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2023 – Horror Film Releases

(from left) Dracula (Nicolas Cage) and Renfield (Nicholas Hoult) in Renfield, directed by Chris McKay.


Evil Dead Rise (Directed by Lee Cronin) Release date: 21st April 

2023 is hitting off with a “groovy” start as the fifth entry into the Evil Dead franchise will be hitting the big screen in just a couple of months. Rumours of a sequel to Fede Álvarez Evil Dead (2013) and promises of Sam Raimi writing a separate feature into the franchise have been stirring for years, with fans eagerly waiting for the return of Necronomicon antics. Just as all hope was disparaged Lee Cronin (director of The Hole in the Ground [2019]) was announced as the filmmaker of this new and very much unique instalment. Instead of following the usual cabin setting, Cronin takes us on a metropolis ride of demonic hell as the film documents possession, mommy issues, and plenty of manic gore all within the confines of Los Angeles. 

M3GAN (Directed by Gerard Johnstone) Release date: 13th January 

Chucky and Annabelle are in the company of a new ‘friend till the end’ as Gerard Johnstone and Jason Blum welcome M3GAN. The news of the latest possessed doll feature may not have had the warmest welcomes at first due to the continuous spur of toy-gone-wrong horrors entering the scene. However, upon the trailer’s release, the internet took M3GAN under its wing. And before the film had even been released, M3GAN was a viral sensation. The film follows Gemma (Allison Williams), a tech designer struggling to come to terms with unexpected guardianship, and the deadly quirks that come with designing an evil, sinisterly-lifelike A.I. doll.

There’s Something Wrong with the Children (Directed by Roxanne Benjamin) Release date: 17th January 

There’s Something Wrong with the Children comes from the mind of Roxanne Benjamin, who is most notable for directing segments in Southbound (2015) and XX (2017). The hauntingly titled film tackles a children-gone-mad storyline after a family weekend trip results in supernatural happenings.


Scream 6 (Directed by Matt Bettinelli-Olpin & Tyler Gillett) Release date: 10th March 

Ghostface is a certified horror household name, with every Scream feature becoming an instant classic amongst audiences. Adding to the beloved franchise is Matt Bettinelli-Olpin and Tyler Gillett’s follow-up to last year’s Scream. Very few details have been released regarding what, who, and when Ghostface is on the hunt for despite the March release date. What we do know is that Woodsboro is seemingly no more, as the latest survivors Sam (Melissa Barrera), Tara (Jenna Ortega), Mindy (Jasmin Savoy Brown) and Chad (Mason Goodling) head to New York City to escape the trauma from Ghostface’s slayings. Returning to the franchise is everyone’s favourite reporter Gale Weathers (Courteney Cox) and Scream 4 legend Kirby (Hayden Panettiere).


Cuckoo (Directed by Tilman Singer) Release date: TBC 

Luz (2018) director Tilman Singer is set to deliver a seemingly bloody, tense tale as press images reveal Euphoria’s Hunter Schafer bandaged and bruised, hiding from a blurred but nevertheless eerie figure in what appears to be a library. Despite the little information and closed details, what we do know is that the baseline plot follows a 17-year-old girl, forced to relocate to a strange resort where everything is not what it seems.


Knock at the Cabin (Directed by M. Night Shyamalan) Release date: 3rd February 

Based on the novel The Cabin at the End of the World (2018) is Knock at the Cabin. M. Night Shyamalan knows how to put on a display of cryptic dread that aims to take the unpredictable road for the entire film, with The Sixth Sense (1999) and The Visit (2015) both absconding into the unknown. The impressive cast for this apocalyptic-based horror is Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bord, Abby Quinn, and Rupert Grin. The film’s events revolve around a family being taken hostage by a crew of armed strangers, demanding that they have to make an impossible choice in order to save the world.

Renfield (Directed by Chris McKay) Release date: 14th April 

One of this year’s more unexpected entries is Renfield, an original and slightly more irreverent take on a Dracula tale. Nicholas Hoult is Renfield, the footman to Count Dracula (Nicolas Cage). After an eternity of tiring work, Renfield ventures beyond the vampiric layer to see what lies beyond. However, the path to freedom is not as easy as one would expect. Based on the promotional material, this upcoming bloodsucking feat promises the perfect vampy mix of off-kilter humour and savage frights

Saw X (Directed by Kevin Greutert) Release date: 27th October 

Ever since 2004, Saw has not left the margins of popular horror cinema. Whether it’s the ruthless kills that don’t hold back or the puzzling enigmas that come with every film, Saw has it all. Adding to the long line of blood-soaked terror is Saw X, the latest addition directed by Kevin Greutert. With a fairly long wait, until its release, details are kept sorely tight, but Jigsaw’s upcoming antics are in good hands with Greutert previously editing The Strangers (2008) and The Collection (2012). 

Missing (Directed by Nick Johnson and Will Merrick) Release date: 20th January 

Just as found footage horror captured audience’s attention and dominated the market years ago, its sister strain- desktop horror- has been similarly latching its hooks into digitalised-centric cinema. From the team of Searching (2019?) comes Missing, a cryptic thriller following a struggling daughter (Storm Reid) as she searches for her missing mother (Nia Long). 

Infinity pool (Directed by Brandon Cronenberg) Release date: 27th January 

It would be unfair to comment on Brandon Cronenberg’s talent as being only connected to his father (legendary David Cronenberg), as Brandon has proved with Antiviral (2012) and Possessor (2020) that he is very much his own auteur. Infinity Pool brings about the talents of Mia Goth, Cleopatra Coleman, and Alexander Skarsgård in this sci-fi tale.

Skinamarink (Directed by Kyle Edward Ball) Release date: 13th January 

Skinamarink is living proof that independent, micro-budget features can stand up against the blockbusters with Kyle Edward Ball’s upcoming exploration into hellish descents bringing about immense amounts of hype. To gather research for the plot, Ball asked on his Youtube channel (Bitesized Nightmares) about people’s worst nightmares, creating an eerily relatable horror that aims to get right under the viewer’s skin.


MaXXXine (Directed by TI West) Release date: 18th March 

MaXXXine is the final (for now) entry into the X trilogy, directed by TI West. Unlike its predecessor Pearl (2022), MaXXXine will not go back in time but instead forward, with the film’s events following directly on from the finale of X (2022). The precise plot details are yet to be revealed, but West has given a brief hint– MaXXXine will follow Mia Goth’s savage on-screen persona Maxine as she goes on to pursue a career in Hollywood following on from the massacre in the first film.

Alone at Night (Directed by Jimmy Giannopoulos) Release date: 20th January 

Alone at Night is set to take viewers by storm as this full-throttle story follows Vicky (Ashley Benson), a cam model who undergoes a battle of survival when a masked killer hunts her down. Alone at Night brings about the talents of Pamela Anderson, Luis Guzmán, Paris Hilton, Winnie Harlow, Sky Ferreria, and G-Eazy to deliver a vivid, neon-lit, slasher.

V/H/S 85 (Directed by Miscellaneous) Release date: TBC 

The latest V/H/S film is set all around many horror fans’ favourite movie decade, the 1980s. This retro throwback will feature several segments from epic filmmakers including David Bruckner, Scott Derrickson, Gigi Saul Guerrero, Natasha Kermani and Mike P. Nelson.


Humane (Directed by Caitlin Cronenberg) Release date: Post-production 

The Cronenberg’s are having a great time at the movies this year as Caitlin Cronenberg brings Humane into the mix of thrilling horrors this year. Humane chronicles an apocalyptic-Esque storyline chronicling a family dinner party gone wrong after a new governmental euthanasia system goes array.

Looking for more top horror lists and reviews? Check out our blog here..

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Reviews Top Horror

Dead Northern’s Top Horror Films of 2022

1- Speak No Evil (Directed by Christian Tafdrup) 

Two families meet on holiday, leading to an impromptu trip, but when the groups reunite, a series of misunderstandings wedges a dangerous divide.

Shudder has become an absolute go-to streaming platform for all things macabre and morbid, with hundreds of classics and hidden gems lining the service. Yet, there is one film that truly stands above the rest. Speak No Evil has dominated the horror game since its release. Which is no surprise considering its unexpected paths, commanding characters, and astonishing story beats that will leave your jaw on the floor before the film has even reached its peak. Speak No Evil understands the severity of the mundane; in fact, it’s the very blandness of passive behaviour that ends up being the catalyst for terror. Tafdrup makes no mistakes when it comes to devising tricky situations, which makes the most innocent of actions exude a suspicious level of insincerity.

2- Men (Directed by Alex Garland) 

Harper (Jessie Buckley) embarks on a countryside trip to get over the death of her husband. Whilst there, strange villagers interrupt her peace with growing ferocity.

Men is quite possibly one of 2022’s most controversial films, not necessarily due to the graphicness of ‘that’ ending… But, rather what Garland puts forth within the socially conscious A24 gem. Much of the criticism stems from Buckley’s role as a woeful widow, innately making her character development slip into distressed territories. However, as our review (link) points out, Men actively pursues a freeing emotional palette that disavows the one-dimensionality that is often seen within female roles. Men allows Harper to express grief without wearing a ‘final girl’ cloak that would have stripped Buckley of her incredibly intimate performance. Further ingraining this tone of allowing oneself to be a wreck (especially considering the film’s context) is Garland’s layered set design that flourishes in nature-based aesthetics, and intense soundscapes that transport the viewer into a mythical hellish landscape.

3- Watcher (Directed by Chloe Okuno) 

When Julia (Maika Monroe) and her partner Francis (Karl Glusman), relocate to Budapest for work, Julia begins to loose her grip on reality as she suspects that she has a stalker watching and following her every move.

Watcher unravels with an air of noir mystery, devoting a certain cryptic sleekness within a mystery-based narrative. Further implicating this ‘classic’ quality is the intricately woven sense of dismantlement that slowly unwinds until the tension reaches an unbearable, but purgative peak in the final scene. The ties between Watcher and Giallo cinema are clear, except, rather than heavily entwining the villain within the film, Okuno meddles with the idea of troubled psyches and questionable motives, akin to a modern Hitchcockian tale. This is where the true beauty of the film lies, within its own unpredictability.

4- You Won’t Be Alone (Directed by Goran Stolevski) 

As part of a ruthless curse, a young woman is forced to live a life of uncertainty through a transformative, witchy form.

This Macedonian set horror stormed through the Sundance Film Festival (22) with an impeccable response from both audiences and critics alike. It was the slow, chilling buildup, the exceptional performances, and the artful manner that allowed Stolevski’s debut to garner this immediate praise. You Won’t Be Alone tackles heavy subject matters such as solitude lifestyles, hidden identities, and envious behaviours to create a film brimming with depth and a brooding sense of dread that refuses to quit for the entire runtime. 

5- X (Directed by Ti West)

A team of adult filmmakers rents out a cabin in rural Texas to make the biggest erotic film yet, however, things soon go array when the land owners catch onto their plans.

Ti West has been on the scene for years, with films such as The House of the Devil (2009) and The Innkeepers (2011) rightfully earning their spot in the modern horror hall of fame. Adding to his extensive portfolio is X, a rather salacious number that takes no prisoners, especially when it comes down to the nitty-gritty details… X draws inspiration from the hardy grindhouse films of the 1970s, especially concerning the infamous skinflicks that cruised the scene at the time. X refuses to rely on its indelicate nature to conjure a favourable response, opting to additionally focus on stellar performances and a whopping soundtrack. West’s return to horror has been met with open arms, with X‘s prequel ‘Pearl’ only being released five months after the premiere of its predecessor. With the third entry in this budding franchise being released next year, could West be onto a winning trilogy?

6- Bodies Bodies Bodies (Directed by Halina Reijn) 

After an incident ends in tragedy during a storm, a group of twenty-somethings must make it through the night.

As fantastic as horror comedies can be (Shaun of the Dead [2004] and Little Monsters [2019] to name a few) it can sometimes be hard to find one that perfectly balances satire without becoming drenched in silly slapstick. Bodies Bodies Bodies nails this tricky footing of satirical dark humour through its genuine labyrinth-like story which hones in on the classic ‘Cluedo’ framing, as well as fleshing out its essential characters with the ideal amount of sincerity – just enough to care, but still cruel enough to root for the ‘villain’. Speaking of villains, what makes Bodies such a must-see is its bitterly hilarious take on the flaws of human temperaments, introducing quite a morbid take on the indoctrination of social media and the domination of cyber lifestyles. 

7- The Lies of Our Confines (Directed by Leon Oldstrong) 

During a trip to the Highlands of Scotland, one of a group of young Black males from the inner city come across a corn doll, harboring an angered spirit…

The Lies of Our Confines is living proof that independent cinema is just as, if not better than any blockbuster. This powerhouse of a film commands the attention of the audience from start to finish, with its dynamic cinematography and potent framing making use of the ample woodland setting. The rural habitat and rich narrative thrive thanks to the basis of the film’s diegesis. Horror, particularly that with an essence of neo-folk origins is lacking a much-needed boost of representation, presenting one-dimensional stories with no variety. The Lies of Our Confines breaks down that barrier and is a demonstration of the necessity of modern indie film.

8- Crimes of the Future (Directed by David Cronenberg) 

A performance artist (Viggo Mortensen), begins to grow new organs to remove them as part of his shows.

Cronenberg reached legendary status a fairly long time ago, with films such as Videodrome (1983) and Crash (1996) being just two examples of his sensational filmography. Crimes of the Future brings Cronenberg back to his sci-fi roots, and it’s more than obvious that this is where his bizarre, but stunning auteurship works best. The film is easy to spoil, but just be aware that this instant hit is a chaotic journey into the obscene and absurd, with a somewhat sporadic sense of lustiness that could only be pulled off by Cronenberg’s cinematic wit.

9- Master (Directed by Mariama Diallo) 

At a prestigious university, three women are finding their footing amidst a troublesome, and elitist presence haunting the grounds.

Master is truly a hidden gem, with the film not receiving all of the attention that it really does deserve. The college setting works incredibly well within the genre, there really is just something so sinister about old halls and urban legends within a scholarly environment that has a sinister lure. Except, rather than Master indulging in sorority frights (as seen with so many college films), Diallo dips into brave, and ghostly territory to create a film so rich and entwined with allegorical groundings that it is nearly impossible not to take away a lingering reaction. Master knows how to manipulate a scare out of its viewer, but it also knows not to overindulge in jumpscares, making it a go-to for any movie night.

10- Eating Miss Campbell (Directed by Liam Regan) 

When Beth Conner (Lyndsey Craine), a devout vegan high schooler, falls for her English teacher (Lala Barlow) she develops an untamed appetite for flesh.

Eating Miss Campbell is a bonanza of boisterous, frenzied, and rather cathartic obscenity–i.e., it’s a beautiful rarity that budding filmmakers should take note of for inspiration. Regan leaves no stone unturned within the latest Troma classic, with the film juggling contentious subject matters with a witty, and daring sense of humour that is quite unmatched. Throughout the 84-minute runtime, Regan, along with lead performer Craine show off their bountiful capabilities, making Eating Miss Campbell an absolute standout entry from 2022.

11- Dashcam (Directed by Rob Savage) 

Livestreamer Annie (Annie Hardy) jets to London at the start of the pandemic, leading to one hell of an unforgettable night.

The dream team comprised of Rob Savage along with writers Gemma Hurley and Jed Shepherd are the minds behind one of this century’s most impactful horrors, Host (2020). Continuing their cyber-minded work is Dashcam, a gloriously unfriendly tale of the objectionable nature of social media, all told through the perspective of a hilariously unwholesome character, played by the one and only Hardy. Dashcam has equal measures of thrilling, bloody frights and cynicism, with a means to create one of 2022’s most unique and brutish films.

12- Nope (Directed by Jordan Peele) 

After a suspected UFO flies over a Californian ranch, a brother and sister duo (Daniel Kayuua and Keke Palmer) bands together to capture the flying object on film.

Prior to Nope, Peele had only two films in his horror credits, yet the sheer adoration for his work was and still is fantastically immense, and rightly so. Nope understands its own excessive portrayal of spectacles. In fact, that is precisely what Nope actionizes. Peele’s work is laden with meta-commentary that focuses on the trajectory of human behaviour, all tied together with truly career-defining performances by Kalyuua and Palmer.

13- The Stranger (Directed by Mike Clarke & Paul Gerrard) 

The lives of an unsuspecting mother (Jennifer Preston) and daughter (Isabella Percival) are forever changed when an unexpected stranger (Damien Ashley) turns up at their guest house.

 The cryptic nature of The Stranger’s narrative path is the reason behind the film’s robust and rigorous flow, allowing for a slow buildup of dread and unease that makes for a notably insidious ending. Completely the thrilling ride is The Stranger’s double-edged disposition; the film is as much of a mind invasion as it is home, making the film a true cinematic experience. 

14- Searching for Veslemøy (Directed by Leo X. Robertson)

Searching for Veslemøy is a witty, eerie, and above all hilarious mockumentary that dares to go down the off-kilter route with Robertson’s talented filmmaking style allowing for bleak humour and a morbid sensibility to perfectly meld together. Further digging into the film’s style—the performances led by Tom Montgomery also pushes a hefty level of sincerity to the overarching found-footage method that manages to stand out amongst the popular sub genre. Searching for Veslemøy is a must see on anyone’s watchlist!

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Reviews

Review – Christmas Bloody Christmas (2022)

What’s not to love about Christmas? There are extra long queues at the shops, endless presents to wrap, and a robotic Santa on a killing spree…

Joe Begos’s Christmas Bloody Christmas takes frosty frights to a whole new level, with Shudder’s latest hit generating immense hype and smashing reviews. 

Begos seasonal slash fest delivers gory, over-the-top mayhem infused with just enough sarcasm and satire without being ridiculous. The savage, absurd atmosphere is very much owed to the film’s awareness of its own ludicrous story, akin to Josh Ruben’s Scare Me (2020), which similarly thrived in a sense of horrific hilarity. Many comparisons could be made to Christmas Bloody Christmas, whether that’s to fellow Shudder releases, or to classic yuletide horror flicks, yet, there is a restorative sense of ‘newness’ that is crucial in the film’s success. This air of imagination that breathes in wicked vibrancy to festive horror is the film’s heavy stylization, most of which is founded in the neon-inspired lighting, which paints a slick glow across the gory kills; most of which focuses on Santa’s swinging axe.

In lieu of this buzzing aesthetic, Christmas Bloody Christmas also breaks down the barriers of traditional character dynamics. Yes, there is a fair amount of characters simply existing as movie meat, but the lead protagonist Tori (Riley Dandy), is an epic badass who refuses to fit into the archetypal final girl role. 

The film is almost a spiritual resident within the Troma Entertainments hall of fame. It just has that gritty, frenzied essence that focuses on the amusement factor and makes the most of its seasonal background to create a memorable and noteworthy addition to a longline of classic Christmas horrors. 

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Original vs remake Reviews

Original VS Remake – Black Christmas (1974) vs. (2006)

The consumption of festive horror has rapidly increased over the years, with every season bringing about a brand new handful of not-so-jolly frights. And whilst many of these entries make for a perfect movie night next to a decorated tree, no other holiday horror has captured the same level of utter dread and catastrophe as Bob Clark’s Black Christmas (1974). The film chronicles the fear of a group of sorority sisters after they receive obscene phone calls from a strange man over the landline. Despite their flustered response, they soon shake the calls off. That is until a series of strange disappearances unveil the dark nature of the mysterious assailant. 

Wading through the film’s expansive depths is the overarching ambiguous nature that employs the whodunit storytelling arc, along with a personalised and closed narrative that creates a strange composition of being both vague to deter predictability, with a dose of emotional intimacy to forge a bond to the protagonists. As unbalanced as this may seem, Clark wholeheartedly knows how to juggle juxtaposed themes to create a distinctive result. The phone calls act as an instigator for terror to ensue, and like a ticking time bomb, the more phone calls received, the more vulgar and abhorrent they become. In fact, the profanities uttered are said in such a gravelly and inhumane tone that it almost creates the assumption that surely the caller cannot be a real person.

 Making the viciousness all the more threatening is the aforementioned personable quality. The viewer has a string of characters to follow, particularly the feisty Barb (Margot Kidder), who you cannot help but be drawn to (despite the lude humour), and then Jess (Olivia Hussey), the ‘girl next door’ who is fighting a losing battle with her forceful boyfriend, Peter (Keir Dullea). 

This nuanced duplicity of Black Christmas managing to be subtle but extreme, and quiet but loud is a strong component in its successful makeup and gives credence to the film’s ability to conjure a multidimensional response. The proclivity to forecast such tonality is always a goal for filmmakers, yet it is a rather difficult aspect to achieve, making Black Christmas an achievement in all reigns. 

The hedonistic gravitas that pushes the horror to the forefront is at heart connected to the laborious production where Clark meticulously worked to achieve a multifaceted study. Screenwriter Roy Moore developed the script with urban legends in mind, particularly the story surrounding a babysitter who receives repeated calls asking her to check the children. Quite eerie indeed. After a remodelling by producers where the background was changed to a university setting, the script made its way to Clark. However, he believed it to be too typical and added his own flare, including a touch of dark comedy, alterations to the dialogue, and a sense of prudence and capability to the sorority sisters. The zeitgeist of the time flourished in painting college students as being devoid of common sense, and with Clark wanting to create a piece that was more than gore-bait, he gave the final girl, Jess, a strong sensibility with difficult issues at hand. 

With the formidable tension, thoroughly explored dispositions, and tenacious ploy of dread the original Black Christmas is a nirvana of yuletide terror and festive alarm. What comes with this status is an inevitable track record for a lasting legacy…and remakes. 

There is no hate intended towards remakes, in fact, they can be just as, if not better than the original. When it comes to Black Christmas it can be difficult to hold it up next to such a classic. It has its strengths and a few weaknesses, but it does come from a well-intended place. Director Glen Morgan caught the attention of Dimension Films, who wanted to collaborate in recreating Clark’s 1970s hit. For Morgan, the aim from the very beginning was to recognise the significance of the original and not simply retell the already cemented work, but to re-flourish elements that stood out within a modern infrastructure. This is the primary thesis that allows Black Christmas (2006) to be a fan favourite and cult classic for many today. It understands its limitations of being a remake, yet it stands tall and works within its boundaries. 

The consequence of these developments included a deeper dive into the killer at the end of the phone line, and what made him a monster. Comparisons between Rob Zombie’s Halloween (2007) and Morgan’s insistent fleshing out of the backstory have been rightfully made. It could be said that the film’s main backbone is compiled by a complex backstory that has all the ingredients to create an analogical and somewhat more frightful result. However, from a critical perspective, this is the film’s primary undoing. 

In the original, the killer (now known as Billy) was not given an identity, let alone a history. The most information obtained comes from Billy’s dialogue, suggesting some sort of forbidden bond between himself and an unknown person simply referred to as Agnes. As with any popular film, over time audiences created their own folklore for characters and their possible backgrounds. The apex of Billy’s personality revolves around the perverse nature of his actions, with his dialogue and murders divulging gritty content. Morgan dives straight into the fables of Billy’s background and elaborates on who this ‘Agnes’ is and why Billy is a monster in the first place. 

The remake establishes (in heavy flashback-based detail) that Billy’s (Robert Mann) mother, Constance (Karin Konoval), kills his father on Christmas Eve, burying the corpse in the house’s crawl space. After years pass Billy’s abuse worsens as Constance rapes him, resulting in an interbred child named Agnes (Dean Friss) and Billy later killing his mother, as well as disfiguring Agnes with a Christmas tree topper. 

The rather dicey background is honestly quite out there for a widely released piece of cinema. Morgan’s plump retelling is impressive and makes for a ghastly and entertaining watch. Yet, the chance of suspense is completely lost amidst the packed surroundings. The original kept every little morsel of information tightly wrapped up for the entire film, even the ending is a double edged sword with the killer not being caught. There was no mask donned by Billy to create a spectacle, the absence of his presence felt in the kill scenes (with a focus on pov instead) tied in with his impenetrable demeanour, and most importantly the lack of answers made him even less human, and more beastly. 

Clark’s Billy was an unstoppable force who the audience couldn’t pinpoint why he is such a sadistic person. It opened the opportunity for our minds to go absolutely berserk in working out the mystery. We were forced to project our own fears and anxieties onto Billy, making him everyone’s tailored nightmare. Whilst Morgan’s bravery is commendable and works as a standalone feat, the cruelty of Clark’s omnipotent villain is sorely missed when comparing the two films. 

The remake is not solely steeped in pessimism, alternatively, there are many fantastic qualities that the film obtains. One aspect that truly amps up the fear factor and puts an impressive stamp on Black Christmas is the brutal killings. 2006 was a bloody time for horror thanks to the rise in ‘torture-porn’ works such as Saw (2004) and Hostel (2005) dominating the field with their ‘go hard or go home attitude. The fight to appease gory appetites was a rising issue, with studios resulting in painting every slasher with as much blood as possible. Black Christmas was no exception to this rule. 

Arguably, with a fairly violent predecessor, the basis of every spectacle in the remake may not have been a complete shocker as some kills followed a similar path to Clark’s original splatter scenes. Still, somehow Morgan manages to take the inspiration in his stride and forge some extremely unique sequences that deserve a round of applause. The classic opening kill of Black Christmas (in both entries) involves an unlucky sorority sister being suffocated by a plastic bag, before being left to rot whilst the rest of the house goes about their merry way.

The cruel beginnings of both films are a perfect example of the difference between Clark and Morgan’s paths. Clark lengthens the scene by intercutting the full kill with scenes of Billy climbing up into the house and creeping around like a lurch (all shown from his eyes), before also showing the college tenants’ reaction to the obscene phone calls. As Billy wraps the plastic bag around Clare’s (Lynne Griffin) head, we watch as the sheet takes away any breath left, before showing her lifeless corpse in a swinging rocking chair in the attic as Billy mumbles nursery rhymes in the background. 

In Morgan’s adaption, the kill occurs within a fracture of the time as Clair (Leela Savasta) is swiftly suffocated by a plastic bag and stabbed in the eye with a pen all within two minutes of the title card’s appearance. It’s a gnarly death and certainly more visually visceral, with the rapid frames taking the audience by dire surprise and showing them that this remake is not here to mess around. However, whilst this fun fire of gory madness makes for an entertaining popcorn movie, its missing that certain magic that Clark captured. 

As the remake moves along, Morgan is given the chance to shine with his throwback essentialities that allow the film to have a reminiscent quality that rings back to camp 1980s slashers. The vibrant characters who take Barb’s witty euphemisms and dial them up to the max are what make the film glow with a warm, easy-going vibe that makes viewers come back to watch the gore-fest every holiday season. And whilst there were some excellent examples of eighties slashers that went above and beyond in making their characters more than kill currency, Black Christmas (2006) goes full throttle in creating over-the-top deaths that have the opportunity to introduce contemporary audiences to a slew of similarly minded films such as The Slumber Party Massacre (1982) and The House on Sorority Row (1982). 

The sheer awareness that Morgan obtained throughout the filming process is an exemplary mold that other successful remakes embraced including The Hills Have Eyes (2006) and My Bloody Valentine (2009). Fashioning a remake with a spine that acknowledges its predecessor and creates a similarly-minded film but with updated aesthetics is what allows Black Christmas to be a gory Christmastime classic. 

The slasher genre is forever in debt to Black Christmas and Clark’s visionary delights that wielded an archetypal sorority narrative with festive darkness to garner an everlastingly appealing horror.  And with the consistent regenerative nature of horror and the churning out of remakes, Black Christmas (2006) is certainly not the worst recreation floating about. Instead, it’s a grand effort in keeping the memory of the original alive and bring forth attention to the original from audiences who might have missed out on Clark’s genre-defining staple. 

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News

Press release – SUCKER creators first feature film wraps Principal Photography!

kill your lover movie poster

PRINCIPAL PHOTOGRAPHY WRAPS ON TOXIC RELATIONSHIP HORROR “KILL YOUR LOVER” WITH SPECIAL EFFECTS MAKE UP ARTIST FROM “WINNIE-THE-POOH: BLOOD AND HONEY”

Married co-directing team Switchblade Cinema, Alix Austin and Keir Siewert (AK), have just wrapped on their debut horror feature KILL YOUR LOVER: A psychological drama with a punk edge and skin-crawling body horror, where ‘Blue Valentine’ meets ‘The Fly’.
Known for their stylized cinematography and love of practical make-up effects, Austin and Siewert have joined forces with Special Effects and Prosthetics Artist Rebecca Wheeler from the much-discussed upcoming WINNIE-THE-POOH horror (Other credits include: AQUAMAN 2, BOILING POINT).

Still from ‘Do Not Resuscitate’


Having previously worked with Wheeler on horror short DO NOT RESUSCITATE (linked below), AK are looking to take an even bigger and bolder swing with KILL YOUR LOVER – “Else what would be the point?”, says Austin, “we know there’s a lot of competing content out there and we know we need to cut through the white noise. With a machete if need be!”


With several ‘Best Horror’ and ‘Best FX’ awards under their belt, Switchblade Cinema are tackling the full breadth of the toxic relationship in KILL YOUR LOVER: the good, the bad and the downright ugly.
“When Dakota tries to break off her toxic relationship with Axel, it starts transforming him into a monstrous creature with increased aggression, a touch that melts skin and worst of all, he’s contagious…” Above photo still from ‘Do Not Resuscitate’


The film will feature tense horror sequences, heartbreaking interpersonal drama and creative kills alike. KILL YOUR LOVER is the epitome of the phrase ‘death by a thousand cuts’.


To learn more about Switchblade Cinema and KILL YOUR LOVER, visit: www.switchblade-cinema.com/kill-your-lover

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Reviews Top Horror

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. 

Looking for more top horror lists and reviews? Check out our blog here..

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Curiosity Corner Dead Northern Festival News and Reviews

Dead Northern 2022 in Pictures

We had an absolute blast at Dead Northern Horror Film Festival 2022! Take a look at some of the highlights from our award day 24.09.22.

Our beloved spooky home at City Screen Picturehouse, York.

Horror fans making some deathwishes with our sponsor DeadHappy – You can still use code ‘Horror’ to get your 2 months free life insurance.

Our 2022 festival T-shirt from Dead Comfy Clothing

Film makers and film fans grabbing a refreshment in between screenings.

Our newest sponsor Talk Talk giving out all the free sweets for horror fans
Cast and crew of ‘The Stranger’ grabbing a photo before the world premiere
Deadites heading into our big screen …
Huge line up for the weekend!
Our amazing Skeleton Crew at the Picture house
Dead Northern 2021 award winners and alumni Tony Hipwell and David Yorke attending their second Dead Northen with their new short films
One of many Q&As over the weekend
Stars of The Stranger posing by our 2022 banners
Director of Eating Miss Campbell Liam Regan striking a pose before the final Saturday screening and an energetic Q&A
Star of Searching for Veslemøy posing with Dead Northern mascot ‘Walter’
Energetic Q&A with cast and crew of ‘Eating Miss Campbell’
Award ceremony and after party kicking off with Co-founders Josh and Gareth
Huge applause for the first award ‘Best local film’ sponsored by Talk Talk
Director of The Stranger picking up the award for ‘Best Local Film’
Director of ‘The Lies of our Confines’ Leon Oldstrong picking up the award for ‘Best Feature’
Director Louisa Bablin picking up the award for ‘Best Student Film’ for ‘No Place Like Home’
Alix Austin and Kier Siewart picking up the award for ‘Best Short Film’ with the brilliant ‘Sucker’
Founder Josh and sponsors DeadHappy presenting the brand new award for ‘Best Death’
Winners of ‘Best Death’ Liam Regan and star of eating Miss Campbell Lyndsey Craine
Live music closing out the second day of the fest, until about 3am from memory….

Looking for more top horror lists and reviews? Check out our blog here..

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Dead Northern Festival News and Reviews Reviews

Dead Northern 2022 Festival review – Student shorts

Midnight Mannequin (Directed by Lee Francis) 

After finding an abandoned mannequin, a young man soon realises that something isn’t quite right. Mannequins by nature are entirely eerie, with their intimidating stature and blank expression mimicking the familiar human form, thus embodying a sinister emptiness, unlike any other being. Lee Francis uses the inanimate form to showcase an inventive take on haunted horrors, along with refreshingly sharp editing that knows when to cut quickly and when to let the tension slowly brew. 

The Lacuna Virus (Directed by Jude Brownhill) 

Clover and its citizens have been invaded by a strange virus, forcing reality to become abandoned. The Lacuna Virus rises above the capacities of human comprehension, slowly unveiling the viewer’s awareness of the situation thanks to the hypnotic-like aura composed of deliberately miserable sounds and terror-filled visuals that force an inescapable sense of unease. Jude Brownhill mitigates dystopian sensibilities that replicate strong emotions of loss all within the short time frame to create a film steeped in a horrifically memorable atmosphere. 

No Place Like Home (Directed by Louisa Bablin) 

When Jane’s (Louise Millington) over-controlling father suddenly arrives home whilst her boyfriend is visiting, she makes the ultimate decision between confronting her abusive father or keeping her secret. No Place Like Home radiates such high levels of professional production value that Louisa Bablin’s could turn this short into a full feature with ease. The grand setting allows for staggering lighting and cinematography to shine, encapsulating the velocity of the narrative whilst still remaining appropriately and effectively claustrophobic during the intense peaks of the film. 

La Boîte (Directed by Tosca Branca) 

In a clinical white room, a large box delivers a baby where its eternity is spent within its confinements. La Boîte is possibly one of the most purposefully discombobulating, yet spellbindingly entrancing short films that absorb the audience’s full attention for the entire film. The sheer abandonment of the real world throughout intensifies the horror and hostility. Accompanying the antagonistic landscape is the stop motion technique that serves to increase the surrealist vibe. 

Dark Red (Directed by Django Watkins) 

The ghost of Sam’s (Beathan Gurr) mother comes back to haunt her. Dark Red retells the tragedies that come with losing a parent, but more importantly, Django Watkins illustrates the horror that dramatically takes over when grief rises to the surface. The essence of Sam’s trauma cathartically fleshes out the film’s unique portrayal of haunted souls, alive or dead, through positioning the terror within an enclosed setting, a focus on close-up cinematography, and unbelievably impressive effects. 

Janus (Directed by Priscila Carvalho Vailones)


Janis (Jane Lu) has been hiding a monstrous secret, but it’s not long until it comes back to haunt her. Janus merges a creature-based narrative with a dramatically refined psychological horror essence to exude a tale that flourishes within its own pageant of variety. Priscila Carvalho Vailones exercises the freedoms of independent cinema through the lack of easy jumpscares, instead Janus gradually climbs the ladder of terror, resulting in an impossibly tense climax that will certainly take the viewer on a rollercoaster of emotions.

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

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Dead Northern Festival News and Reviews Reviews

Dead Northern 2022 Festival Review – After She Died

Jen (Liliana de la Rosa), is suffering with the aftermath of losing her mother, made worse by her damaged relationship with the only parent left in her life, her father John (Paul Talbot). With her social circle progressing past the humdrum of small town life, Jen is now more alone than ever. However, when John introduces his new girlfriend Florence (Vanessa Madrid), Jen senses that something just isn’t right and her isolation rises to a whole other level. 

Jack Dignan wrote, directed, and co-produced After She Died, one of 2022’s most spirited indie features that refuses to quit until you’ve questioned everything you thought you knew about horror. As with many film buffs, Dignan has been infatuated with cinema for nearly the entirety of his life, signing up for every film course he could during the school holidays, before eventually enrolling at the Academy of Information Technology where he received a diploma in interactive media and film. Since then, Digan’s extensive credits has ranged from directing the acclaimed short It Feels Like Spring (2019) to working behind the scenes in the visual effects department for blockbusters such as Thor: Love and Thunder (2022) and Elvis (2022).

 

Australian horror infamously blossoms in the hardcore sub genres of film, with eco terrors and exploitation flicks making the most out of the classic landscape. However, rather than go with the flow, After She Died dares to go bold with the film’s utterly nerve shredding, yet touching tale of remorse, grief, and the almost out of body experience that comes with severe unfamiliarity. The film’s yearning for a closely knit story that yields to the most fragile elements of adulthood, including the modern tragedy of the coming-of-age narrative is what bonds the viewer so tightly to the script, knowing that at one point the unease of broken down fellowships will become a reality.

 

The keen expressionism is gripping from the very first frame, but this fruitful execution would not be the same without the visceral visuals and dramatic soundscape that ensure the animated lighting, suspenseful setting, and pronounced character dynamics all remain as significant as Dignan overtly meant them to be. The direction behind After She Died was openly inspired by the unsettling nature of Asian horror classics such as Audition (1999) and Ju On: The Grudge (2002), where the fleshiness of the film equally derives from the ubiquitous plot points and the sinister cinematography. As Jen’s sense of reality succumbs to the horrors that lie ahead, the screen also becomes almost tainted, making use of the entire frame that slowly begins to fill with increasingly ominous symbolism. 

Over the years there has been an stern interest in matriarchal horrors diving into the terror within parental relationships, particularly with the likes of Goodnight Mommy (2014) and Hereditary (2018), however, rather than exaggerate upon already released works, After She Died thrives in its originality and exclusive pathos, warranting it to be both highly regarded in its field and as an important contribution to the entire process of independent cinema. 

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

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Dead Northern Festival News and Reviews Reviews

Dead Northern 2022 Festival Review- Searching for Veslemøy

Searching for Veslemøy chronicles the greedy attempt to bring in fame and fortune by a self absorbed reporter through bringing a cold case back to life in a trick to desperately launch his career. However, when the dice begins to roll and eccentricity takes the stage, events soon turn south. 

This upcoming found footage riptide comes from the creative mind of Leo X. Robertson. Robertson has been making an impact in all things media within recent years, with his work ranging from authoring novellas to founding the Stavanger Filmmakers Club all spelling an exciting future for the Scottish native. His previous feature Burnt Portraits (2021) surveyed harsh truths that unearth when the psyche is truly at its most vulnerable, leaving the viewer both unwinding the labyrinth of deep meaning behind the narrative whilst also being mystified over the naturalistic, gritty tone. 

Searching for Veslemøy doesn’t fall into the trap of being a spiritual carbon copy of the directors previous work, instead, the innately authentic and perplexing journey that the film takes us on is entirely unique and very much unlike any feature currently on the market. Straight off the bat the film creates a warm welcome, thanks to the faux documentary element, with Robertson fully understanding and using the familiarity of home video style to lull us into a false sense of security. However, a horror is a horror; and like a Jack in the box, we sit sheepishly waiting for the mystery to untangle. As that tightly wound cord of tension that Robertson so carefully forms unravels, the narrative direction both deliberately bewilders and eerily reaches an unprecedented peak. 

Permeating the film’s bleak, yet witty tonal complexities is the mockumentary format that by nature performs as if the events were captured as they happened, not only intensely involving the viewer, but also integrating a cold, harsh sense of realism that is bonded even further by Robertson’s off-kiltered script brimming with dark humour. In accompaniment of the bona fide expressionism are the performances that capture the curious and prying capabilities that come to the surface when a small town mystery arises. The range of talents from the likes of Tom Montgomery, Berit Rødsås, Rebekka Irene Skjæveland, Khonia Koushan, Raphaël Meurice, and Filip Haaland all excel in delivering that rarely reached level of legitimacy that sells the entire premise of a true story. 

Robertson proves that he is not a one trick pony at all, with his filmography including Burnt Portraits and Searching for Veslemøy all dabbling in alternative themes and filmmaking methods, whilst keeping the dialogue uniquely exciting and the atmosphere tense and engrossing. 

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