formulated and the foreboding alarm mould together throughout this noteworthy expedition into The Stickman’s Hollow.
Unfortunately the team couldn’t make the fest but look out for our interview with cast an crew coming soon to our socials and YouTube channel!
Best Short Film – Skulk
Claire (Elina Gavare) wakes in the night to the sound of screaming foxes. She remains annoyed yet unfazed at the common disturbance, that is, until she sees a strange figure outside her window. It’s not unusual to hear the screeching cries of foxes in the dead of night, with their innate raspy, almost-painful sounding screams being the nocturnal anthem of the British public.
However, does it ever cross one’s mind that what they think are foxes calling out could be human screams or something even worse? This is precisely what director Max Ward so effectively conveys in Skulk. In the wee small hours of the night, the mind plays tricks on us, and with imaginations running wild, our worst nightmare seems only around the corner, or in the case of Skulk, maybe it’s already inside…
This masterfully delivered short won over the jury with it’s fantastic performances, downright creepy cinematography and perfect delivery of horror.
Fresh Meat Award – The Bloke in the Boot
Northern city boy Mogg (Jude Pollitt) accidentally kills his driving examiner (Stewart James Barham) after a failed test, leaving him to call his lifelong friend Gaps (Oliver Barry-Brook). With a body stuffed in the boot, the pair embark on a road trip to Wales to dispose of the mess. Part situational horror, part traditional British comedy as we join Mogg and Gaps on what can be defined as one of the most stressful types of road trips.
This thoroughly entertaining short acts as an exaggerated imitation of Northern British bonds and colloquialisms, which are built upon by the film’s self-deprecating humour, which is sure to provide belly laughs amidst the dramatic thriller roots additionally explored. Another specificity not to miss is The Bloke in the Boot’s genuinely admirable visual work that displays the grand cinematic views that the UK has to offer.
With the brazen duo’s antics, the unapologetically hilarious British cynicism, and the impressive displays of the countryside’s landscape, The Bloke in the Boot stood out to the jury this year as an immensely talented group of filmmakers to keep your eye on.
(Cast member Jude Polllitt-Berthereau & Director Taylor Caddick celebrating their win on the Sunday of the fest)
Best Cinematography – The Rising of the Sap
Produced by the BFI is Susie Jones’ The Rising of the Sap, a folk horror short following Bea’s (Darci Shaw) unwitting journey into ‘The Rising’ and her mother Elizabeth’s (Joanna Scanlan) fight to stop it. Where this film flourishes is the performances, which work to elevate Jones’ outstanding story following the darkness found lurking within the human condition.
As the film unravels, the folkloric elements intertwine with the character study of Bea’s fascinations and Elizabeth’s troubles to create a horror saturated with paranoia, isolation, manipulation and deception. Adding to the thought-provoking narrative is the film’s masterly composition of evocative imagery that is both gritty and visceral yet charmingly suave and ultimately became the panel’s favourite for Best Cinematography of 2024.
Congratulations to the team and particularly Paul Mortlock – cinematographer on the production.
Best Performance – Becca Hirani – The Monster Beneath us
Bursting with tales of losing control and challenging reality, all entwined with a hint of familial trauma and ladened with a haunting gothic aesthetic that bodes stunning imagery and a grippingly tense atmosphere is Sophie Osbourne’s The Monster Beneath Us.
The Monster Beneath Us’ cunning ability to rouse great terror inch by inch is a testament to the film’s sundry charms, from the evocative performances and the thoughtful milieu of designs that echo the time period all the way through to the atmospheric soundscape that conspires with the harrowingly toned cinematography
Becca Hirani’s performance as Lady Grace Abbington captured the Jury’s attention for her fantastic portrayal of a mother consumed with grief and loss.
(Becca posing with her award on the Sunday of the fest)
Best Supporting Performance – Ellen Jane Thomas – Scopophobia
Scopophobia’s female driven cast with fleshed out, complex characters, gnarly (and unbelievably gory) practical effects, powerful scoring, immensely captivating visuals and directorial dynamics all amalgamate together to create one hell of a horrifying and wicked elixir pot that is a testament to the brilliance of independent horror filmmaking.
It’s within this elixir pot we see an outstanding performance from Ellen Jane Thomas as Mia!
(Ellen celebrating the win at the Dead Northern Awards party)
Best Special Effects – Black Hole Barry
Prior to Scott’s (Michael Batten) boyfriend Robin (Joseph Potter) moving in, he ventures out for one last wild night of freedom. Unbeknownst to him, his secret philandering will soon result in an almighty reckoning. The exceptional results of this demonic horror are a testament to independent filmmaking, with its extremely unique and unorthodox exaggeration of adulterous characters being a hilariously dark and twisted spin on genre cinema.
It was the uniquely designed demon that grabbed the attention of the Jury for this years special effects award!
(The Black Hole Barry team grabbing a photo before their screening at the fest)
Bloody Good Death Award – Little Brown Bird
On the shortest day of the year, the overworked farmer Kate (Eliza Butterworth) must care for her ailing father (John Rhys-Davies), who has dementia and is convinced that something is hunting them. Little Brown Bird is an emotionally charged film that tackles the living loss of a loved one through dementia, with the relationship between Kate and her father being a focal point for the affective narrative to flourish.
In tandem with the riveting, poignant story is the film’s moving scoring, which has a softness akin to a lullaby that works to further the dimensional relationship between the father-daughter bond amidst an air of uncertainty and mystery.
Without spoiling this fantastic film there is a whole bunch of gnarly kills that stood out to the jury and left us thoroughly entertained!
(Director Peter Rogers with his newly won trophy)
That’s a wrap on Dead Northern 2024, see you again next year!
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Beetlejuice first graced our screens in 1988 establishing a whacky and absurd world which introduced many of us to director Tim Burton’s unique visuals and infamous filmmaking style. Now, 36 years later, a sequel to this timeless, cult classic promises to recapture the magic of the original and reimagine it in the modern world. Beetlejuice Beetlejuice centres on a now grown up Lydia Deetz (Winona Ryder) as she navigates both her supernatural abilities and her role as a mother.
We meet Lydia’s daughter Astrid Deetz (Jenna Ortega) and learn of their strained relationship whilst appearances from Beetlejuice alumni Delia Deetz (Catherine O’Hara) and the demon himself – Beetlejuice (Michael Keaton) are also welcomed. Much like the original, Beetlejuice Beetlejuice blends the humorous with the horrific and takes us on a journey filled with nostalgia and theatrics aiming to raise the stakes in an action packed sequel.
As Beetlejuice Beetlejuice opens we are reintroduced to Lydia Deetz. Once a moody, misunderstood teenager Lydia now uses her talents to contact supernatural beings who inhabit or haunt the homes of unsuspecting home-goers. A death in the family (Lydia’s father Charles) brings Lydia back to her estranged daughter Astrid. With the two reunited we learn that their complicated relationship stems from the death of Astrid’s father, and Lydia’s refusal to talk about it. This caused a rift which was further splintered when Lydia pursued ‘Ghost House’, a television show which publicises her abilities; Astrid does not believe in ghosts and thinks the show capitalises on people’s vulnerability.
One obvious observation of this relationship is that it is reminiscent of the relationship Lydia had with her parents – specifically her stepmother Delia – in Beetlejuice. Both of these family dynamics are caused by the separation from a loved one and it is Lydia’s endeavour to save Astrid from the Netherworld that makes her realise that she has ‘spent too much time talking to the dead [and] it’s time [she] started living’. Beetlejuice Beetlejuice explores the relationship between life and death using Astrid and Lydia to portray the importance of processing grief and the consequences it can have on families if left to fester.
(Blavity, 2024)
Since its groundbreaking release in the 80’s, Beetlejuice has been a constant source of inspiration for all mediums of art. Notably a musical adaptation of the horror comedy in 2019 took the Broadway stage by storm, retelling Burton’s bizarre story through the use of upbeat songs and flashy dance numbers.
Beetlejuice Beetlejuice has taken a cue from the world of theatre and uses music and dance to elevate the storytelling in this sequel. It is always risky introducing musical theatre into an existing franchise – but Beetlejuice is no stranger to a song and dance. Arguably the most famous scene from the original movie is the dinner party dance scene where Charles and Delia Deetz and their guests are possessed and forced to perform to Harry Belafonte’s Day-O (Banana Boat Song). Considering the popularity of this particular sequence as well as the love for the musical adaptation, it was no surprise that Beetlejuice Beetlejuice leaned into its musical potential.
Perhaps the most captivating musical number from this movie occurs when Beetlejuice crashes Lydia’s wedding, and demands she marry him after he aided her in rescuing Astrid from the Netherworld. Set to Richard Harris’ ‘MacArthur Park’ the church becomes a stage on which a strange yet mesmerising song and dance sequence ensues. Both the characters on the screen and the viewers in the audience are possessed by Beetlejuice and encouraged to surrender themselves to Burton’s whimsical and nonsensical cinematic world.
The music also gives the Netherworld a 70s makeover making use of The Bee Gees’ ‘Tragedy’ when we are first introduced to Beetlejuice’s ex-wife and immortal enemy Delores (Monica Belluci), and showcases the ‘Soul Train’ which takes the deceased – dressed in 70s attire and disco dancing – to the great beyond. This decision maximises nostalgia as fans of the original likely grew up during this decade.
(Deadline, 2024)
Beetlejuice Beetlejuice lives up to the reputation of the original by perfectly blending heartfelt, family sentiment with ludicrous and at times unhinged comedy. It gives us an opportunity to revisit characters we loved from Beetlejuice and presents us with new characters who allow us to venture deeper into the ever-expanding cinematic universe that Tim Burton has created. Furthermore the sequel manages to uphold the visual and atmospheric aesthetic first established in Beetlejuice but presents it in a modern society; one we are all familiar with. Overall Beetlejuice Beetlejuice embraces the strange and unusual by combining nostalgia with the contemporary role of the outcast, and using music to encourage people to unleash their authentic selves.
Hope Lelliott-Stevens
Want more top horror lists and reviews? Check out our blog here..
We’re thrilled to announce that Mad About Horror will be an official sponsor of our Film Festival event in York 27th – 29th Sep 2024!
Mad About Horror are the leading online retailer in the UK and Europe for specialist horror masks and collectibles. As the largest official European retailer of Trick or Treat Studios, they bring the latest US releases to the UK and Europe, offering a wide array of masks, collector’s items, and replica props.
In addition to their partnership with Trick or Treat Studios, Mad About Horror showcases a vast selection of leading collectible brands including NECA, Mezco and Sideshow as well as niche brands such as Black Heart Models, Pallbearer Press, Infinite Statues.
They also have a huge range of Halloween animatronics, masks and decorations. Renowned for sourcing the latest Halloween props and animatronics from the US, Mad About Horror pride themselves on retailing items that are rarely available this side of the pond.
With an extensive product range specialising in all thing’s Horror and Halloween, Mad About Horror serves as the ultimate one-stop shop for horror fans. Their passion for the genre is evident in their commitment to staying up to date with latest releases and engaging with the horror community.
Looking to bring the thrill of the big screen home? Explore their Horror-movie section, featuring a wide array of collectibles, officially licensed masks, and an exclusive selection of Waxwork Records for soundtrack enthusiasts. Whether you’re expanding your horror collection or hunting for the perfect gift, Mad About Horror has everything you need to recreate the cinematic horror experience.
New horror instalment from directing duo Matt Bettinelli-Olpin and Tyler Gillet sees a group of unscrupulous criminals brought together to carry out the carefully plotted kidnapping of a billionaire’s daughter and subsequent blackmail for ransom. The power play quickly changes however once the group discover that they are in fact victims of a game orchestrated by an unlikely puppet master.
Bettinelli-Olpin and Gillet are well known for their original horror concepts which combine vivid scenes of violence with a comedic overtone; to this, Abigail is no exception. The movie follows the group as they are plunged into a fast-paced game of cat and mouse and amongst the carnage, comedy and ballet, portrays a modern twist on the traditional vampire sub-genre.
(Screenrant, 2024)
One stand out element from Abigail was the homage paid throughout to Tchaicovsky’s ballet Swan Lake. Abigail (Alisha Weir) herself, whilst dressed in a feathered tutu, provides us with several dance sequences which are accompanied by the unmistakable Swan Lake theme; this is reminiscent of the white swan. However, despite the physical likeness to the beautiful and innocent white swan,
Abigail’s character is more implicative of the dark and manipulative black swan. When we first meet Abigail she presents a small and frightened demeanour – as expected since we believe that she has just been abducted from her family home. As we uncover more about Abigail’s character we see her transform into an evil and vengeful creature who only played the innocent in order to trap her believed kidnappers and lure them into her game. The choice here to mirror Tchaicovsky’s ballet allowed Bettinelli-Olpin and Gillet to create a balance between the classy and elegant – two themes often associated with vampirism – and the graphic blood and gore.
(Variety, 2024)
Returning to the aforementioned modern twist on the vampire genre, Bettinelli-Olpin and Gillet were not only able to incorporate traditional associations with the mythology, but elevate them in order to entice a modern day audience and provide Abigail with its own, original vampire lore. One scene that we always expect -but is nevertheless enjoyable – is the sequence in which our characters try to decipher how to kill a vampire. We are treated to all of the classics including: stake through the heart, sunlight and a humorous mix up between garlic and onions. Here we are provided with all of the traditional mythology which without, you couldn’t possibly imagine making a vampire flick!
What struck me as the most innovative choice was the way in which the vampire legend was established within the narrative. Once the group realise that they have been trapped and are being picked off one by one, they recall a rumour that they had heard concerning one of Abigail’s billionaire father’s bodyguards, who literally tears apart his enemies like an animal. This was a clever way to maintain the vampire figure as an urban legend but update the way it is presented to our characters in order to uphold the mystery of their attacker, and raise the stakes once they uncover the truth.
(Bloody Disgusting, 2024)
Another important theme addressed in Abigail is the internal conflict of the human versus the monster. Right from the word go we understand that our group of kidnappers are monstrous enough to abduct an unsuspecting child for their own profit; it isn’t until later however, that we learn why each of them sign on to the job and can separate the selfish from the desperate.
Joey (Melissa Barerra) and Frank (Dan Stevens) are two of our criminals who are pitted against one another in order to convey this contrast. Joey is elected to watch over Abigail whilst she is locked up in the mansion they are holed up in, this allows us to see a more compassionate side to her; we also learn she has a son, her reason for participating in the crime in the first place.
Frank on the other hand is aggressive and abrasive in his attempt to lead the group suggesting that his true desire is power. We see Frank wrestle with his humanity and his loyalty to the group but he eventually succumbs to his own sense of self preservation resulting in a permanent embrace of the monster, both inside and out. In a final showdown we see Joey fighting – alongside an unlikely ally – to keep her promise to her son, and return home to her family. It is through Frank we learn it’s not just the curse of vampirism which makes someone a monster and through Joey that one can commit a monstrous act with the most human of intentions.
(CBR, 2024)
Bettinelli-Olpin and Gillet have once again created a wacky and unique horror picture that audiences won’t soon forget as Abigail has taken theatres by storm and proven to be a thrilling cinema experience. This vampire-comedy uses the art of ballet to display some unforgettable scenes of violence whilst reminding us that a delicate, twelve year old dancer is the undoing of six hardened criminals. The success of Abigail will hopefully pave the way for more exciting genre experiments and unexpected hybrid horror films in the future!
Hope Lelliott-Stevens
Want more top horror lists and reviews? Check out our blog here..
The Dead Northern Horror and Fantasy Festival is coming back in 2024 – Expect a huge line up of new feature films, classic feature films, short films from some of the worlds best up and coming horror film makers, Q&A’s, live music, awards and our signature HORROR THEMED LIVE EVENTS.
Dead Northern is a Film Festival that pushes the boundaries and puts the FESTIVAL in the Film Festival! VIP Weekend Passes, day passes and individual screening tickets are available.
Details of the full line up released August 2024, limited VIP tickets available at a discount until 31 May 2024.
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(The Reveal, 2024)
(Blavity, 2024)
(Deadline, 2024)
