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Ten unmissable Christmas movie kills


1- The rocking chair – Black Christmas (Directed by Bob Clark, 1974) 

Black Christmas is a horror that remains a public favourite all these years later for great reasons. The glossy darkness of this sorority fright is brimming with a holiday essence that embraces that idyllic juxtaposition of Christmas horror. With countless kills under its belt, it’s nearly impossible to pick just one entry from Bob Clark’s seventies bloodfest. However, one is just that cut above the rest. Before the film’s crazed killer works his way through his hapless prey, he sets his sights on Clare (Lynne Griffin). Clare’s end is brutal; she is suffocated with a plastic wrap before being positioned on a rocking chair in view of the attic window for everyone to see. What works incredibly well is the subtlety of the kill. Whilst harsh, the true beauty of the act is in its imagery of a lifeless corpse rocking back and forth in view of an entire street, but no one ever notices her and she remains undiscovered…


2- Stair birth – Inside (Directed by Julien Maury & Alexandre Bustillo, 2007) 

French horror has a penchant for yuletide frights, with Deadly Games (1989), Sheitan (2006), and The Advent Calendar (2021) all thriving in the extremism of French cinema whilst still featuring the spark of festivity. However, one film that leads the pack is Inside. A pregnant widow (Alysson Paradis) fending off a mad woman (Béatrice Dalle) on Christmas Eve is a fierce venture without heaps of savagery, yet Julien Maury and Alexandre Bustillo refuse to settle for a pg-13 rating. Inside defines the word merciless, particularly within the ending scene. After the house has been painted with blood and countless people have been murdered, the intruder finally gets her hands on the prize. In an act of revenge, the killer performs an impromptu and forced caesarian on a dirty staircase, with the camera not shielding away from the bloody viscera and gore as we see a fetus being plucked from a hopeless woman.

3- The wood chipper – Silent Night (Directed by Steven C. Miller, 2012) 

Scary Santa’s are a given for any Christmas slashfest, with Steven C. Miller’s Silent Night being no exception. As a small town begins to succumb to an evil St. Nick (Rick Skene), Sherrif Cooper (Malcolm McDowell) and Deputy Bradimore (Jaime King) have to work through a series of grizzly murders to get down to the bottom of the savage case. Films like these are exceptional at creating kills by the dozen, with Silent Night featuring everything from Christmas light electrocution to groin impalements. One kill that is the cardinal of the film is the wood chipper scene. As Santa Claus slices his way through the town, he gets his hands on a doomed victim and shoves her feet first into a woodchipper as tonnes of matter spews out the funnel!

4- Paint can experiment – Better Watch Out (Directed by Chris Peckover, 2016) 

Better Watch Out (or Home Alone’s evil twin) has become a modern Christmas classic, leading the viewer in all sorts of directions before delivering a great twist that kickstarts the ‘real’ movie. After its revealed that the sweet boy Luke (Levi Miller), whom Ashley (Olivia DeJonge) is babysitting turns out to have a deadly crush on her, all hell breaks loose. A sequence of tense events leads to the film’s most untamed moment; after Ashley’s boyfriend Ricky (Aleks Mikic) arrives at the house, Luke takes it upon himself to try out a trick he saw in Home Alone where a paint can is swung toward someone. However, instead of Ricky getting a comedic bump on the head, his head is squished by the tins completely annihilating him and painting the walls in the process.

5- Death by nutcracker – Christmas Evil (Directed by Lewis Jackson, 1980)

Christmas Evil follows suit with various festive horrors following a maniacal Santa on the loose. Where Lewis Jackson’s Santa-gone-wild feature differs is within the gnarly kills that play out with a keen callous energy. After a collection of events rile up evil Father Christmas, in this case also known as Harry (a disgruntled factory worker [Brandon Maggart]), he decides to go on a rampage, making a heavy steel weapon in the shape of an inconspicuous nutcracker toy. Harry arrives at a church where people on his ‘naughty’ list attend, but as a group of big-talkers block him from ticking off his Christmas list he grabs the nutcracker and rams the sharp end right into one’s eyesocket before taking a toy hatchet and smashing the blade down on two more people’s heads, leaving a bloody trail of chaos.

6- Blender whirl – Red Christmas (Directed by Craig Anderson, 2016) 

The wickedly cruel Ozploitation flick Red Christmas may have received a very mixed reception due to the film’s contentious subject matter surrounding life v. choice matters, however, the deliberately offensive horror does offer superb kills including a bear trap closing on someone’s face, an umbrella stabbing straight through the forehead, and a seatbelt strangulation. However, the most startling and original scene is when the spinning blade of a blender is met with the back of someone’s head. As the Christmas day mayhem runs through to the night, one victim is forced back onto a kitchen counter where the blender’s motor is on high speed. After what feels like forever, tensely waiting for the inevitable kill, the unbearable death is finally in action as we see the man’s eyes pool up with red as blood seeps out of every orifice as his brain is swirled around.

7- Antler hanging – Silent Night, Deadly Night (Directed by Charles E. Sellier, Jr., 1984)

Silent Night, Deadly Night erupted onto the scene with an unreal amount of hate, with the film even getting a live ‘shame on you comment directed at the film crew during the Siskel and Ebert show. And yet all these years later it’s now a cult classic must-see. The film seeks out another man-with-the-bag story, centering on Billy Chapman (Robert Brian Wilson), who after a series of unfortunate events reaches his tether. Rightfully earning its place on the list is the film’s plethora of instant-classic kills, particularly the ending of Denise (Linnea Quigley). Billy hoists Denise up in the air and meticulously and slowly plants her down on a set of sharp antlers, before leaving her like a dangling morbid ornament.

8- Mason family massacre – Santa’s Slay (Directed by David Steiman, 2005) 

Akin to a tin of Quality Street, Santa’s Slay has a bit of something for everyone. Irreverent humour, plenty of vulgarity and lude comments, as well as a heaping dose of over-the-top, violence for the sake of it. It’s difficult to pin just one demise as Santa’s Slay rivets within all of the copious brutality, but there is certainly one scene that feeds right into Christmas horrors’ hands. During the first act, Santa (Bill Goldberg), makes his way down the chimney of the Mason family to massacre the lot of them. The turbulent sequence displays whole new levels of madness that thrives in its own depravity, with Santa blow torching the scalp of the matriarch before drowning her in a bowl of eggnog, using the Christmas tree topper as a shuriken, and ramming a turkey leg down a man’s throat.

9- Flesh cookies – Black Christmas (Directed by Glen Morgan, 2006) 

The original Black Christmas is a genuinely frightful experience, utilising a tense atmosphere and a suspenseful mystery element to garner a foreboding sense of dread. The 2006 remake is nearly just as effective but in a totally alternative way. Glen Morgan’s retelling is the ultimate teen horror that understands its almost asinine 2000s vibe and runs with it. The film dives deep into Billy’s (Robert Mann) cruel backstory and shines a light on his barbaric ways. During the film’s goriest peak we see Billy murder his mother by batting her repeatedly with a rolling pin, going overboard with the bludgeoning. Once she is shown lifeless on the floor, he grabs a gingerbread cookie cutter and begins to carve out pieces of her skin before baking them. Billy’s last moments of freedom before prison shows him chilling at the dining table eating the ‘cookies’ with a glass of milk like a deranged Santa. Truly disgusting!


10- Jack-in-the-box – Krampus (Directed by Michael Doughtery, 2015) 

The lore of Krampus runs deep within German culture, with the anthropormorphic creature acting as an assistant to Santa, gifting disobeying children with birch rods. Many films have attempted to tell the Krampus legend, particularly A Christmas Horror Story (2015) greatly featuring some very gruesome short stories, but one horror that stands out above them all is Michael Dougherty’s Krampus, starring Toni Collette and Adam Scott. Krampus envisions a develishly grim Christmas, where Krampus’s evil sidekicks include re-animated mini but mighty gingerbreads, evil elves, and a giant jack-in-the-box with massive fangs and a horrid, glazed expression. Krampus’s standout kill includes that very jack-in-the-box as it eats a small child whole with ease.

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Must-see winter horror movies


1- The Shining (Directed by Stanley Kubrick, 1980)

Jack Torrance (Jack Nicholson) moves his wife and son to The Overlook Hotel after accepting a job as an off-peak caretaker, however, after a storm traps them in the hotel, Jack slowly begins to lose his grip on reality. 

Any horror film list would be incomplete without The Shining, let alone a winter horror list. Kubrick’s alternative adaption of Stephen King’s 1977 novel of the same name may have had a rocky reception upon its release (no surprises there Hollywood!), but over time the film has endured an endless riptide of praise, with Kubrick’s demanding attention to detail encapsulating the horror genres habitual urge to dig deeper under the surface, fleshing out daunting truths. Lead Jack Nicholson and Shelley Duvall’s enigmatic performances shock and frighten to the point of no return, and no matter how many times one may watch The Shining, it never fails to give you the chills. 

2- Frozen (Adam Green, 2010) 

After an unsuspecting trio becomes stranded on a ski lift they have to make the decision to either wait it out for the weekend until opening day or to take the chance and jump. 

Adam Green’s snowy expedition is simply 90 minutes of nail-biting, foot-tapping tension. The closed setting is a stunning trope when done well, with Frozen being an exemplary feat in contained horror. The nightmare inducing situation allows for countless intense scares, including lurking wildlife, dreaded frostbite, and super effective psychological mind games that will keep you guessing the outcome until the very end. Amalgamating the minimalistic position with a no-holds-barred attitude brings a heavy dose of trepidation to the film that makes an exciting skiing holiday seem like your worst possible nightmare. 

3- Curtains (Directed by Richard Ciupka, 1983) 

A group of aspiring actresses audition for a role in a prestigious filmmaker’s new movie, however, a masked killer is on the loose and out for blood. 

Many eighties slashers may adhere to campgrounds and teenage-ridden forestry, but the criminally underrated Curtains forgoes commonality to deliver an icy scare that thrives in the madness of its own unhinged plot. With a light brush of meta-commentary on cinema and a ragtag of untrusty characters whose appearances are not just movie-meat currency, Curtains adopts an unconventional position within the slasher market, joining the likes of Sleepaway Camp (1983), and April Fools Day (1986), where the inventive kills are just as prevalent as the whodunnit aspect. 

4- Dead Snow (Directed by Tommy Wirkola, 2009)

A team of medical students travels to the Artic mountains for a fun weekend, little do they know that a troop of Nazi zombies lies beneath them. 

Nothing screams ‘winter horror’ as much as Dead Snow, a Nazi zombie hybrid that actually manages to bypass its absurdly sounding plot to be rather frightening at times. The sincere brutality is made all the more present by the unbelievably graphic kills, ranging from your average zombie frenzies to full-on disembowelments. Dead Snow recognises it’s satirical innateness, leaving more than enough room for Tommy Wirkola to go on the lam and make use of zombie politics to create pitch dark jokes and over the top irreverent plot points. 

5- Pontypool (Directed by Bruce McDonald, 2008) 

During an average night at the radio station, a report comes in detailing a deadly virus that is spread via the English language. 

Based on the second novel in the Pontypool Trilogy (Tony Burgess) is Bruce McDonald’s carefully conducted feature that transforms a radio studio into the most hellish place imaginable. Pontypool understands the fear of confinement, and how claustrophobia-inducing settings and situations can provoke such an intense sense of dread. The dreary melancholy of the sickness at hand perfectly harmonises with the harrowing severity of a virus-based storyline, which in itself is enough to conjure the most horrible nightmares imaginable. 

6- Cold Prey (Directed by Roar Uthaug, 2006)

After an injury during a thrill-seeking excursion, a group of snowboarders travels to an abandoned lodge to call for help, but something much darker lies in store for them. 

The popularity of this Norwegian snowy slasher is strong, but it should be way rifer than it is. Cold Prey tackles a cat-and-mouse-like game as the motley crew of slasher victims run from a mysterious killer who shows zero mercy. Throughout the exhilarating journey, the film dashes through bloody leaps and bounds to put on a brutal and brilliant show that has the sensibility to display fleshed-out characters whilst also having the gravitas to deliver shock after shock. 

7- The Wolf of Snow Hollow (Directed by Jim Cummings, 2020) 

Troubled police officer, John Marshall (Jim Cummings) begins to stray from his straight-laced ways after his small town seems to come under attack from werewolves. 

The Wolf of Snow Hollow came onto the scene with a whopping ferocity, commanding a beyond-positive reputation within the two years since its release. And anyone whose seen Jim Cumming’s lycanthropic feature will certainly understand all of the praise. The film ever so carefully balances well-timed jokes (with a focus on dark humour) with an enveloping story that is both cryptic and intense. Further complimenting the full-bodied tale are the stellar performances by Cummings himself, along with the likes of Robert Foster (Mulholland Drive), and Riki Lindhome (The Last House on the Left). 

8- Let the Right One In (Directed by Tomas Alfredson, 2008) 

The constantly bullied Oskar (Kåre Hedebrant) finds an endearing connection and unexpected revenge when he meets Eli (Lina Leandersson), the strange new girl in town. 

Horror, no matter how good, does not always receive the warmest welcome from mainstream cinema. However, every once in a while a film comes about that is so excellent that not even horror-hating critics can deny its distinction. Let the Right One In’s rightful status is owed to the innately stylized fashion that vampires behold in cinema. It’s the delicateness juxtaposed with that infamous beastly quality that follows the undead in such a mysterious way that always makes the viewer want more. Promoting that habitual command that Let the Right One In thrives in is the film’s rather emotive narrative that dares to tiptoe into the more fragile side of human reflection to shell out a well-rounded motive and create a lingering viewing effect. 

9- Misery (Directed by Rob Reiner, 1990)

When successful author Paul Sheldon (James Caan) gets into a car accident, his number one fan Annie Wilkes (Kathy Bates) comes to his rescue and brings him back to her secluded cabin. 


Being based on Stephen King’s 1987 novel of the same name, it’s no surprise that Misery has had audiences squirming in their seats ever since the film’s release 32 years ago. Kathy Bates and James Caan truly make Misery the extreme adventure it is, with their talents putting on classic, but unique displays of that captive vs. villain narrative that can work so well when done perfectly. Even further encouraging the film’s high-stakes state of affairs is the isolated cabin setting that really hones in on Paul’s trapped position, and Annie’s malevolent, domineering repute.

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Thought Bubble 2022 Special – Horror comic book adaptions

To celebrate our first year representing everything horror at Thought Bubble Comic Art Festival, here’s our list of the best comic adaptations to film!


The Crow (Directed by Alex Proyas, 1994)

A year after his death, musician Eric Draven (Brandon Lee) awakens from his grave to avenge the death of his fiancé. 

The Crow is a vengeance tale complete with a dark romance spin and ripe kinetic energy that shines thanks to the film’s comic book roots. Adapted from James O’Barr’s series of the same name, The Crow has gone on to release an extra three films, a TV series, and an upcoming reboot starring Bill Skarsgård as the avenging musician. The Crow is infamous for the tragic death of Brandon Lee, who passed away on set. However, the film went on to earn a cult-level status that has kept Lee’s legacy as Eric Draven in high regard for over two decades now. 

Hellboy (Directed by Guillermo del Toro, 2004)

In an attempt to win the war, a team of Nazis accidentally summon a demon into the human world. Years on, the creature works to fight evil away, however, when forces from his past arise to the surface, Hellboy (Ron Perlman) finds himself in the toughest battle of them all. 

Originally conceived from the mind of comic book artist Mike Mignola is Hellboy, a half-human/half-demon straight from East Bromwich..?! (According to the comics). Both in the adaption and the comic book Hellboy may be a beastly crimson demon, but he sides with the ‘good’ and helps to keep the universe safe from paranormal incidents. The first filmic entry into the franchise, and quite easily the best pick, has to be Guillermo del Toro’s take on a hybrid demon/action movie complete with exceptional character design, an immersive universe that compliments the fantastical elements and an off-kilter sense of humour that melds in perfectly with del Toro’s Sharp directorial eye. 

30 Days of Night (Directed by David Slade, 2007)

Just as the small Alaskan town of Barrow enters its 30-day polar night, a swarm of vampires takes over the land. 

Rapid, bloodthirsty, remorseless, and evil vampires do not usually belong in snowy movies. Yet, David Slade’s adaption of Steve Niles comic book miniseries resulted in one of the most nail-bitingly tense horrors of the mid-2000s. The polar night backdrop entwines with the fear factor of the creatures impeccably well, allowing for the isolated landscape to have this eerie, inescapable aura surrounding it the entire time. Furthering the intense thrill ride is the practical effects that make the most of the brutal kills, leaving no gory detail hidden. 30 Days of Night is a daring feat that has no qualms in threatening the life of every character, no matter how central they are to the story. 

Blade (Directed by Stephen Norrington, 1998) 

A Half-mortal/half-vampire takes on a vow of revenge to rid the world of vampires. 

Many superhero franchise fans may have noticed that newer additions to the Marvel universe such as Doctor Strange in the Multiverse of Madness (2022) and Werewolf by Night (2022) have been amping up the fright factor. However, these were not Marvel’s first attempts at drifting into the dark side. Blade first appeared in Marvel’s regime in The Tomb of Dracula #10 (1973) where the ruthless vampire hunter, known as Blade (played by Wesley Snipes in the adaption), will stop at nothing to rid the world of evil vampires. Blade has an undeniable smooth quality that emits this ‘cool’ aesthetic, feeding into the leather-clad band of vampire films that saw a resurgence in the late 1990s. 

Ichi the Killer (Directed by Takashi Miike, 2001)

Whilst searching for his missing mob boss, Kakihara (Tadanobu Asano) comes across Ichi (Nao Ômori), a psychotic killer who knows no limitations. 

In 1993 Hideo Yamamoto wrote and illustrated Ichi, a graphically violent manga that in 2001 was adapted into an even more horrifically savage horror. Directed by one of Japan’s most intense filmmakers, Takashi Miike’s Ichi the Killer has been fully banned in Malaysia, and Norway and refused distribution in Germany. Just like its original source the film begins at 100mph and refuses to slow down, fully fleshing out the quick-paced action with more than enough cruelty and energetic stylisation to ensure a wild time from start to finish. Ichi the Killer is a risk even for experienced gore-hounds, let alone new viewers! 

Constantine (Directed by Francis Lawrence, 2005)

Exorcist and demonologist by trade John Constantine (Keanu Reeves) go on a mission to help solve a mysterious case that has the potential to end mankind. 

DC Comics’ Hellblazer was loosely adapted in 2005 with the Keanu Reeves led Constantine, following an exorcist with the ability to banish demons from the earth.  Although the Francis Lawrence adaptation differs quite considerably compared to the comic, the film still manages to transport the audience into a cryptically contrived world filled of battles of good vs. evil, coupled with impressive visuals and gripping dynamics throughout. Constantine has fallen under the radar over the years, but with the ever-rising popularity of comic book adaptions and news of its sequel in the works, could Constantine be seeing a second coming? 

Tales from the Crypt (Miscellaneous, 1989-1996)

Join the Crypt Keeper for some of horror’s most frightening stories. 

Based on EC Comics series in which each issue would feature multiple horror-based stories accompanied by vivid graphics is Tales From the Crypt. The show has earned itself a massive name within horror, with the anthology-based work producing multiple spin-offs, a cartoon series, a game show, and radio series. In keeping with its source material, Tales from the Crypt balances ghostly frights with a dark sense of humour, mainly found within the show host known as The Crypt Keeper (voiced by John Kassir) whose corpse-like appearance, one-liner jokes, and ultimately creepy demeanor perfectly compliment the madness of each story. 

I Am Not Okay with This (Directed by Johnathan Entwistle, 2020) 

Sydney (Sophia Lillis) is a normal teenage girl battling through the trials and tribulations of girlhood, high school, and her superpowers.

Although short-lived with Netflix cancelling after just one season (despite the high ratings and positive reviews), I Am Not Okay with This still remains one of the more impressive television adaptations of a graphic novel. With a show so entwined with social hierarchies and teenage exploitations, as well as the whole ‘existential crisis over one’s supernatural abilities, a strong lead is necessary. And that’s exactly why I Am Not Okay with This excels; the character of Sydney is both incredibly well written and portrayed, making this one-season show a must-watch for anyone. And lets not forget to mention that incredible finale that had viewers’ jaws dropped to the floor. 

The Walking Dead (Miscellaneous, 2010-2022) 

After a deadly outbreak, flesh-eating walkers dominate the earth, leaving the few survivors to fend for themselves in a deadly world. 

The Walking Dead is not only one of the most successful comic book adaptations across the board, but it is also one of the most acclaimed zombie TV series to ever exist, with over 155 nominations for awards (ranging from Emmys and Golden Globes to the Fangoria Chainsaw and Critics Choice awards). The Walking Dead is based on the comic series of the same name which ran for 193 issues before ending in 2020. Over time the show has been praised for its internal conflicts, digging into the moralities of survivors and how ugly society can be when put under pressure, reminiscent of classic zombie narratives seen in Romero’s Dead series. 

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Review – Barbarian: Airbnb gone wrong

When Tess (Georgina Campbell) arrives at her Airbnb on the sketchy side of town, the last thing she expects is for someone to be already staying there. With no other options available she decides to accept the offer and stay the night. Little does she no, the house holds a dark secret.

2022 has been the polar opposite of a sleepy year for the horror genre. We started off strong with the latest Scream, illuminated springtime with X, and Men, followed by summer scorchers including Nope and Speak No Evil. At the cusp of autumn and winter, where festive romcoms parade the halls, Smile, Bodies Bodies Bodies, and Terrifier 2 took the bull by the horns and kept gory delights at the forefront of mainstream releases. However, no other film has quite grasped such a collective attention, bared an incredible amount of adoration, and shown modern horror a more nerve-shaking nightmare than Barbarian! 

Barbarian (2022), Trailer 1 | Flicks

Barbarian comes from the mind of  Zach Cregger, mainly known for his acting career, however, it is certain that his dynamic style will be furnishing future horror hits as Barbarian has defied records and grossed over nine times its budget. 

To quote an interesting comment made during the press release of Don’t Worry Darling, Barbarian ‘feels like a movie’, an actual movie… This may seem like a rather ambiguous claim, but it is indeed very true when it comes to Cregger’s take on the increasingly popular real-estate horror genre. Every antic has so much gravitas holding it up, where complete immersion is inevitable, you will genuinely feel overwhelmed by the utter madness on screen. 

Barbarian might be the scariest film you see this year | SYFY WIRE

The home has been an exploited topic in horror for a while now, with invasion exploits dominating the market, yet these niche-for-now rental horrors that thrive on the lack of the of ‘home’ and more on the unfamiliarity and alienation of entering into someone else’s ‘home’ movies are slowly redefining the topic of home invasions. Dave Franco’s The Rental (2020), Brandon Christensen’s Superhost (2021) and now Barbarian have formed somewhat of an unholy trinity of Airbnb terrors. 

Barbarian Gets All-New Trailer Embracing the Comedy of the Horror Adventure

The insidious nature at which Cregger handles Barbaran’s subject matter is a boastful testament to the slow churners of classic cinema akin to Alfred Hitchcock’s plot dynamics, Terence Fisher’s depictions of good vs evil, and Mario Bava’s embellishment of visual tenaciousness. The film understands the immediate cautious view that audiences will latch onto from the very first scene. Straight away Tess is placed in a vulnerable situation, with the unkept neighbourhood and dimly lit street highlighting the emptiness and isolating reality. After struggling to enter her rented accommodation she is met by an -overly- charming man who insists on her entering the property for her own ‘safety’ to settle the double booked circumstance. Whilst Skarsgård is an established actor with many credits, it is nearly impossible to fully detach our perception of his role as Pennywise from the IT (2017) reboot. His character, Keith, may seem like a nice guy, but so are most deceptively cruel villains. And through his prior attachment to one of cinema’s most popular antagonists, his performance as Keith sets alarm bells ringing straight away. 

Barbarian horror film is a renter's worst nightmare - Geeky Gadgets

Cregger took inspiration from the book The Gift of Fear (1997) which chronicles the notion of intuition and how we internalise red flags to make judgements that unknowingly save our lives everyday. Keith is the obstacle, the threat; after all he is the person instigating Tess’s entry into an unfamiliar habitat. And Tess replicates us. Every step she takes into the danger, we are begrudgingly tiptoeing behind her, shouting at the screen for her to get back in her car and watching the events unfold between peeking fingers. 

Whatever twist, shakeup, or 180 you are expecting, abandon it. With Barbarian nothing is as it seems.

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Ten must-see movies for Halloween

1- Haunt (Directed by Scott Beck & Bryan Woods, 2019) 

On a Halloween night out, a group of friends attend an immersive haunt. Little do they know that the spooky theatricals hold a deadly threat. 

Over the years, innocent pumpkin carving traditions and trick-or-treating have been overshadowed by the budding extreme ‘haunts’ experience; promising bone-chilling frights in a controlled environment. However, amongst the rise of these attractions, there has been an ongoing conspiracy regarding the limits these haunts will exceed. Beck and Woods deliver possibly one of the most frightening and uncomfortably realistic takes on a ‘house of horrors’ narrative. With an ambiguous motive and nightmarish boogeymen wreaking havoc on the ragtag group, Haunt ensures that no audience member will be left unscathed after 90 minutes of electric, intense scares. 

2- Night of the Demons (Directed by Kevin S. Tenney, 1988) 

A team of high school students host a seance inside an abandoned funeral parlour as part of a Halloween party. 

Teens finding themselves trapped in a cursed, isolated location is not unfamiliar territory for any viewer, yet Night of the Demons manages to subvert that sense of familiarity to distract and tease with already formed expectations before delivering one hell of a disturbing third act. The instigator of the terror, Angela Franklin (Amelia Kinkade), has become a staple for 1980s horror, with her eccentric antics embodying the film’s zaniness and natural ability to launch a tidal wave of gory fun. All of the animated absurdity is balanced with the madly creative practical effects that range from grossly infected skin to graphic eye gouging. 

3- Hell Fest (Directed by Gregory Plotkin, 2018) 

The travelling theme park ‘Hell Fest’ promises the ultimate ghoulish experience, however, all hell breaks loose when a masked killer transforms the carnival into their own murderous playground.

The adrenaline-pumping nature of theme parks during fright nights is enough to summon a scare-ridden horror on its own, however, rather than Hell Fest simply relying upon the innate creepiness, Plotkin adds in immersive set designs, gloriously disturbing kills, and an almighty, ominous force behind the lead antagonist (known as The Other). The sheer ferocity of Hell Fest thrives on the pedal to the metal detailing that refuses to slow down or ease off at any point. 

4- Trick (Directed by Patrick Lussier, 2019)

On one fateful Halloween night, Patrick ‘Trick’ Weaver manages to escape from the police after massacring his classmates at a party. Despite Trick’s ‘deadly’ wounds, a masked killer continuously reappears every Halloween. Has Trick somehow survived or is there something much more sinister at play? 

Like a nostalgic driven 1990s thriller, Trick continuously convolutes with its cryptic plot that will have the viewer in an eerie mind spin decoding the mystery within. Lussier, known for editing the Scream franchise (1-3) and directing the 2009 remake My Bloody Valentine, comes his take on a Halloween-centred horror. Akin to the judicial background of a Saw thriller is Trick’s richly entwined story that doesn’t just wallow in vicious kills, it also delves into the rocky territory that follows with the horrific aftermath of massacres. Joining all that fleshy exposition are the intense Halloween elements that refuse to let you forget that Trick is a film dedicated purely to the allure of spooky season itself. 

5- Halloween II (Directed by Rick Rosenthal, 1981) 

In the aftermath of Michael Myers (Jonathan Prince) and Laurie Strode’s (Jamie Lee Curtis) bloody battle it is revealed that Myers escaped, leading Dr. Loomis (Donald Pleasence) and Strode to kill The Shape for good. 

With the original Halloween creators Debra Hill and John Carpenter taking on the writing duties, and first time feature director Rosenthal’s eagerness for the film to be dedicated to its predecessor, Halloween II has become somewhat of an absolute staple amidst the franchise’s thirteen films. Halloween II is where Myer’s long and dense evolvement starts, with the film bashing apart his banality through injecting an interesting and at times contentious backstory for his motives; nevertheless, this sequel is brimming with creative kills and immensely tense chases that seem to take the unpredictable route at all times. 

6- Hell House LLC (Directed by Stephen Cognetti) 

On a quest to create the most terrifying Halloween house experience, a group of professional ‘haunters’ take over the Abaddon Hotel, known for its horrifying incident that occurred many years prior. 


With Halloween being the time of year where horror-hounds seem to be the most at home, it can be difficult to watch a film that continues to scare even after multiple watches- This is where Hell House comes into focus. Cognetti’s concoction of bitterly cold, spine tingling terrors will have even the most habituated horror fans sitting on the edge of their seats. The premise of a haunt gone wrong is now a classic trope, that when done well can make for a remarkably memorable film. Hell House takes the classic idea of ghostly apparitions and dark hallways to conjure awfully realistic scares that make for an unforgettable finale. 

7- Trick ‘r Treat (Directed by Michael Dougherty, 2007) 

Four Halloween-themed connected stories show the consequences of breaking Halloween traditions.

 

All Hallows’ Eve would not be complete without a screening of Trick ‘r Treat, possibly one of horror’s most infamous cult films in recent years. Every little detail within Dougherty’s spooky extravaganza is doused with ghostly, autumnal motif’s, whether that be pumpkins and fall leaves dressing every street, auburn lighting glowing throughout the set, or the film’s central character, Sam (Quinn Lord), who is sure to put tradition breakers in their place. The seasonal decorations are infectious, even putting Halloween Scrooge’s in the haunting mood. 

8- Terrifier (Damien Leone, 2016) 

The sinisterly minded Art the Clown (David Howard Thornton) terrorises a group of people on Halloween night. 

Art’s history goes way back to the short film ‘The 9th Circle’ (2008). Fourteen years later, horror’s most vicious clown has become one of the most notorious villains in modern horror. Terrifier both perfectly captures the chaotic brilliance of Art and tests how far he is willing to go to create ultimate destruction. Healthy doses of sawing into hanging bodies, face eating, and mutilation take over the screen making it clear from the beginning that Terrifier is not here to tease. If abundances of gore and a maniacally twisted time is what you’re after, Terrifier has to take the crown at your Halloween movie marathon. 

9- 31 (Directed by Rob Zombie, 2016)

A ragtag group of carnival workers are taken hostage before having to fight tooth and nail to survive the night. 

Rob Zombie is no stranger to the horror scene whatsoever, with his barbarically minded films such as House of 1000 Corpses (2003) and The Devil’s Rejects (2005) creating incredibly detailed worlds for the vivaciously cruel characters to thrive in. 31 takes the audience through bloody and awfully offensive grounds like a filmic rollercoaster to deliver a fright to remember. The film puts the abducted group through various battles with a motley crew of slighting antagonists including Doom-Head (Richard Brake), who makes Zombie’s Captain Spaulding (Sid Haig) and Otis Driftwood (Bill Moseley) seem PG-13! 

10- Tales of Halloween

(Directed by Darren Lynn Bousman, Axelle Carolyn, Adam Gierasch, Andrew Kasch, Neil Marshall, Mike Mendez, Dave Parker, Ryan Schifrin, John Skipp and Paul Solet, 2015) 

Ten interwoven stories focusing on ghoulish monsters, devils, aliens, urban legends, and mad men band together to create a creepy anthology tale. 

Tales of Halloween manages to cram ten grisly stories into a 97 minute time frame, all whilst remaining original, exciting, and most importantly scary. Anthologies have an innate way of having something for everyone, leaving Tales of Halloween to thrive in its own variety. Accompanied by a self-aware comedic atmosphere, the film utilises the short runtime of every story to create a quick to the point punch that results in equal levels of laughs and eerie vibes. 

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Dead Northern 2022 Festival Review – The Stranger (World Premiere)

Moving on from the murder of her husband, Amanda (Jennifer Preston) and her teenage daughter, Karli (Isabella Percival) up and move to a tranquil bed and breakfast situated within the rural countryside. However, their tragedies are only furthered by the arrival of Kyle (Damien Ashley), a mysterious guest.  Kyle begins to go into a downward spiral, haunted by a sinister force.

The Stranger tightly grasps onto the fragility of a broken family as a vessel for unearthly horror to seep through and thrive amidst the already brittle dynamics. Through unmatched writing that puts the audience through one of the most nerve shredding 80 minutes of their life, through to the startlingly graphic effects, The Stranger is a wickedly cruel feat that should not be missed. 

The directorial team behind The Stranger is made up by Mike Clarke and Paul Gerrard, who respectively join forces to conjure a bone chilling tour de force that was entirely shot in the UK. Clarke’s keen eye for thrilling filmmaking is clear in many of his previous projects, including the acclaimed A Hand to Play (2013), which featured Hellraiser’s Doug Bradley, Paper and Plastic (2013), and Love’s Innocence Lost (2016). Gerrard is infamous for his originality, peppering dystopian, mind-augmenting themes throughout his work as seen in his conceptual designs for The Hole in the Ground (2019), The Dark and the Wicked (2020), and The Reckoning (2020). 

Their track record of outstanding works is made even more prominent thanks to The Stranger, which helps lead the way for modern, indie horror. Every strain within the film, whether that be the mystifying visuals, the looming sense of dread, or the sensational performances by Ashley, Preston, and Percival, the film captivates. 

The invasion of the body and space is a prodigious element in macabre cinema, with the threat of one’s annexe being claimed, alerting an immediate spike of worry in even the most tenured of audiences. The melancholic air of loss that Amanda and Kari emit due to their recent experience of death adds to The Stranger’s enigma, combating the refusal to follow in the footsteps of generic invasion movies with formulaic backstories. Instead, Clarke and Gerrard channel the unexpected at every approach possible. No matter what direction The Stranger insinuates, there’s always an unexpected corkscrew in the road. 

The vigorous leaps and bounds that the film chronicles is assisted by the setting, atmosphere, cinematography, sound, lighting, and effects. The isolated restraints that the wilderness holds is a tool within its own right. Gerrard and Clarke fully take advantage of the vastness to further place the characters in an even more vulnerable state. Encapsulated by the camera that surveys the emptiness is the eerily dark tone that washes over the film like a grim shadow of death, straight away setting the mood for melancholy and menacing antics to prosper. As the film reaches the moment of truth, a barrage of sheer sensation, both emotional and psychical, of panic is unwillingly forced. 

The Stranger is a symphony of horrific excellence, dominating the screen and marking its place as one of 2022’s most exciting features. 

Check out the film and much more at this years festival, tickets here…

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Dead Northern Festival Review 2022 – Three Ways to Dine Well

Three Ways to Dine Well chronicles the contentious history of female filmmakers throughout horror and the significance and traumatic instigation that is bonded to cinematic expressions of eating. 

Horror film specialist and all around expert Alison Peirse created this video essay to reignite the spark that many genre fans have for classic films, but under a reviewed, contemporary perspective that shows the true creators behind these cinematic feats. In showing and recognising the cavernous underground that many viewers may not have been aware of, Three Ways to Dine Well opens up a door for itself as a monumentally important piece of creative research that deserves study, acclaim, and a form of remembrance for assisting in the progress of representation for aspiring filmmakers and similar personnel.

Throughout the curation of events, Peirse tours a wide berth of films to use as subjects, with Three Ways to Dine Well probing into the background of atypical slashers, obscure Japanese cinema, feisty monstrous feminine numbers, classic exploitation flicks, and boisterous vampire feats, all within the context of the crucial gravity that eating has always demanded in horror. 

This bold and impassioned expression of an already vexed subject of on screen dining from women paired with the readdressed crediting makes Three Ways to Dine Well wholly prodigious and a feast for all senses. 

Check out the film and much more at this years festival, tickets here…

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Dead Northern 2022 Festival Reviews – Thriller shorts

On the Inside (Directed by Pål Gustavsen) 

On a bright sunny day a young man (Håvard Sveberg) goes on a walk through the rural countryside, however, out of the blue various unsuspecting neighbours start rapidly chasing after him. On the Inside chronicles the quiet truths that lurk beneath the surface, no matter the serenity of the situation. The breezy openness of the setting combined with the ferocious score that amplifies the heart rate, valiantly delivers a visual and audio feast for the senses; particularly when the tense fight or flight scenes are composed in such a way that they harmoniously juxtapose against one another to create a frightfully memorable experience. 

Incubus (Directed by Tito Fernandes) 

Trapped inside the confines of a houseboat, a woman (Malou Coindreau) becomes terrified and haunted by fear itself. Incubus unfolds the gradual progression of terrors that manifest within the self. The inspiration for Tito Fernandes’s short film derives from the increasing levels of violence towards women in a modern day society that boasts a falsified safety. Incubus works its way around a purposefully perplexing narrative that dives into inner traumas and the battle with the most devilish person of all, our own mind, to ensure that the ghastly horrors pack a punchy fright, which is all emphasised by the unique setting and incredible performance by Coindreau. 

The Sound (Directed by Jason-Christopher Mayer)

 After Lily (Sabrina Stull) suddenly loses her hearing, sinister occurrences begin creeping out from the dark, traumatising and unearthing a menacing experience. The Sound utilises the classic storytelling device of two friends enjoying each other’s company one night before a strange sound makes itself known, leading to dire consequences. The familiar basis purposefully lures the viewer in, only to violently disrupt any sense of knowing, leaving you shaking with fear. Conjuring The Sound’s cruel execution that will even send a shiver up the most stern audience’s spine is the ominous and ubiquitous dread that plays on our most inner fears. Evil will find you, no matter what…

Unheimlich (Directed by Fabio Colonna) 

During a stormy night, Joven (Helena Puig) wakes to find her house has mysteriously transformed into a surrealistic myriad, with a foreboding unknown creature lurking amidst the chaos. Unheimlich pronounces its stern replication of a nightmare from the very beginning, with the utterly bewildering maze-like environment fashioning itself as a sinister underworld where gruesome creatures are no stranger to such schemes. The expressionist goals set by Fabio Colonna are truly met thanks to the thrilling story that will leave you guessing your own reality long after watching. 

Check out the films and much more at this years festival, tickets here…

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Dead Northern 2022 Festival Review – Creature shorts

Eric (Directed by David Yorke) 

Joshua (Oliver Powell) finally gets to meet Eric, the seemingly adorable dog of the girl he’s been recently seeing (Jemma Moore). However, as the evening continues, he gets the sneaking suspicion that Eric is not the normal house pet. The world of modern dating can be a proverbial war zone, battling through strange encounters and even stranger people, or in this case, peculiar pets. Eric takes advantage of the innate dark and satirical humour that comes from a clever and mischievous creature feature. 

Dispensary of Death (Directed by Simon O’Neill) 

After being bitten by one of those snappy creatures that seem to be everywhere, Kevin (Keith Singleton) takes a trip to the pharmacy to see if they can be of any assistance. Dispensary of Death is a hilarious take on the classic undead movie monster that tackles the lack of humanity amidst tragedies all whilst throwing in laugh-out-loud gags and devilishly gory practical effects. 

Caregiver (Directed by Rafael De Leon Jr.) 

A graduate student (Leo DeFriend) interviews a young caregiver (Tara Rose Schreiber) for a class project, however, something just isn’t right. With the micro time frame, the eerie performance of an unhinged woman, and the closely bound setting keeping the set confined and inescapable, Rafael De Leon Jr. devises an incredibly unnerving short horror that forces the audience to sit and wait in terror for the frightening conclusion. 

Bug Bites (Directed by Daniel DelPurgatorio) 

Sandra (Julia Atkin) discovers that her skin is covered in unknown bug bites, leading her to uncover a terrifying secret lurking right beneath her. Body horror and creature features are a match made in horror hell, with the repulsive factor and creepy-crawly frights working together to deliver shocking scares that will make your skin crawl. Bug Bites sheds impactful practical effects that would make Tom Savini proud, as well as delivering a punchy ending that both startles and deliberately bewilders. 

Sucker (Directed by Alix Austin) 

Sam (Sophia Capasso) returns home one day to find that her sister Caitlin (Annie Knox) has developed a strange illness. Sucker maximises the fear that stems from body modifications and the sickly texturisations within horror. The direction from Alix Austin is rooted within the contortionist structure of the film, with the threat of something alien taking over your own being without any hesitancy creating a generalised and strong sense of fear. 

All You Can Eat (Directed by Kieran Reed) 

A young waitress working at a diner has a gut feeling that something menacing is going on behind the scenes, however, before she has the chance to break the secret unseen evil forces get in her way making a bloody mess. From the outskirts All You Can Eat thrives in the traditionalist diner aesthetic brimming with neon glows and shiny surfaces, making the film a visual success. But the glory doesn’t stop short as Kieran Reed creates a rhythmic spectacle using an insanely impressive mix of practical effects and a rip-roaring narrative that has the pedal to the metal the entire time.

Check out the films and much more at this years festival, tickets here…

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Dead Northern 2022 Festival review -Tech horror shorts

#Nofilter (Directed by Nathan Crooker) 

Beth (Kelly Lamor Wilson), like many twenty-somethings, has become obsessed with the capabilities of filters, however, the insidious truth lurking behind one particular filter leaves her to question what true beauty really is. Body dysmorphia on its own can be a horrifying experience, yet Nathan Crooker manages to even further flesh out the degrading internal policies that social media have created, exemplifying the alarming relationship between the digital era and perishing humanity. #Nofilter digs deep within its own message to question the beauty barriers whilst also conveying a keen sense of panic through the personal confines of desktop horror. 

Woodland Cemetery (Niels Bourgonje) 

A photographer (Josefin Asplund) takes on an assignment to shoot a cemetery situated in the forests of Stockholm. Whilst capturing the beauty of the landscape, she sees an elderly woman (Karin Bertling) placing a lantern on a grave. To capture the moment she takes a picture, but she soon discovers that this one action will unleash a world of horror. Nature at heart can be both blissful and haunting. Niels Bourgonje understands the emotional balance that comes from rooting a narrative within the deadly sins of the unknown. Amongst the haunting story is the stunning cinematography that makes use of the natural setting, along with the melancholic score that compliments the intense themes and challenges the viewer. 

Ask Me a Question (Directed by Mr. Valents) 

In a dystopian future ruled by the power of social media, a pair of users are placed on trial via live stream to investigate their breaking of online guidelines. If they fail to convince the online jury of their innocence, their profiles will be horrifically deleted. The Black Mirror-esque setting is becoming more and more prevalent in modern society, ruling the online structure to be almost god-like. Mr. Valents toys with the worrisome power that socials hold, by escalating the diminishing sense of humanity and exposing the trivialities of online profiles. Ask Me a Question plays out as both a wickedly harsh warning tale and a satirical ploy that taps into looming fears. 

Baby Monitor (Directed by Stefan Parker) 

A father (Tom Slatter) finally gets to sit down for the night, however, that all changes when the baby monitor starts picking up an unknown presence. Baby Monitor precisely envelops every aspect that makes a short horror film momentous, gripping, and most importantly terrifying. The minimalist approach that doesn’t go overboard on one-trick scares is what allows Stefan Parker’s entry to stand out, he refuses to reveal the ominous force straight away, instead, the film marinates in a complex certainty of terror that reaches a nerve-racking peak just when you’re not expecting it. 

Overwrite (Directed by Alia Sheikh) 


Just when a security guard (Edward Linard) thought his night couldn’t get any worse, an unexpected thief that looks exactly like him begins robbing his bank. Alia Sheikh delivers an action-packed tale of duplicity, sharp moral examinations, and what it means to doubt your own instincts. Overwrite cleverly examines the spiraling mind by positioning the viewer in a place of constant doubt where they remain anxiously waiting in the dark for the truth, whilst being emotionally and physically conflicted at every point due to the claustrophobic inducing score and the dynamic performance by Linard.

Check out the films and much more at this years festival, tickets here…