Leigh Whannell is somewhat contemporary horror royalty, belonging to projects such as Saw (2004), Dead Silence (2007), Insidious (2010), Insidious: Chapter 2 (2013), Insidious: Chapter 3 (2015), Upgrade (2018), The Invisible Man (2020) and now Wolf Man (2025). Regardless of opinion, Whannell is a seasoned horror creator, but is his extensive experience enough to make the long-awaited Wolf Man a film that has a decent bite?
Wolf Man follows Blake (Christopher Abbott), a family man who along with his wife Charlotte (Julia Garner) and daughter Ginger (Matilda Firth) travel to the remote wilderness of Oregan from the bustling San Francisco after Grady (Sam Jaeger) Blake’s estranged father dies, leaving his estate to his only son. In hopes of repairing their fractious marriage, the family head to the “Beaver State”, however, en route they are attacked by an unseen creature, leaving Blake with a gushing, troubling scratch by the howling beast.
Werewolves are colloquially known as furred giants, gnarling their prey like a rabid frothing dog and unleashing havoc at the sheer warning of a full moon. Wolf Man internalises the essence of the unsightly brutes and spits out a powerful reengineering of the beloved movie creature that is tonally deep and seething with a whole new lease of emotionality. Wolf Man is just as much of a family drama as it is a creature feature, which should be conflicting and over complicated, except Whannell manages to tiptoe the two thematic halves and creates a film that gives equal credence to both components.
Firstly, the transformation element (i.e. the backbone of any good werewolf film) is unique and unexpected, but in the most pleasant of ways as we see Blake go from an unextraordinary man to a strange species. A monster whose personhood experiences a metamorphoses just as much as his appearance.
During the promotional tour, Whannell has been open about the film’s potentially controversial lyncathrophic transformation, with the director speculating that the Wolf Man’s appearance will not be traditional, opting for similar approach to David Cronenberg’s The Fly (1986), where the meanings behind the ‘changing’ will take presidency over the gore-factor. That being said, the film does still include the frequent nasty body horror that one would expect from a werewolf feature.
As such, the few sequences of gross-out visuals are met with an even more haunting feeling manifested by the strict, continuous facets of tragedy that are woven in and out of this complex horror. The film delves into Blake’s relationship with his father and Blake’s own fears and anxieties about his capabilities to be a better patriarchal figure in Ginger’s life.
Amplifying the narrative’s emotive trepidations and woes is Blake’s transformation. Throughout his change, he not only sprouts hairs and gains speed, his core capacities and senses also begin to fragment into that of lycanthropy. No longer can he clearly hear exactly as he once could, with his wife and daughter’s speech becoming strange muttering. Every portion of his sensibility is lost. He is now forever haunted and lost.
Wolf Man is entrenched in a layer of darkness that aims to move, which in a cruel twist of fate makes the film not as traditionally ‘scary’ as it could be. Not every horror film has to frighten, just as not every horror has to be a metaphorical allegory. On the basis of pure fear factor, the kind that will linger and cause the worst kind of nightmares, Wolf Man is somewhat toothless. Nevertheless, audiences should stay for the melancholic portrayal of man versus beast that aims to unravel the psyche more than it does shudder in sheer horror.
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From the same mind that conjured The Witch (2015) and The Lighthouse (2019) is the long-awaited tale of Nosferatu by the brilliant Robert Eggers.
Nosferatu, a remake of the F. W. Murnau silent German Expressionist film Nosferatu: A Symphony of Horror (1922), follows Ellen (Lily-Rose Depp), who in her youth pledged her devotion to the ancient vampiric creature, Nosferatu, also known as Count Orlock (Bill Skarsgård). Years pass and Ellen is now married to Thomas (Nicholas Hoult), however, soon, the deed she once made with the malevolent nobleman is rekindled; leaving indescribable anguish in its wake.
Eggers has expressed his struggle with ‘decontaminating’ the vampiric vision that lives in his mind after years of reading tales of Dracula and yonks of watching the bloodthirsty creatures on screen. Therefore, when the rights had been secured and pen had to meet paper, Eggers had to forgo the tropes and write a true, heinously evil depiction of an archaic creature that does not sparkle or tease, but kills and infests with brutal force. As such, Nosferatu oozes a profound darkness that mimics the grandiose shadow made infamous from Murnau’s classic 103 years ago. The infamous shot of the rat-like vampire’s shadow creeping up the stairs, with its clawed fingernails casting a blackened silhouette on the wall, emitting a villainous energy that has stood the test of time, is precisely what the entirety of Eggers’ Nosferatu does.
It negotiates an unspoken contract between dread and fear that rouses a foreboding, omniscient sense of wickedness, that like a spell lures the viewer in with its cinematic, engaging beauty and emotionally taunts them through a spate of daringly rich and nefarious sequences. Essentially, the film emulates a vampire, seducing its prey and punishing them for their willingness of terror.
Nosferatu would not possess all of its power without the truly applaudable performances by all. Depp as the tortured soul and Nosferatu’s fixation is simply excellent, baring her acting chops and helping contextualise her character like no one else has done before. Throughout the reign of Nosferatu media, the character of Ellen has often been seen as just an object of desire and hysteria, with nothing more of a personality other than the standard flesh and bones anyone written into a script may possess. However, the ‘new Ellen’ is emotionally complex, with an enriched agency to her motives. Her actions and desires are not easy to understand and are daunting when manifested, yet, it is this aspect of nuance, trickery and intricacy that make her the most important cog in the machine.
Depp’s haunting work is joined by the talents of Hoult, who as per usual delivers both vulnerability and rawness with a touch of passion and strength that makes him the ideal casting as Ellen’s partner. What’s more is Willem Defoe’s role as the occult-specialising scientist, Professor Von Franz, who acts as a catalyst in understanding the mysteries behind the masterfully deceitful vampire who is closing in on Ellen and everyone she holds dear.
The titular Nosferatu himself, portrayed eerily by Skarsgård is the proverbial pièce de résistance that coats the entire film with an unholy aura. Skarsgård is said to have trained with an operatic vocal coach to master Nosferatu’s dramatically deep tone and drawling cadence, the results of which manage to unnerve any time the ‘dark lord’ utters his hypnotic rhetorics. This commanding presence that Skarsgård infuses into his character is not necessarily enchanting in the traditional vampiric sense by lieu of sensuality and appeal; instead, the magnetism comes from a place of otherness, where one can’t help be drawn to something so inexplicable and inhuman.
Further playing a pivotal role in the transcendental film is the design, which with all of its candlelit chamber sticks and sconce’s remains incredibly dark. The atmosphere is bleak and dire, yet opulently grand, mainly due to its castle setting, which is every bit the epitome of gothic tonalities that the film aims to be. Nosferatu has everything a promising viewer would expect, themes of lust and violence, romanticism, displays of gothic architecture and performances that bring a welcomed oomph, and yet, the film still manages to go above and beyond every one of these positive expectations and deliver a horror that has the capacity to last as well as its source material did all those years ago.
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This upcoming atmospheric chiller comes from the mind of the great Steven Soderbergh, whose previous award-winning credits include hits such as Sex, Lies and Videotape (1989), Erin Brockovich (2000), and more recently, Unsane (2018). Presence takes place from the perspective of a ‘ghost’, as the family it watches slowly becomes convinced that their new quaint, suburban home is haunted by a mysterious presence. The execution of this unique idea was said to have caused a stir at its Sundance Film Festival premiere, with a handful of audience members unable to take the heat of this unnerving horror.
Companion (Directed by Drew Hancock)
Expected release date: 31st January
The promotional material for Companion has a similar ambience to that of Don’t Worry Darling (2022) and Fresh (2022) in that it initially presents itself as a romantic vision with a unique blend of coquette, vintage quaintness, only to unravel and reveal a treacherously dark underbelly. Although a visual treat, the trailer keeps the plot under wraps, revealing only a trickle of information, including lead characters Jack Quaid and Sophie Thatcher’s interesting interaction. As such, Companion is certainly one to watch.
Heart Eyes (Directed by Josh Ruben)
Expected release date: 7th February
2025 is the year that Valentine’s Day finally gets another major slasher release to its name. This time around, the lovey-dovey holiday is set to get dark with Heart Eyes, an R-rated gore fest! The film’s teasers have revealed the cinematic lore of “Heart Eyes”, an in-movie killer who has made Valentines a murderous occasion for a small town, stalking and killing couples. Presumably, the film is set to be a typical, yet hopefully exciting classic cat-and-mouse slasher that instigates some corny, mindless fun.
The Monkey (Directed by Osgood Perkins)
Expected release date: 21st February
Many are waiting on tenterhooks to see what Longlegs (2024) director, Osgood Perkins, is up to next, with his distinctive style making him all the rage in the horror realm. His latest feature, The Monkey is based on the Stephen King short of the same name (1980), which follows a cursed monkey toy and the havoc it wreaks. The film adaptation develops the unsettling idea by implementing a darkly comedic spin that gives credence to the wackiness of a haunted toy, whilst still injecting a gruesome flair of bloodied terror.
Sinners (Directed by Ryan Coogler)
Expected release date: 18th April
Frequent collaborators Ryan Coogler and Michael B. Jordan join forces once again, with Sinners, which marks both of their horror debuts. Sinners follows twin brothers (Jordan), as they return to their hometown for a fresh start, only to find that a greater evil lies in wait. If the sheer premise was not enticing enough, the film’s trailer oozes an ominous charm that unveils a string of terrifying glimpses into this 1930s-set thriller.
Until Dawn (Directed by David F. Sandberg)
Expected release date: 25th April
This long-awaited adaptation of the smash hit video game Until Dawn (2015) is finally upon us, with the film set for a late April release. Despite the date closing in, information is sparse, but if the source material is anything to go by, the slasher-like plot chronicles a group of friends who retreat to a ski lodge to commemorate the anniversary of their friend’s mysterious disappearance, however, they soon discover that they are not alone.
28 Years Later (Directed by Danny Boyle)
Expected release date: 20th June
Zombies have never been scarier than in 28 Days Later (2002) and its sequel 28 Weeks Later (2007 [particularly that opening scene!]). The rapid, glazed-eyed, bloody-mouthed, frenzied creatures from the ‘28’ world are nothing short of pure nightmare fuel. However, the wretched zombies from its predecessors have nothing on the damned in the upcoming 28 Years Later. Creator, Danny Boyle returns to the directing chair, alongside writer Alex Garland, delivering what is sure to be another fantastic zombie film unlike any other. The time around, the ‘Rage Virus’ is explored nearly thirty years after the outbreak, showcasing how the world violently evolved.
M3GAN 2.0 (Directed by Gerard Johnstone)
Expected release date: 27th June
Despite M3GAN (2022) being quite negatively received in terms of its cinematic merit, the film was a financial success, essentially taking home quadruple its budget. Therefore it is to no one’s surprise that the viral dancing, animatronic doll is back in the upcoming sequel M3GAN 2.0. No plot details have been revealed, yet, it’s almost certain that the sequel will implore the depths of M3GAN’s mayhem again, causing death and destruction wherever she goes.
The Conjuring: Last Rites (Directed by Michael Chaves)
Expected release date: 5th September
With the upcoming release, The Conjuring Universe will be nine films deep, with this entry being the supposed last film of the series. Continuing with the series, Last Rites will once again show part demon-busting team, part married couple Ed (Patrick Wilson) and Lorraine (Vera Farmiga) Warren pull together to investigate and destroy a mysterious evil entity.
Him (Directed by Justin Tipping)
Expected release date: 19th September
Produced by Jordan Peele’s Monkeypaw Productions and directed by Justin Tipping is Him, a sports-themed horror movie starring the brilliant, Marlon Wayans. Him follows the journey of a young footballer who joins a training programme at an isolated compound run by a dynasty team’s former quarterback. The totally unique and refreshing premise is enough to make Him a definite entry on 2025’s calendar.
Saw XI (Directed by Kevin Greutert)
Expected release date: 27th September
Saw XI sees Tobin Bell reprise his role as John Kramer aka ‘The Jigsaw Killer’ who acts with a twisted moral conscious to enact the most torturous traps. The film is set to be a direct sequel to its predecessor, Saw X (2023), which was also directed by Kevin Greutart. The finite details of the story are yet to be released, but it has been confirmed that the film will tiptoe into the origins of the dealt traps that Jigsaw leaves in his reign of terror.
The Black Phone 2 (Directed by Scott Derrickson)
Expected release date: 17th October
The box office success, The Black Phone (2021) saw a young boy trapped in a basement by ‘The Grabber’ (Ethan Hawke), whilst we all watched in trepidation as he underwent the relentless pursuit for escape. The film concluded with an open end regarding The Grabber’s survival, leaving the perfect gap for a sequel to ensue and answer the many burgeoning questions that the first film’s ambivalent ending. Most of the cast are reprising their roles in the upcoming sequel, including the potty-mouthed Gwen (Madeline McGraw), her brother and previous abductee, Finney (Mason Thames), and most excitedly, The Grabber himself, played by the excellent Ethan Hawke.
Nosferatu (Directed by Robert Eggers)
Release date: 1st January
2025’s first theatrically released horror of the year, Nosferatu, is already off to a fantastic start, with positive reviews gushing over the film’s excellence spawning from every outlet. The film is a bold remake of F.W. Murnau’s classic vampire silent picture Nosferatu (1922). Although the film comes a whopping 103 years after its source material, Robert Eggers’ remake is deeply gothic, a visual feast and an affective force that brings forth horror in the richest of ways.
Final Destination: Bloodlines (Directed by Zach Lipovsky and Adam B. Stein)
Expected release date: 16th May
After what seems like an infinite amount of time, the long-anticipated sixth entry into the Final Destination franchise has finally obtained a release date. The Final Destination films rely on its formulaic approach of people barely escaping death, only to find themselves running from their demise in the most tense and dire of ways. Whilst the same brutally entertaining sequences of gory ends are bound to make an appearance, it is heavily rumoured that the upcoming franchise entry is anything but predictable as it deviates from its expected plot.
Fear Street: Prom Queen (Directed by Matt Palmer)
Expected release date: TBC
The Fear Street film series, which was based on R.L. Stine’s book series of the same name, made a giant splash, generating quite the buzz. The trilogy of films was released all within a three-week period, akin to that of a TV series, leaving us all waiting for the next chapter. Four years on, the Fear Street series is back, but this time supposedly only one film is being released. The latest film explores the strange disappearances of Prom Queen nominees at Shadyside High, circa 1988.
Frankenstein (Directed by Guillermo del Toro)
Expected release date: TBC
Following in the gothic footsteps of Nosferatu is Academy Award winner Guillermo del Toro’s Frankenstein, a straight to Netflix horror telling the classic story of how a scientist fashions the dead back to life. Frankenstein is equipped with a stellar cast, including; Oscar Isaac, Jacob Eldori, Mia Goth, Christoph Waltz, Lars Mikkelsen and Ralph Ineson. Del Toro has often said that he has been desperate to adapt Frankenstein for as long as he can remember, with the director often commenting on how he specifically wishes to screen the parts of Mary Shelley’s original novel (1818) that are not commonly known.
The Ritual (Directed by David Midell)
Expected release date: 18th April
This upcoming exorcist themed feature stars Dan Stevens and Al Pacino as they portray a pair of troubled priests who tackle one hell of an exorcism on a young woman. The film is said to be based on the true story of Emma Schmidt, whose case with the church and demonic possession remains notorious due to her receiving countless ‘treatments’ from the church, from 1912 to 1928.
The Woman in the Yard (Directed by Jaume Collet-Serra)
Expected release date: 28th March
The excellently terrifying title is not the only chilling facet that makes the upcoming feature from Jaume Collet-Serra, The Woman in the Yard, absolutely unnerving, with the film’s synopsis being equally compelling. The upcoming horror follows a family whose life is flipped upside down when an uninvited woman draped in black suddenly appears on their front lawn with an ominous warning.
Drop (Directed by Christopher Landon)
Expected release date: 11th April
Drop follows a widowed mother (Meghann Fahy) who finally ventures out on a date with the charming Henry (Brandon Sklenar), only for the romantic evening to be spoiled by a series of strange, violent texts erupting on her phone. With Christopher Landon (Happy Death Day [2017] and Freaky [2020]) behind the camera, expect dynamic pacing, self-aware comedy and a touch of genre-bending charm.
Wolf Man (Directed by Leigh Whannell)
Expected release date: 17th January
Wolf Man is set to be every bit the monstrous creature feature as this long-awaited new entry into the ‘Universal Monsters reimagined‘ series is at last upon us. The film examines the lycanthropic journey of Blake (Christopher Abbot), who was struck by an unknown beast. Wolf Man toys with its remote location and portrayals of family dynamics to create a story steeped in exploring the duality of human nature and the battle between control and chaos.
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Abigail (Directed by Matt Bettinelli-Olpin and Tyler Gillett)
Abigail is part heist movie, part monstrous horror. A film of two halves. The first half plays on its own genre stereotypes and known ploys, lulling us into a sense of familiarity, before ripping the curtain back and unveiling an exhilarating ride that ceases to calm right until the credits roll. The film thrives in its fantastic performances by Melissa Barrera and Alisha Weir, who together add a depth of performativity that elevates the entire project. Abigail brings unprecedented levels of bloodied mischievous and anarchy to the screen, making Carrie’s prom meltdown (1976) or the blood elevator scene in The Shining (1980) seem like a papercut worth of gore. Abigail’s bountiful twists and turns, alongside the impressive scoring and unmissable performances, make this one of the best films of the year.
Longlegs (Directed by Os Perkins)
Longlegs epitomises fear, with the film exhibiting some of horror’s most frightening imagery to date, mainly in the form of the titular villain himself ‘Longlegs’ – a devil-worshipping man whose energy and appearance are nothing less than nightmare fuel. The enigmatic Longlegs is portrayed by the one and only Nicholas Cage, who enters into the uncanny role with a disturbed naturalness. Despite Longlegs’ strange appearance, the costumery of his garb, personhood and appearance is not entirely alien, with his expressions still resembling some form of a person. It is this precise aura of realism entwined with absurdity that makes Longlegs a film steeped in an uncanny atmosphere. Fantasticality combines with the monotonous every day to create a horror that lingers with the viewer long after watching.
Kill Your Lover (Directed by Alix Austin and Keir Siewert)
Kill Your Lover portrays deeply seeded toxicity within tainted relationships with a level of understanding and richness that is rare to come by. Exemplifying the portrayal of poisonous dynamics is the film’s stellar effects that take the form of body horror, combined with a touch of sci-fi-like venom and a hint of uncanny viscerality that is both gripping and distressing.
In a Violent Nature (Directed by Chris Nash)
Many reviews for Chris Nash’s feature debut commented upon the film’s slowness and its supposed style-over-substance approach. Perhaps the film is ambient-heavy and leisurely in its pacing, yet it is this precise unhurried, tender sense of built-up dread that makes the film the atmospheric, almost hypnotic slasher that it is. The switching of typical slasher perspectives and toning is both refreshing and satisfying, particularly when a plethora of truly gnarly kills are thrown into the mix.
Oddity (Directed by Damian McCarthy)
Damian McCarthy’s Caveat (2020) has one of horror’s most terrifying scares, which was so intense, freaky and suspenseful that it seemed the director had peaked. In no way could he top his own debut. However, not only did Oddity go above and beyond, it blew nearly every horror film out of the park with its shuddery, pulse-pounding frights that will have even the strongest of horror fans watching with the lights on (not that I am speaking from experience…). With the combination of an excellently spooky location, mysterious lore and a whodunit-like backbone, Oddity is bound to provoke one hell of a reaction.
You’ll Never Find Me (Directed by Josiah Allen and Indianna Bell)
This Australian horror brings new meaning to the word ‘tension’ as we are fed the plot bit by bit, with directors Indianna Bell and Josiah Allen opting for a painstakingly disconcerting breadcrumb approach. The entire film is one whole build-up to a disturbing conclusion, provoking an array of dreaded thoughts as we play detective in getting to the bottom of the film’s devastating conundrum. The drip-feed-esque terror is exacerbated by the film’s single location of a rural low-lit caravan, where the confined, desolate environment allows for the unnerving tension to be heightened to new extremes.
Woman of the Hour (Directed by Anna Kendrick)
Regarding the context of genre capacities, Woman of the Hour does not cast itself as a horror film, however, anyone who has bared the ‘parking lot’ scene knows that this anxiety-inducing story is a lesson in dark cinema. Actress Anna Kendrick is both in front of and behind the camera in this retelling of serial killer ‘Rodney Alcala’ (also known as ‘the dating game killer’ due to his winning appearance on a dating show). Despite the sensitive origins of the narrative, the film is not exploitative of the heinous acts of Alcala, with the film instead showing the true barbarism of his crimes. Kendrick is joined by actor Daniel Zovatto who portrays the slimy, wretched killer in all of his evil ways, which gives credence to him being a perpetrator, not an idol. Woman of the Hour is a crime adaptation done respectfully and rightfully.
Milk and Serial (Directed by Curry Barker)
Milk and Serial is independent cinema at its finest, showing the capabilities of just an idea and a camera, forging large budgets, additional crew, expensive studio equipment and top locations. The film stars Curry Barker, who also serves as the writer, director, producer, composer, cinematographer and editor. This straight-to-YouTube horror appeared on the streaming platform via Barker and co-creator Cooper Tomlinson’s channel ‘That’s a Bad Idea’, which typically posts sketch comedy skits and short films. Part of the film’s effectiveness stems from its sporadic release. The only marketing was self-promotional posts on social media platforms from the likes of Barker, yet the film, which is essentially a long YouTube video, has amassed over one million views, alongside glowing reviews from major media outlets. Milk and Serial is a film replicating the new age of filmmaking that thrives in the grassroots approach to creating cinema that stands alongside wide releases.
The Substance (Directed by Coralie Fargeat)
Body horror has never looked so good in Coralie Fargeat’s The Substance, starring Demi Moore and Margaret Qualley. The Substance is powerfully symbolic in its thematics, with the film reflecting on the consequences of obsession and addiction over beauty, particularly the evolution of one’s beauty over time. These dramatic, figurative elements are unveiled slowly as the film unravels, with the conclusion piecing together all of the gruesome tidbits portrayed throughout the film, leading to a ghastly, heinous ending that is shocking, unsettling and marvellously sick.
Heretic (Directed by Scott Beck and Bryan Woods)
Heretic stirs many questions that range from the philosophy of belief systems and religion to the strange psyche of the human condition. Yet the most prominent thought to arise from this provocative film surrounds Hugh Grant’s previous missed opportunities as a horror performer. If religious horror seems overdone, simply watch Heretic just for Grant’s unbelievably macabre role! Heretic’s cryptic narrative and uneasy atmosphere melt together to form a horror steeped in layers upon layers of mystery, chaos and hectic emotions that make it one of this year’s most interesting pieces of cinema.
All This Time (Directed by Rob Worsey)
All This Time is a unique spin on a gothic tale that thrives on a groundhog-like cyclical nature where the consequences of time enforce a sinister sense of being trapped within the most devastating and haunting of nightmares. The dreaded emotions of confinement and anxiety fuse and create a film that is a testament to independent cinema. All This Time is an enigma in every way possible, with the film being a true slow-burn right down to the bone.
Speak No Evil (Directed by James Watkins)
Christian Tafdrup’s Danish horror Speak No Evil (2022) erupted onto the horror scene like a fireball, picking up accolades and nothing but positive reviews. However, there was a collective eye roll when only a year later it was confirmed that there would be an American remake. Yet, by some strange turn of events, the remake surpassed every expectation and ended up being an excellent recreation. Speak No Evil nailed the excruciating frustration felt in the original, alongside the grand reveals and scenes of disturbed unease, all with a sense of originality that gives hope to the future of contentiously received remakes.
Strange Darling (Directed by JT Mollner)
Strange Darling is a remix of linear filmmaking in the best way possible, subbing a coherent narrative for something much more surreal, twisted and utterly absorbing in all of its complexity. Joining the feverish assembly of events is the film’s stylish aesthetics and looks that resemble the lurid, boldness of giallo horror, but with a neon spin, emphasising the daringness of the entire movie.
Cuckoo (Directed by Tilman Singer)
Hunter Schafer excels in this mind-warping horror that is akin to that of a contorted circus of outlandish disarray. The film’s overall composition resembles a kaleidoscope of terror, with the villainy of the film being so far-fetched and ridiculous that it makes the entire premise absolutely bonkers. Cuckoo is 102 minutes of pure devilish fun that will certainly hold up for many rewatches.
Late Night with the Devil (Directed by Cameron Cairnes and Colin Cairnes)
David Dastmalchian excels as late-night television host Jack Delroy, with the actor adding the necessary pizzazz and flair needed for such a forefront role. The film takes all of the best elements of occult cinema, from possessed youths through to religious cults, and dials them up to the max. Late Night with the Devil’s storytelling device is presented in the form of a lost broadcast from a fictional 1970s talk show, which makes for an immersive, gripping journey from start to finish.
Terrifier 3 (Directed by Damian Leone)
Everyone’s favourite clown returns in Damien Leone’s highly anticipated Terrifier 3, which is just as gory and stomach-churning as the rumour mill purported. The Terrifier films are brilliant because they do not know when to stop, they will just keep pushing the limit with each scene, with the third and latest entry being the most daring one yet. Complimenting the visceral experience is the equally as fleshed-out plot that continues with the lore developed in its predecessor, trickling a hint into the exciting future that Terrifier has to offer.
MadS (Directed by David Moreau)
MadS is nothing less than riveting, with the film being a single 90-minute long take with no breaks. The characters and events change and evolve, yet the camera does not take a single cut. Commenting from a technical point alone, MadS is a feat worthy of extensive praise, but director David Moreau refuses to rely solely on the sheer tactility of the one-shot approach, as the film is equally as wild through its tonality and plot points.
Red Rooms (Directed by Pascal Plante)
Quite possibly the most underrated gem of the year is Pascal Plante’s Red Rooms, a psychological horror that exposes the morality of obsession and the capacity of self-destruction to appease the curious mind. Where Red Rooms reaches its pinnacle of effectiveness is within its intelligent displays of the film’s central spectacle and how it handles a rich, broad issue surrounding the dark side of media.
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The infinitely popular and highly respected Tales from the Crypt is a cinematic treasure whose history and legacy is a potent example of how horror films can last for generations and still remain as culturally influential as ever. This quintessential British horror is based on the EC comic series of the same name, which ran for twenty-seven issues between the early 1950s all the way through to 1955. The magazine was known for its ghoulish yet beautiful artwork and darkly humorous tales that captured every monster-mania story from whodunits and vengeful killings to ghosts and cursed familial clans. The enigmatic world of comics is infamously difficult to capture on screen, and yet director Freddie Frances manages to bring the pages to life in this 1972 classic.
The filmic adaptation is structured as an anthology piece, chronicling five segments, which are all wrapped up by an overarching narrative. This larger connecting story follows a group of five strangers who happen into a dusty, haunting layer where the mysterious and magical Crypt Keeper (Ralph Richardson) tells them a story of how they will all meet their fatal end.
The first story begins with how a flashy woman, Joanne (Joan Collins) kills her husband (Martin Boddey) for his hefty life insurance payout before she comes under attack by a blood-thirsty killer dressed as none other than Mr. Claus. The second story follows married man Carl (Ian Hendry) and his secretary/mistress Susan (Angela Grant) who suffer through a disturbed case of retrospection and foreshadowing allegories just as they meet their demise. The third tale features the fate of James (Robin Phillips), an aristocrat who takes it upon himself to drive an older man, Arthur (Peter Cushing) to his death.
Little does the supposed nobleman know that Arthur dabbled in the occult. The penultimate segment closes in on businessman Ralph (Richard Greene) and his wife Enid (Barbara Murray), who undergo an awful fortune at the hands of their greed and foolishness. Last but not least is Major William’s (Nigel Patrick) ghastly end as he is struck down with a vengeful death by the impoverished members of his own care facility after they tire from the man’s cruel treatment.
These rich and dramatic narratives are the reason why Milton Subotsky fell for the series. Subotsky is better known for being one-half of the founders of the legendary British production company Amicus Productions. In their heyday, Amicus were known for their horror movies that thrived in stylish aesthetics and anthology structure, with their filmography often being compared as a previous rival and retrospectively as somewhat of a ‘compadre‘ to Hammer Studios. Subotsky’s adoration for the story was enough to convince business partner Max Rosenberg to green light production, leading to the soon-to-be hit being filmed at Britain’s own Shepperton Studios.
Tales from the Crypt captivated from the very start with the film being both a commercial victory and a success amongst the film critic scene. As it stands, Tales from the Crypt remains as one of Amicus Productions’ most profitable films. One of the factors behind the film’s immediate triumph was the narrative’s dazzlingly elaborate, multifaceted and eerie nature.
The moralistic undertones are a key element in defining the film. If it weren’t for the various cautionary tales that clearly distinguish their own lesson and principles, the film would not have the same beloved, urban legend-like quality to them. Tales from the Crypt recreates short, traditional stories that in some way or another have been passed down to us for centuries. The anecdotes surrounding greed, recklessness, selfishness, lack of empathy and so forth all establish a sense of poetic justice. In other words, the film mimics karmic retributions, adding a gravity to the plot that reinforces the ambiguous enigma surrounding the Crypt Keeper himself and his treasure-chest-like book of the evilness behind the human condition.
As it stands, the film is a horror landmark, reigning supreme at the top of many movie-goers ‘must-see’ lists. The film has been donned as a trailblazer in British cinema, with the narrative’s pivotal cynicism and coldness speaking to the nation’s brilliantly nihilistic, dark humour that really is a one of a kind. If the lasting positive reviews were not enough, the film also sparked a cinematic multiverse-esque franchise that tied in an entire television series (Tales from the Crypt [1989-1996]), a radio series (2000), a sequel – ‘The Vault of Horror’ (1973), followed by further films ‘Demon Knight’ (1995), Bordello of Blood (1996), and ‘The Ritual’ (2002).
Tales from the Crypt epitomises the sinister joy that Christmas horror brings, from the evil Santas, to the morbid deaths surrounded by a strange, macabre and obscure sense of reflectiveness. Last but not least, the film is brimming with the talents of many, particularly the bold dramaticness of Joan Collins playing a murderous housewife, followed by Peter Cushing, who excels in every manner – not that this is surprising at all! The superb aesthetics, theatrical nature and uncanny tales from the Crypt Keeper all make for an excellent, no matter how many times you may have seen this brutal, Yuletide gem.
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Bob Clark’s 1974 classic, Black Christmas is undoubtedly one of the most beloved Christmas horrors, a bonafide slasher must-see and more often than not hailed as a true genre forefather, cementing the tropes we all know and love today. To phrase it simply, Black Christmas is an exceptional feat.
The chilling urban legend, often coined as “The Babysitter” or the more plot-revealing “The Babysitter and the Man Upstairs” is a campfire essential, the kind where a torch is held under the chin, creating ghostly shadows as the terrifying story bleeds out from the speaker. Its gravity is palpable, which Clark so impactfully captures within the plot of Black Christmas, based upon this iconic tale. Black Christmas opens with a Sorority house hosting a small soiree before the night is interrupted when Jess Bradford (Olivia Hussey) answers the phone to a disturbing caller, grunting obscenities. This is not the first time the unwelcomed caller has rung, earning himself the sorority-granted nickname “The Moaner”. Distressed by ‘The Moaner’s’ continuous threatening mumblings, student Clare (Lynne Griffin), retreats upstairs to pack for the upcoming holidays, however, she is soon suffocated to death by an unseen man lurking in her wardrobe. This first domino of Clare’s murder sets off a chain reaction of pure mayhem as the killer strikes again and again.
Black Christmas’ prototype-like properties for horror cinema vary from the intimate cinematography, all the way through to the ‘final girl’ theory. Beginning with the visuals, cinematographer, Reginald Morris continuously plays with the film’s voyeuristic tones, whether that be through the recurring point of view shots, or the positioning of the camera to show the characters from the perspective of ‘the other’; think of long drawn out shots of the camera peering at the characters through a window, or static scenes of a character going about their business, with the camera lurking from behind an object, replicating a prying, hiding gaze from an antagonistic force.
It is these sinister, foreboding visuals that were replicated in the likes of ‘Deep Red’ (1975) ‘Halloween’ (1978), and ‘Friday the 13th Part II’ (1981). Peeping into the privacy of others and watching in wait are common tropes that were not ‘invented’ from Clark and Morris’ work in Black Christmas, but it was one of the kickstarter’s that forged an unforgettable flame that remains to this day the initiator of some of cinema’s most terrifying scares.
Further elements that don Black Christmas as an iconic exhibition of genre cinema are its genuinely thought-provoking and intriguing politics that extradite the horror of reality and place it against an unnerving, tinsel-decorated background. Whilst the dramatic undertones have always been present within the reception that the film received, it is noticeable that over the fifty years (!) since its release, Black Christmas has been acknowledged as quite the feminist piece.
Professor Carol Clover cemented the idea of a ‘final girl’ in her 1992 book ‘Men, Women and Chainsaws’, with her work examining this idea of the surviving female in slasher films, a character that she describes as the one “who is chased, cornered, wounded; whom we see scream, stagger, fall, rise and scream again”. She is the one who lives to tell the tale, and in the case of Jess Bradford (alongside all the other established final girls), she is the catalyst that blurs the screen and the viewer personifies a sense of contagious empowerment and enforces a sense of active agency.
Latching onto this string of agency is the film’s exploration of bodily autonomy. A subplot of the film concerns Jess’ pregnancy and her possessive boyfriend Peter’s (Keir Dullea) reaction. Whilst Peter sings the positives of the situation and how the pair should settle down and start a family, Jess expresses her anxieties over the citation, leading to a receptive conversation about autonomy that is still ignited as a topic towards the film to this day. As such, Black Christmas is infused with an autonomy-tinged undercurrent that speaks to the entirety of the narrative.
To digress, the film was released one year after the landmark event ‘Roe v. Wade’ (1973), which by a Supreme Court decision dictated abortion should be legalised across the United States, formed upon the basis of the constitutional right to privacy. Incorporating a current subject into a narrative structure, only to forgo its significance is a disservice to the weight of whatever situation is at hand.
What makes Black Christmas still significant to this day is that Jess and Peter’s subplot did not fade into the midst, the story properly took hold of the matter and saturated its gravity into the film. For instance, Jess’ internal conflict is voiced with a maturity that does not deem her ‘irresponsible’ for wanting to terminate her pregnancy, nor bound to the patriarchy for wanting to keep the child. Black Christmas allows Jess room to breathe as a character, and to be morally multifaceted. The nuanced exploration adds a certain depth to the film that aids its transcendence as a true classic.
The slasher genre is ballooned with an array of treasured films including but not limited to: ‘Scream’(1996), ‘Friday the 13th’ (1980), and ‘A Nightmare on Elm Street’ (1984). Alongside this is a barrage of slashers that do not hold a flame to the key players, the ones that slipped through the cracks, and for good reasons why. To create a meaningful slasher there need to be the obvious, blanket positives across all films – a soundtrack with a dramatic flair that adds buoyancy to the tension, interesting story hooks that drop intriguing twists and turns, and a form of memorability that typically manifests within the main villain, often a masked, cunning and nefarious being. Black Christmas, ticks all of these boxes whilst still maintaining a unique, savviness that allows it to be a jolt to the expected elements, even on a contemporary watch.
Unlike the famed cloak-shrouded, claw-gloved, hockey-masked monsters of slashers (with goodwill, we here at Dead Northern are massive admirers of the mentioned villains), the primary antagonist in Black Christmas, later known as ‘Billy’ (Nick Mancuso), is largely physically unidentifiable, with his motives, nature and complexities also being concealed. Billy’s anonymity is a large part of the film’s disturbing nature, with him not only naturally gaining an omnipresent aura of terror, but also an air of uncertainty as to how his reign of terror is resolved. There is no unfolding backstory over the whole course of the narrative where bread crumbs can be left for his capture, nor is there a resolute understanding of what he wants, the end goal, and what can make him stop. He is a force of chaotic and sporadic violence that can taunt anyone and everyone.
The film’s conclusion nods to Billy still being on the prowl, despite the incessant ploys, fights and will to put an end to his madness. Billy’s unrelenting pursuit is demonstrative of Black Christmas’ legacy in cinema. The film marks the top of many slasher “listicles”. Its structure catalysed the subgenre that we know and love today. Black Christmas has spawned a desirable endowment to horror, with the film even spawning two further entries with the quintessential 2000’s ‘Black Christmas’ (2006), and the not as popular ‘Black Christmas’ (2019). Fans even joined together to make a mini feature titled ‘’It’s Me, Billy: A Black Christmas Fan Film’ (2021), which was followed by the sequel ‘It’s Me, Billy Chapter 2’ (2024).
Bob Clark’s masterly composition of a Christmas-themed slasher is a seminal work that has stood the test of time for fifty years, with its impact surely lasting many more decades. The film is an emotionally complex touchstone of precisely what a festive, bloodied yule-tide bonanza should be – dark, mysterious, contemplative and a celebration of all things horror.
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The definition of the word ‘heretic’ is as follows; to go against, to reject, to rebel against the standard order. Just as the description entails, directing duo Scott Beck and Bryan Woods’ new horror, ‘Heretic’, rebels against every expectation in favour of being a contemplative, at times challenging and overtly chilling tale of frightful depths. The film’s tagline is “question everything”, and of that you will…
The plot follows Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East), two missionaries for the Mormon church who happen upon the house of the reclusive, Mr.Reed (Hugh Grant).
Without delay, Heretic makes its intentions clear. Whilst the film indeed drip feeds its terror bit by bit, Heretic does not hesitate in establishing a sense of intense unease from the outset, with all of its meticulous themes and fervently displayed aesthetics being immediately established. The combination of stunning, yet simple visuals and a deliberately monotonous and muted tone promptly sets the scene and introduces the running motifs throughout the film. In other words, just as the film visually affirms, the metaphorical exploration of dark labyrinths and weighty topics are hidden in the most unexpected of places. This aspect of layering the symbolism speaks to the philosophical-like structure of Heretic, which is further implemented by the heavy verbose-ridden script.
Keeping spoilers at bay, the aforementioned themes generally focus on religion and all of its connotations, which are cinematically interpreted by the seemingly unending monologues and conversations delivered by Thatcher, East and Grant. On the subject of the cast, both Thatcher and East fulfil their roles with such dynamic enchantment, hitting every mark and genuinely elevating the film to be the success that it is.
Whilst the on-screen missionaries excel in every sense of the word, the film would not be complete without the talents of Grant, who executes the elaborate role of Mr.Reed with an air of true dedication to the craft. Many will know and love Grant for his bumbling performances of a typical Brit in love (Four Weddings and a Funeral [1994] and Notting Hill [1999]), meaning that his portrayal of a creepy, dread-bearing man will definitely take viewers out of their comfort zone when they realise the true extent of his surprisingly varied artistry.
Heretic’s harrowing and poignant concepts that are laid bare throughout the film manage to avoid becoming redundant and too-wordy all at the hands of the exciting and at times literal twists and turns. Beck and Woods’ haunting take on nuanced topics does not become tiring as the film progresses; instead, the commentary becomes probing and thought provoking. As it stands, Heretic, is akin to that of a unique combination of both a complex conversational piece and an adventurous, heart-pounding horror that stands tall as one of 2024’s more interesting horror releases.
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Tony Todd’s extensive career traverses across film, television and theatre, with the actor surpassing over 100 credits. His remarkable decades-long career is a testament to his captivating, and at times chilling talents. His dedication for all things performance has crafted a devoted fan base who have followed his many powerhouse accounts in some of cinema’s most iconic roles.
It was during his university days studying theatre that Todd honed in on his overt stage presence, learning to immerse oneself in the role and become synonymous with the script – a facet that would long follow Todd throughout dozens of performances. It was in 1986 that Todd would get his ‘big break’ in Oliver Stone’s Platoon, the Academy Award winning film that saw Todd play the emotionally grounded Sergeant Warren. Shortly after, Todd’s on-screen presence began to thrive, picking up countless, yet still meaningful and powerful roles that would cement him as the icon that he remains today despite his passing on November 6th 2024.
In commemoration of who is unarguably one of horror’s greatest icons, Dead Northern presents a retrospective of Tony Todd’s career.
Night of the Living Dead (1990)
George A. Romero’s Night of the Living Dead (1968) is one of the most pinnacle horror films to grace the screen, which consequently means that initially the 1990 remake was received with quite the touch of contention. Despite the mixed reaction, the film has blossomed into a fan favourite, with the similarities of the original and remake being continually referred to. The textual difference between the two is minimal with the script and plot points essentially being a mirror image. Another similarity is the emotional depth and commentary within the film, with both features being reminiscent of societal inequities and systemic qualities. Such an emboldened film with all of these crucial elements needs a strong lead, which in 1968 was headed by the character of Ben (Duane Jones), who proved exceptional as the pragmatic source of compassionate authority of the story.
In other words, Todd had ‘big boots to fill’. Todd’s revisioning of the prominent ‘Ben’, infused that quintessential warmness and groundedness that Jones so brilliantly portrayed, but Todd added that theatrical flare of emotional intensity that spoke to his gravitas as a performer. He was a lead character in every sense. Todd’s ‘Ben’ dominated the screen, steering the narrative with his outwardly expressive acting that cinematically took over Todd; as if the two people, one fictitious and one real, fused to be one. Contemporaneous opinions towards Night of the Living Dead often cite Todd’s enigmatic spark that makes for an objectively entertaining watch.
Candyman (1992)
“Candyman, Candyman, Candyman, Candyman…” Todd’s biggest role is unarguably the titular, bee-swarming, dominating Candyman, the vengeful entity who viciously murders anyone who dares summon him by saying his name five times in front of a mirror.
The premise of Candyman first appeared in notorious horror writer Clive Barker’s anthology series ‘Books of Blood’, in the entry ‘The Forbidden’ (1985). The story was originally set in Barker’s native Liverpool, UK. and emulating the British class system as a horror vessel, however, after the rights were obtained director and writer Bernard Rose began to recognise similarities between the urban areas of Liverpool and housing projects in Chicago, Illinois. With the new setting came new opportunities to expand the story and reflect the area more appropriately, just as Barker’s original narrative mediated on the specificities within Liverpool at the time. The Americanisation of the story saw the real housing project ‘Cabrini-Green’ become the primary setting for the film to play out. The estate was a largely impoverished area that was essentially abandoned of care by the state, leading to high crime rates.
Through this modification, the lore behind Candyman changed. Candyman became the ghost of the 19th century born Daniel Robitaille, an African-American painter who was cruelly tortured to death by an angry lynch mob who cut off his hand with a rusted blade before covering him in honey and setting a swarm of bees on him. This death trap was the consequence of an interracial affair. Tragedy, injustice and ill-will anchors this story, consequently, whoever played Candyman needed an intrinsic aura of intensity, the ability to play a tarnished soul, one that is integral in its mission to inflict the most formidable of frights, whilst still maintaining a sincerity that is both hard and rare to achieve.
The studio originally sought after Eddie Murphy (which is retrospectively baffling after Todd’s signature spin on the role), yet they were unable to afford the actor’s salary. Whilst the studio hunted for blockbuster stars, Rose had another actor in mind who he saw in the TV movie ‘The Ivory Hunters’(1990); in fact the filmmaker was so set on this performer that he did not want to see anyone else audition. To no surprises, the person in question was none other than the soon-to-be Candyman himself – Tony Todd.
From day one Todd was dedicated to the role, he refused to make this ominous antagonist just another ‘boogeyman’, not another monstrous brick in the movie wall. Alternatively, Todd digested the heartfeltness behind the villainy and the stark, almightyness that came from Candyman’s reign of terror. Often, Todd would refer to his character as being tonally similar to ‘The Phantom’ from the famed and similarly artful, ‘The Phantom of the Opera’ musical – Todd really was ever the theatre fanatic!
Todd continued to play Candyman for 29 years, from the very first screen adaption all the way through to its sequel, ‘Candyman 2: Farewell to the Flesh’ (1995), the third and trilogy-making entry ‘Candyman 3: Day of the Dead’ (1999), followed by the franchises latest feature ‘Candyman’ (2021). It is quite the rarity for the same actor to play the same major movie villain for every franchise feature, but it is definitely not surprising, particularly considering that Todd possesses the unique capabilities of capturing a melancholic ferocity with a sense of genuinity. Not to mention Todd’s notorious physical stature, with his 6’5” height and broadness immediately dominating the frame with an uneasy sense of authority, alongside his deep voice that makes that classic Candyman catchline “Be My Victim” sound so haunting and bone chilling.
Final Destination (2000)
After the release of Candyman, Todd was adorned as a horror icon, amassing cameos in the likes of genre essentials ‘The Crow’ (1994) and ‘Wishmaster’ (1997), followed by a role in the first entry of the now major movie franchise ‘Final Destination’. Todd portrays William Bludworth, a mortician who can be described as one of the film’s critical players in the grand and complex lore behind the omniscient character of ‘Death’ within the films. Todd’s dramatic cadance and resonance transforms his role from being one of a simple ‘exposition teller’ to an amalgamated blend of a ‘voice of god’ being, a narrator and a cautionary figure, an oracle even.
Although his physical screen time is not excessive, Todd’s performance was commended by the films fandom, leading to him returning to the role for ‘Final Destination 2’ (2003) and ‘Final Destination 5’ (2011). Although he does not appear as Bludworth in the fourth entry, he does make a sneaky cameo in ‘Final Destination 3’ (2006) as the voice of an animatronic devil for the film’s rollercoaster opening scene. As of recent years, Todd reprised his role of the ‘death teller’ in the upcoming and long awaited ‘Final Destination: Bloodlines’ (2025). Bloodlines is said to have a different approach to the typical setup of the previous instalments, with the film being not necessarily a sequel, nor a prequel, but a slight reboot.
Todd’s character has been part of many Final Destination conspiracies, which include Bludworth being the evil mastermind behind the in-film ‘Death’s Design’ (which determines the entire plot device of one being unable to escape their fate). Lately fans have been speculating this theory even more in anticipation of ‘Bloodlines’ release, both due to it being revealed that the film will delve into Bludworth’s backstory, and due to the connection between Bludworth’s surname and the film’s title. Bloodlines? Bludworth? It’s a far fetched claim, but in the world of Final Destination, anything is possible.
Hatchet (2006)
Besides Final Destination, Todd made many appearances in a string of horror movies, including but not limited to: Murder Set Pieces (2004), Minotour (2006), Shadow Dead Riot (2006), Shadow Puppets (2007), The Eden Formula (2006), Dark Reel (2008), Bryan Loves You (2008), Nite Tales: The Movie (2008), Penance (2009) and The Graves (2009), and lastly, Adam Green’s, Hatchet (2006).
Hatchet saw Todd play the swamp tour guide on the Bayou, Reverend Zombie, which Todd played with a brilliantly sardonic tone. His take on the tour guide was brief, but effective enough to return as one of the lead character’s in its sequel Hatchet II (2010). The sequel sees Todd in a larger role as Rev. Zombie. This time his actions are akin to that of a domino effect that sets the entire plot in motion.
Todd’s capabilities as an actor has seen him lead diverse career that stands tall to this day, with his talents resembling that of a caldron mixing together the emotional sensibility of a stage actor who can dish out every line with such gravity, whilst also possessing that timeless physical dominance needed to play his in-depth characters. Despite Todd’s recent passing, it can be assured that his time on-screen will long live on.
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Hammer Film Productions has long been a concrete part of British cinematic history, defining the horror genre and cementing itself as a key component in the world of iconic horror cinema. To celebrate the production company’s prodigious 90th anniversary, Hammer has teamed with Sky Arts to create the epic documentary ‘Hammer: Heroes, Legends and Monsters’, showcasing the monumental journey of the infinitely beloved Hammer Films.
Bringing this essential documentary to life is director Benjamin Field, whose approach to manifesting the elaborate history of Hammer is both one of valiant openness and meticulous detail. The documentary traverses the early days of the company, offering an exclusive peek into Hammer pre-horror, before moving into its glory days of monstrous proportions, featuring the origin tales of The Quatermass Xperiment (1955), The Curse of Frankenstein (1957), Dracula (1958) and The Mummy (1959).
Interestingly enough, the documentary is not fearful of delving into the downfalls that Hammer has experienced in the past. One particular example being the release of Captain Kronos: The Vampire Hunter (1974). The film may have experienced a resurgence in popularity over the last couple of years; however, upon its initial release, Hammer failed to promote this could-be-hit to its maximum potential. It is small details such as this that make ‘Heroes, Legends and Monsters’ the exemplary feat that it is. The film’s retellings are beyond comprehensive, with the modest runtime of 90 minutes managing to effectively and smoothly cram an entire encyclopaedia-like history into one single feature.
The variety of Hammer’s history is exuberantly delivered by various talking heads, featuring interviews from a fruitful list of icons, experts and Hammer stars, including: Tim Burton, John Carpenter, Joe Dante, John Landis, John Logan, Axelle Carolyn, Caroline Munro, Martine Beswick, Madeline Smith, alongside Hammer’s new CEO John Gore. The string of genuinely insightful, exciting and interesting conversations, stories and never before known tidbits into Hammer’s legacy is spliced with contextual clips of the most beloved moments from the extensive catalogue.
Heroes, Legends and Monsters will leave you brimming with plenty of ‘did you know’ quips to last a lifetime, with the telling, enlightening tale being akin to a tailor-made product that fans of horror will undoubtedly adore. Field’s actioning of spreading the legacy of Hammer is evident, with the future of the production house being teased. As Gore’s cameo makes clear, although Hammer is turning 90, the establishment is far from wrapping up. Gore’s direction is to revamp the studio using contemporary stylistics, but with that classic British charm that made Hammer the beacon of horror that it is.
Hammer: Heroes, Legends and Monsters breathes new life into the conglomerate of monsters that evolved throughout the production’s whopping 90 years, with the documentary giving credence to the staple figures who have since passed. With permission from the estate, the legendary Peter Cushing makes an appearance during the epic conclusion, with his likeness being resurrected at the hands of AI. It is this precise means of furthering the history of Hammer that makes this documentary the absolute must-see that it is.
Hammer: Heroes, Legends and Monsters premieres on Sky Arts this Halloween.
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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
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(The Reveal, 2024)
(Blavity, 2024)
(Deadline, 2024)