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2024 horror film releases

1- MaXXXine (Directed by T.I. West)

Completing T.I. West’s zealous ‘X’ trilogy is MaXXXine, a cinematic epilogue following massacre survivor Maxine’s (Mia Goth) journey to stardom in the early 1980s. With West’s signature homage to gritty nostalgia-driven thematics and Goth’s ability to immersive herself into her characters with visceral ease, MaXXXine will certainly be an unmissable slasher. 


2- Shelby Oaks (Directed by Chris Stuckmann)

Youtuber Chris Stuckmann’s directorial debut has already made waves across the independent film industry, with its Kickstarter campaign breaking records as the upcoming found footage inspired horror crossed the $1 million point early last year. Shelby Oaks tackles the story of a missing paranormal investigative team and the pandora’s box of hell that their disappearance unleashes.

3- Late Night with the Devil (Directed by Cameron and Colin Cairnes)

This highly anticipated Australian horror burst onto the scene with nothing but rave reviews after its premiere at the South by Southwest Film Festival. Taking centre stage is David Dastmalchian as Jack Delroy, a smooth-talking late-night talk show host whose show quickly goes south one fateful night after he interviews a survivor of a satanic mass suicide. 

4- Lisa Frankenstein (Directed by Zelda Williams)

One of horror’s favourite writers, Diablo Cody (creator of Jennifer’s Body [2009]), is back with the 1980s set Lisa Frankenstein, a morbid, fresh and ghastly take on the classic Frankenstein monster’s tale. Kathryn Newton plays the role of enigmatic teenager Lisa Swallows, who falls head over heels with a living corpse (Cole Sprouse). Dressed with bubblegum pink aesthetics and a ghoulish love story, Lisa Frankenstin makes for a perfect spooky Valentine’s watch as it hits screens on the 9th of February. 

5- Saw XI (Director TBC) 

A new entry into the neverending, blood-filled, gore-ridden Saw franchise is heading to theatres in late September. However, this is all that is known about the latest cog in Jigsaw’s grand plan so far. Despite its acclaim, writers of the warmly received Saw X (2023), Peter Goldfinger and Josh Stolberg, will not be returning to carry on the Saw legacy. Although the mystery is strong surrounding this upcoming release, one thing is for certain: Jigsaw’s game is far from over!

6- Longlegs (Directed by Oz Perkins)

The chilling teaser trailer for Oz Perkins ‘Longlegs’ has been haunting the internet since the new year, with small snippets of malevolent stills and unnerving clips of tense, unfamiliar symbols appearing all over social media. This sure-to-be hit follows FBI agent Lee Harker (Maika Monroe) as she is assigned to an unsolved case of a serial killer linked to the occult. 

7- Hell of a Summer (Directed by Finn Wolfhard and Billy Bryk)

Hell of a Summer follows the structure of a classic (and unbeatable) summer camp slasher, complete with a mysterious masked killer who lurks the grounds looking for prey. Whilst a strong sense of familiarity rings true, what Hell of a Summer does promise is an extremely gory, wild and savage take on a genre favourite. 

8- Terrifier 3 (Directed by Damien Leone) 

Horror’s residential terrifying clown – ‘Art’ (David Howard Thornton) has been scaring the wits out of people since his first appearance in Damien Leone’s short film The 9th Circle (2008), and now he’s back yet again for the highly anticipated Terrifier 3. With its first look trailer already rapidly making the rounds, this upcoming Christmas-based slasher will certainly be making some noise when it gets released come 25th October. 

9- The Toxic Avenger (Directed by Macon Blair) 

It takes a bold crew to tackle Troma Entertainment’s bold cult classic, The Toxic Avenger (1984). However, from the looks of the fiery trailer and the talented cast including none other than Peter Dinklage and Elijah Wood, the fifth entry into the ‘Toxie’ franchise is set to be an offbeat, untamed, maverick-like beast of a film. Catch the latest Lloyd Kaufman and Michael Herz produced flick later this year. 

10- Baghead (Directed by Alberto Corredor) 

Hitting theatres on the 26th of January is Baghead, a paranormal horror following Iris Lark (Freya Allan), who inherits a broken-down pub she soon discovers a sinister presence lurking underneath the premises. Baghead’s corpus of dread surrounds the rhetoric of loss, decay and the dwellings of mortality.

11- Abigail (Directed by Matt Bettinelli-Olpin and Tyler Gillett) 

From the creators of Ready or Not (2019), Scream V (2022) and Scream VI (2023) is the upcoming creature feature Abigail. Based on Dracula’s Daughter (1936), Abigail takes on vampirism with a vicious twist as the enthralling plot follows a group of kidnappers who abduct the daughter of an influential figure for ransom, only to discover their victim’s bloody appetite…

12- The Strangers: Chapter 1 (Directed by Renny Harlin) 

Despite the rumours, The Strangers: Chapter 1 is not a sequel nor a remake of the 2008 contemporary classic, The Strangers (Bryan Bertino). Alternatively, this Renny Harlin feature is the first of a standalone trilogy that occurs simultaneously with the original ‘08 timeline. With this being said, in Chapter 1 expect plenty of home invasion thrills, intense frights and most notably, some of the scariest masks horror has to offer. 

13- Nosferatu (Directed by Robert Eggars) 

Robert Eggars may just be the perfect choice to bring the infamous Count Orlok back to life, with his ability to convey macabre yet beautiful narratives, alongside his brilliant stylistic techniques that consistently utilise the likes of dramatic chiaroscuro lighting. Joining Eggars in bringing Nosferatu to old and new audiences to the screen are performers Bill Skarsgård, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin and Willem Dafoe. 


14- Your Monster (Directed by Caroline Lindy) 

Based on Caroline Lindy’s 2019 short film of the same name is Your Monster, a horror comedy with a heartwarming dash of morbid romance. The film follows Laura Franco (Melissa Barrera), a young woman simultaneously dealing with a breakup and a cancer diagnosis. However, her world is about to get increasingly stranger as she uncovers a petrifying but oddly endearing monster (Tommy Dewey) residing in her closet. 

15- The First Omen (Directed by Arkasha Stevenson) 

The Omen (1976) still lives on 48 years later as Arkasha Stevenson introduces The First Omen, a prequel to the original Richard Donner directed tale of horror’s deadliest child. The film chronicles Margaret (Nell Tiger Free), a young American nun sent to a church in Rome. However, she soon discovers a conspiracy within the Lord’s house as they attempt to bring about the birth of an evil incarnate. The 6th entry into the all-mighty franchise is set to be theatrically released on April 5th. 

16- In a Violent Nature (Directed by Chris Nash) 

This indie horror follows a masked silent man as he makes his way through a secluded forest (and a sea of bodies). In a Violent Nature proves that slashers are alive and well, with this slick yet dauntingly raw and seriously creative horror forgoing cliches and putting an original twist on the beloved subgenre with the film following the perspective of the antagonist. 

15- Dust Bunny (Directed by Bryan Fuller) 

Mads Mikkelsen and Sigourney Weaver star in Bryan Fuller’s (Hannibal [2013-15] developer) feature debut film about an eight-year-old girl who pleads with her neighbour to kill the monster hiding under her bed who massacred her family. The seemingly outlandish but entertaining concept of Dust Bunny is said to be rife with a throwback vibe, reminiscent of dark yet oddly comedic and heartwarming horrors from the 1980s such as The Lost Boys (1987).

16- The Watchers (Directed by Ishana Night Shyamalan) 

M. Night Shyamalan’s daughter Ishana makes her directorial debut with The Watchers, an eerie creature feature that amalgamates with a secluded forest horror setting as we follow young artist Mina (Dakota Fanning) who finds herself trapped alongside three strangers in an isolated forest in Ireland surrounded by sinister beasts. 

17- Handling the Dead (Directed by Thea Hvistendahl)

Adapted from the 2005 John Ajvide Lindqvist (Let the Right One In [2004]) novel of the same name is Handling the Dead, a Norweigan zombie film that tells the tale of three families whose lives are plunged into madness when their deceased loved ones are reanimated. The film strips back the hecticness of the archetypal zombie territory and opts for a muted, haunting atmosphere where the emotional anti becomes the driving force. 

18- The Home (Directed by James DeMonaco) 

After troubled retirement home worker Max (Pete Davidson), discovers that his patients are harbouring a menacing secret, he begins to reveal connections between his upbringing in a foster care setting and the ominous happenings at the ill-omened home. The Home sees James DeMonaco back with another horror following on from his work with The Purge franchise.

19- Imaginary (Directed by Jeff Wadlow) 

Joining the likes of the Chucky TV series (2021-), Megan (2023) and Five Nights at Freddy’s (2023) is Jeff Wadlow’s ‘Imaginary‘ which is set to hit theatres on March 8th. Imaginary’s ‘evil toy comes to life’ is a stuffed bear named Chauncey who was the beloved childhood companion of Jessica (DeWanda Wise). However, when Jessica’s stepdaughter Alice (Pyper Braun) gets hold of Chauncey and her once innocent behaviour turns vicious, Jessica realises that Chauncey holds a wicked secret.

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

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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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Review- Army of the Dead

armyofthedead

Does the idea of rabid zombies tucked away in a desolate Las Vegas thrill you? No… Well how about a merciless motley crew of mercenaries battling a zombie tiger? My thoughts exactly! 

Zack Snyder’s return to flesh eating horror is a bountiful resurrection as his new Netflix flick, Army of the Dead brings in a whole horde of viewers ready to tuck in to the zombie action in its first week.

Spoilers ahead…

Snyder stormed through in 2004 with a brave remake of Dawn of the Dead. Which was a regenerated retake on the original 1978 classic directed by the ‘Zombie Godfather’, George A. Romero. It is certainly one of Snyder’s more refined films, with its success fastening a weighty reputation. Snyder’s return to zombie mayhem has done wonders as Netflix is already creating an entire franchise based off of this single film. Yes, you heard that right. Already there is a scheduled prequel, an animated series, a sequel, making-of documentary and finally a behind the scenes book. So let’s discuss why Army of the Dead is here to stay.

 

The film begins with a military convoy transporting a restrained zombie, but when they collide with another vehicle all hell breaks loose as this monstrous creature tears through tendons and leaves the ground stained with blood. A slew of exposition explains that the majority of Las Vegas became infected and now only a small community survives in a quarantine camp.

This setup leads us to the real action, *cue Scott Ward* (played by Dave Bautista), an ex-mercenary who has to gather a crew of military misfits to recover millions of dollars from a casino vault as part of one of the world’s most riskiest heists. However, there are two big obstacles in their way, one being that Sin City is littered with the immortal, and secondly, the government is launching a tactical nuclear bomb to wipe out the undead only hours after they plan to leave. 

An area that I do have to applaud is the film’s energy. Throughout the extensive (and I mean EXTENSIVE) runtime of 148 minutes we do not really get a chance to breathe. The explosions do not stop, the guns are never not blaring and the velocity is amped up by the second. Going full throttle is definitely what Snyder does best. The theatrics certainly live up to his reputation, alongside the exciting setting, eccentric visuals and most importantly its tongue-in-cheek humour.

It’s sharp vibrancy is immediately placed down within the first 20 minutes. We are presented with the above mentioned crash scene which catalyses the zombie attack, but then we get to see what is my favourite scene of the entire film, the opening credits/montage sequence. Half-nude zombie casino girls flail around, shredding anyone they can get their claws on, accompanying this is a cover of Elvis’s “Viva Las Vegas” and a heavy dose of slow-motion shots, playing over the absolute carnage on screen. The glossiness of Vegas is certainly not lost amidst the zombies as I really believe that Army of the Dead would not have the same vibe if it was not set amongst ricocheted casinos, beaming sunsets, and decaying state landmarks. 

Army of the Dead thrives in this over the top attitude. The excess is mostly found within the copious amounts of gore and pure bloodshed, which is entirely understandable in a zombie movie. Paired with the onslaught is plenty of gun-fights and innovative subplots. Although the heist aspect was done better in last year’s Train to Busan: Peninsula, it is definitely a forgiving point, as for me I saw the heist scenario just a means to an end, not an encompassing important narrative device. However, this praise is not without caution…

This is not a perfect film at all, in fact I found it slightly dim in certain areas. Particularly, the lack of character care. To connect and actually care about the fates of the lead characters is quite an important factor. Without compassion, the legacy of the film will fade rapidly. There is a clear level of tackling done to avoid any shallowness, such as making Ward a father with a brief backstory. But that’s where the development stops. 

That is not the film’s only downfall, with the extended action taking sole presence over quality. As I’ve stated above, the 148 minute runtime is noticeable. The exact same film could have been told within a 90-100 minute time frame, but it seems that horde attacks and cool fight scenes were more important than keeping the audience’s attention. I’m not saying that the film is bad in any shape or form, but a sense of ruthless editing is certainly needed. 

Overall, I’d describe Army of the Dead as a mix of World War Z’s fast paced ferociousness, with a fair portion of Zombieland’s humour and quick wit. The combined gorefest is a visual festival of vibrant colour and beaming lights, but just be prepared for a lack of deeper narrative. 

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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Review- Relic

relic film

Relic both devastates and captivates us all whilst establishing a rich environment made to heighten fear and immerse our intrigue. The 2020 Australian horror left its blemish across the virtual festival scene last year, with reviews storming in boasting its brilliance. Quite impressively this is Natalie Ericka James’ directorial debut, despite this, the film received almost immediate interest upon its pitching, with Jake Gyllenhaal serving as a producer. Relic’s buzz was imminent due to its pressing and at times daunting portrayal of decay, both physical and mental, paired with a haunting atmosphere that goes straight for the jugular. 

When Kay (Emily Mortimer) receives a call from police alerting her of her mother Edna’s (Robyn Nevin) disappearance, she packs her bags along with her daughter Sam (Bella Heathcote) to search their family home. They soon find the house withering away alongside multiple reminder notes scattered, hinting that Edna’s dementia has gotten worse. However, when she mysteriously returns as if nothing happened they soon get the feeling that something much more sinister is at play. 

Unfortunately, memory loss seen within elder people, particularly family, is a dreadful circumstance that many people find themselves dealing with. James understands that our reaction to horror is deeply personal, our own experiences and fears develop our reaction. The echoes of loss are as above mentioned dispersed across not just the characters but also the self.

We are presented with a haunted house story but are met with much more than doors closing on their own, strange whispers and ghostly figures. There is a rather surreal tonal element that James masters. In recent years horror cinema has matured. Although plenty of entertaining slashers and gory films remain popular, a good handful of films drift towards an art-house structure, using eerie environments and character-driven stories, with thanks being owed to Robert Eggers and Ari Aster with the likes of The Witch and Hereditary favouring dramatics over bloodshed. 

An element that I personally admired throughout Relic revolves around the looming sense of dread that both Mortimer and Heathcote portrayed so robustly. They perform with a cathartic drive that aims to accurately embody what our reactions would be in such a situation. I mentioned that Relic is an immersive experience, mainly due to the reality illustrated. We wouldn’t be able to feel compassion for their situation without genuity. We follow three generations, that’s multiple generations of baggage and experience, they all naturally have alternative responses to the situations, yet the roots remain the same. Relic has a reeling heart and soul, reminiscent of the gothic tales from Edgar Allen Poe and Heathcoat, Mortimer and Nevin soulfully handle an impassioned story with effective ease. 

Furthering the terror is the complicated setting. Similar to Kubrick’s The Shining, I noticed that the internals of the house are convoluted and seemingly never-ending. At least twelve different rooms are shown, and although the exterior boasts a lengthy space (thanks to cinematographer Charlie Sarroff’s work) the camera still endlessly weaves through this maze of a house, only exaggerating the inescapability of this haunted house.

It is disorientating and threatening to be alone in a big empty house in an already isolated environment, facilitating this even more is the immediacy of terror presented to us regarding the “coldness of the house”. Sam notes the copious amount of locks that Edna has installed as she remarks that someone has been breaking in and moving furniture, yet there is not a single trace left. The camera lingers on the still idleness across the empty rooms and hallways. However, the frames remain thriving with a presence of lingering life, visible or not; this awareness of spiritual manifestation blossoms through transcending visuals. 


Relic relishes in a simplistic disguise. There is no bountiful torture or dark humour (granted it is still entertaining). I applaud the mossy baroqueness that drifts throughout this slowburner. On the point of slowburner, although I sing its praises Relic certainly will not please every audience member, or at least at first.

Do not expect rapid twists and turns or countless jump scares; it’s a slow burner true to the bone. Relic aims to make a witness out of you, and to invite one to simply watch as the unease unravels. And for this very reason, I’m marking Relic as a must-see for anyone willing to bear a small ounce of patience in return for a big payoff.

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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This week in horror – 07.05.21

dead northern news

Amazon Video pens new TV series based on the 1990s hit, I Know What You Did Last Summer 

1990s horror wouldn’t be the same without the writing talents of Kevin Williamson, who penned Scream, The Faculty and I Know What You Did Last Summer. As with any classic we are set to get a remake of Jim Gillespie and Williamson’s collaboration as Amazon Prime Video bravely begins early production stages. Following closely to the original 1997 slasher hit, we’ll see a bunch of teenagers in small town America battle a mysterious killer after one of their most deadliest late-night adventures leads to a fatal ending.

The series will be directed by Craig William Macnelli (Them, Channel Zero & The Twilight Zone) and stars Chrissie Fit (Picth Perfect), Madison Iseman (Annabelle Comes Home), and Brianne Tju (Scream: The TV Series). So far the series will follow a limited format, with only six episodes lined up, however with its already hyped reputation, we could possibly be seeing a major franchise revival of I Know What You Did Last Summer. 

One Cut of the Dead remake starts shooting 

In 2017 a relatively new director Shin’ichirō Ueda released One Cut of the Dead, a low-budget Zombie comedy. Little did the industry know that the film would go on to make over a thousand times its budget. The meta-parody flick zoomed across the horror world with a powerful force, as it went onto win several acclaimed awards. Now four years down the line French filmmaker Michel Hazanavicius (The Artist) directs the French-language remake of this Japanese hit.

Production has just begun rolling with an official cast finally being revealed; starring is Bérénice Bejo, Romain Duris, and Matilda Anna Ingrid Lutz (Revenge). Further details still remain quite hidden, but fans have speculated that this remake will be far from ordinary, with Hazanavicius bringing French extremism vibes to this Japanese rooted horror. Certainly an interesting combo…

Shudder’s May line-up revealed 

Shudder reveals quite the exciting line-up for this month’s schedule. Armed with a mix of older classics, and Shudder originals equals to a rather fan-pleasing month. New gems including the sci-go extraordinaire Fried Barry, Neil Marshall’s witchy haunt The Reckoning and the trippy Psycho Goreman will be released throughout May, with other genre essentials such as folk horror’s The Blood on Satan’s Claw and The Witchfinder General, as well as the very much underrated classics Def by Temptation and Black Roses. 

Dexter’s return is imminent as the first teaser trailer premieres

Ever since it’s 2006 release serial killer TV series Dexter has been nothing but a hit with audiences. Back in October, it was revealed that Michael C. Hall will return as the Jekyll and Hyde killer one more time with a ten-episode limited series premiering some time next year. The long-awaited revival’s trailer was released this week, which shows a snowy cabin setting with the camera backing to Dexter with a menacing grin, perhaps signaling that he’s been hiding all these years, preparing for his imminent return. 

First images revealed of the Children of the Corn reboot 

Stephen King’s 1997 short story has been adapted yet again. Kurt Wimmer’s take on evil children has already had a quiet release last year as it briefly played at two theatres, but the reboot is now set for a wide release later this year. Wimmer takes us down a less traditional route (in comparison to the other adaptions) as the film is primarily a prequel leading to the massacre situation that the story essentially follows.

The film will focus on how one young girl recruits the youth of the town to slay corrupt adults, but a hopeful high-schooler is not as easy to fool as the rest. Although the Children of the Corn franchise has spun several follow-up films, their success rate has rapidly descended with each release. However, the recent images that have circulated definitely show some promise, with a dark atmosphere, impressive cast, and a lingering sense of dread being very apparent. 

First look: Brand new images for new Saw film ‘Spiral’

Patient audiences finally get a sneak peek into the long-awaited ninth installment in one of modern horror’s most brutal franchises. The brand new images tease a brutal cat and mouse chase between the wicked Jigsaw and the brash detectives investigating a series of bloody and twisted murders. Although the series has gradually become slightly more slick and esteemed, Spiral promises that this new entry will be far from mundane, with one particular image graphically showing a torn open body strewn across train tracks! Spiral will be hitting theatres next week over in the States, however, here in the UK, we won’t have to wait long as Spiral premiers across the country in cinemas from the 17th of May. So, who’s booking their tickets?… 

New and exclusive trailer for Stranger Things season 4 

It has been nearly two years since season 3 of Stranger Things ended, and after such a long wait we have finally been granted a quick preview into the upcoming series. However, the eerie clip seemed to leave more questions than answers as we see Eleven (Milly Bobby Brown) back at Hawkins Laboratory with the creepy Dr. Brenner abusing her powers yet again. The climactic finale of season 3 left audiences shocked with the apparent death of beloved Chief Hopper, yet the new trailer does not reveal or tie up any of these loose ends that have left audiences quizzical for a while now. And it seems that the wait will only continue as earlier this year the proposed release date was postponed until further notice. 

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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Reviews

Review: The Power

the power
“Slow burn tale of 1970s blackouts in an East London hospital, that linger with you long after viewing”

Unlike many atmospheric horrors, The Power does not fall helpless to one tone scares and gimmicks. Instead, we are prescribed a potion of outstanding performances, apt pacing, and a lingering sense of dread, all melted together with a tremendously haunting setting.

The Power is written and directed by Corinna Faith and starring Rose Williams (Sandition). We follow Val (Willaims), a young and naive nurse on her first shift at a very strict hospital in 1970s East London. Her time on the ward is already burdened as the austere Matron (Diveen Henry) makes it clear that one mistake will end Val’s budding career, however, an authoritarian environment is her least concern as a nation-wide power cut brings out deadly secrets. 

The Power uses the backdrop of the 1970s blackouts to convey an innately eerie setting, with the government announcing limited electrical consumption in a bid to ward off total prolonged periods of power cuts due to strikes, plunging the already tangled maze of a hospital into an indistinguishable labyrinth of terror. The long empty hallways have a literal dark spell cast over them, making it possible for anything to hide in the dark and allowing for the isolating corridors to become a void of darkness. Following this organically chilling setting is a barrage of long shots lingering over Val and harnessing a sense of foreboding doom which is kept tightly under wraps.

The Power certainly toys with our expectations as Val’s ‘too sweet to be true’ persona is utilised as a veil that harbours a hidden past of deceit. Is it a coincidence that Val is placed in a dark ward with an even shadowier past? Or is she destined to live out this horrid night?

It is aspects such as the unpredictability of events that Faith employs to nurse our inclinations about who to trust. For me when a film takes an unforeseen turn where our habitual instincts are twisted then the effect has a greater payoff. A mundane formula is thrown out the window when it comes to The Power, with us being kept in the dark just as much as Val and her colleagues. However, the depths that the film manages to reach would not have been possible without the stellar performance by Williams. Throughout the entire film, Val exhibits a complex range of emotive states, with her balancing melancholy innocence alongside eccentric hysteria. 

A further inclination that The Power floats around regards the connotations of hierarchical power, not just electrical. Faith ambitiously nods to positions of power within 1970s Britain, with a keen depiction of the female nurses being subjected to cruel behaviour and demanding orders. One of the least subtle cues includes one of Val’s colleagues describing how the book she’s reading follows “a girl who has enough and brings the whole place down”, and of course she’s referencing Carrie. Val is often framed in positions of vulnerability; an abuse awareness poster illustarting a woman with her hands clamped across her mouth actually reflects upon Val’s face in a prominent example. Her doe-eyed stance frames her as a fragile lost girl, who even prior to starting the ‘dark shift’ has all of the lights in her small bedroom turned on. The dark exaggerates her loneliness and helplessness, pandering evil circumstances to her beckon. 

With a slow burn stance unravelling throughout this film it is certainly not for everyone, but for those with an interest in disconcerting narratives and an attraction to stories that linger around you long after viewing, then The Power is certainly for you. 

The Power is available to watch via Shudder right now!

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

Categories
Reviews

Review: Violation

Violation

Violation stormed through film festivals forming a fierce reputation, with floods of praise following closely behind. Soon a budding curiosity into why this film was gaining so much recognition occurred, but now with Violation streaming on Shudder we can entirely understand its limelight. Madeleine Sims-Fewer and Dusty Mancinelli have curated a sorely brutal genre challenger, with its allegorical skeleton provoking even the most seasoned of viewers. The film follows Miriam (Sims-Fewer), and her husband Caleb (Obi Abili), as they visit her blissful sister Greta (Anna Maguire), and her charming husband Dylan (Jesse La Vercombe). However, their sunny weekend soon buckles when Miriam’s relationship with Dylan reaches a boiling point.

Early on it is made rather evident that Miriam and Caleb have serious relationship issues, which is even furthered highlighted when we see Dylan and Greta fooling around, imitating a teenage romance. Yet, the disharmony runs deeper than what we are first made to believe, as Miriam and Dylan’s chemistry is intoxicatingly electric. Their light flirting can be easily masked as playful banter, but their lusty gazes spill a brewing attraction. After a somewhat tumultuous argument between Greta and Miriam we are non-surprisingly met with the truth that Miriam is a selfish person whose self-acclaimed ‘good deeds’ are for her satisfaction only. And it’s with this notion that the film drifts from the rape revenge archetype. Miriam and Dylan cosy up by the fire, with a warm auburn glow framing their mood, and although she shows a faint sign of want, she soon backs away with a stern warning that she is faithful within her marriage and respects her sister, as well as herself. However, the unthinkable still occurs.

Revenge cinema is inherently visceral, merciless, and coarse. Although Violation understands its genre privileges, it denies conformity, and instead breathes through our moral compass. Classic avengers of rape revenge films, such as Jennifer Hills (Camille Keaton) in I Spit on Your Grave (1978) represent the personification of our anger over said unjust acts. Without indulging in spoilers, Violation fires the ‘right or wrong’ trope through choosing to harbour both of the main characters actions through similar lights.

This is where Violation harshly shines. Assault is not provoked, nor is using flirting as an excuse acceptable. Miriam is a hopeless victim to the worst of crimes, just as much as any other. We do not particularly mellow to her character; she is actually rather bothersome. But a victim she remains. Being a saint is not in alignment with being a victim. Violation confronts us with a grueling truth that not many other revenge films do. No is no, regardless of circumstances or character portrayal.

Violation truly infiltrates the notion of ambiguity even further through the final act. After the assault, the film drifts into a trippy structure and utilises non-linear storytelling, almost embodying the cruel consequence of confusion that comes after harm. The rest of the film twists our perception and positions Miriam as a ruthless punisher. Without risking plot points, she becomes barbaric and cold with her revenge, with Sims-Fewer and Mancinelli using intensely realistic visuals and gruellingly graphic dialogue to disturb.

To accompany such a stark narrative is a glowing cinematography that utilises its nature-based setting to boast a deep symbolism. The manner in which Violation is composed exposes the seedy underbelly of nature, with plenty of close-up shots of insects and animals in different stages of their life cycles. Visuals such as a spider falling to its death and a caterpillar crawling along embodies what the film successfully attempts to convey; the ferociousness of human nature is inevitable and the position of prey to predator is a constantly evolving chain which eventually twists.

With a dark air continuously being laden over every scene it’s no wonder that Violation has been met with glowing reviews, however one aspect that I feel needs more attention is the absolutely phenomenal performance by Sims-Fewer. In what I could only imagine is an extremely draining role comes a unique responsibility to show respect to an awfully harrowing situation. Sims-Fewer does just this, through avoiding displaying Miriam’s actions as hysterical (as usually seen in revenge films), but instead through homing in emotions of distress, anger, grief, and regret. Creating an all-encompassing role that refuses to portray the victim as a flaming ball of anger, but one who is experiencing gaslighting and dismissiveness from those she should trust the most.

Violation sets a new path for revenge cinema, with a varied range rousing contemplative questions and a unique perspective on what it means to be a victim.

Violation is available to watch via Shudder right now!

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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News

This week in horror – News round up 20.02.21

dead northern news

This weeks horror news round up is brought to you by Grace at Film Overload!

New details surrounding Jordan Peele’s upcoming horror finally released

Jordan Peele has become somewhat of a horror mastermind in recent years, with his majorly successful projects including Get Out (2017) and Us (2019) storming through the horror market with ease. With this bravado surrounding his ventures, it’s no surprise that audiences across the board have been anticipating Peele’s latest directorial feature.

Although the upcoming untitled film has been kept tightly under wraps, we have been given a brief sneak into what’s to come; Keke Palmer has been officially cast as the lead, and Daniel Kaluuya will also star. The expected release date is not until July 2022, so fans will have to hold onto their seats for just a tad longer.

Shudder renews Creepshow for a third season

Creepshow has kept audiences both entertained and horrified since George A. Romero brought the beloved horror comics from the 1950s alive in 1982. Of course as with most horrors Creepshow has not remained a one-hit-wonder as sequels and an entire tv series have followed in its footsteps.

It now seems that this legacy is only destined for further continuation as Shudder has ordered a third season for their wildly successful anthology tv show. Creepshow showrunner Greg Nicotero has confirmed the third season will be the most ambitious yet, with the promise of some brand new storylines set to keep you up at night…


Season three is set for release later this year.

Netflix announces new series following Wednesday Addams with Tim Burton returning to the directors chair

The classic Addams Family will bless screens with their spooky charms yet again as Netflix has announced that the most morbid of the Addams ‘Wednesday’ will receive her own dedicated live-action tv series. Wednesday is set to return with her dark gumption as she battles her unpredictable psychic abilities, all the whilst investing a perplexing supernatural mystery.

Tim Burton will return as the director, with the creators of Smallville Al Gough and Miles Millar writing this very anticipated series.

Florence Pugh to star in Apple TV+ new sci-fi flick Dolly

Florence Pugh has been gracing the horror world since 2018 with her lead role in the chilling British film Malevolent, and of course the extremely successful Midsommar (2019). Pugh now returns in this upcoming sci-fi film Dolly, with Apple TV+ producing. This majorly intriguing storyline is based upon a short story written by Elizabeth Bear.

Dolly follows a robot companion doll who kills their owner, however the plot swiftly darkens when said robot asks for a lawyer. The film is majorly in its early stages, with a script not fully written nor a director chosen. Yet, it can be assured that Dolly has the potential to be a great success.

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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News Reviews

Review – Bloody Hell

Bloody Hell

With the fluency of director Alister Grierson, Bloody Hell has blasted onto the horror scene with an assaultive force cementing its position as being one of this year’s most surprising and devilishly indulging films. Writer ‘Robert Benjamin creates a story dripping with satirical hilarity and brutality, all whilst not falling victim to cheap cliches.

The tour de force that is Bloody Hell takes us on a wild ride as we follow Rex (Ben O’Toole), a recently released convict who unwillingly ends up in a sadistic Finnish family’s basement ready to be feasted upon by one of modern horror’s most barbarous households. However, can Rex’s internal monologue save him from the pits of hell?

It can be said that a film is dominantly character or scenario based, rarely both. Grierson carefully tiptoes between this line through creating an impressive character study without abandoning the richly entertaining narrative. O’Toole craftily carries this film with an incredible performance. We see Rex in two alternative lights, there’s his presentable persona and then his inner discourse whose valiant introspections create a devil’s advocate soliloquy.

Thrusting this rogue ‘bad-boy’ exterior even further is the film’s adventurous take upon what can be a risky sub genre; action horror. It was Rex’s heroic actions straight out of Die Hard that landed him in prison in the first place, and it seems that his time in solitude has only affixed this persona. This innately thrilling allure is what makes Rex the ultimate vigilante, with his fight or flight gutsiness exhibiting what we all wish we had the ability to do in the presence of a Nordic cannibalistic family.

Rex’s jovialness does not wear thin, but let’s not forget to mention the other piece in this twisted puzzle. The torture family trope is not entirely rare within horror, we’re accustomed to uncouth rustic families with an appetite for flesh living in an awfully convenient rural setting. Thus, it’s rare to be taken by surprise. However, we soon learn that this disturbed unit’s dynamics are much more complex than an insatiable appetite for flesh. Quite simply, Rex’s hosts are far from ordinary.


This erratic ruthlessness is not just exhibited through the characters, but also through the stimulating visuals. The sporadic hyper-stylisation is temptingly inviting, from the forthright confrontational cinematography through to the foreboding soundtrack denies the viewer any chance of normality.

This surreal horror warms with an eccentric satirical timing complimenting the surreal elements that are feathered throughout. This aligns with Bloody Hell’s use of frenzied camera work and unorthodox storytelling methods, making this a varied banquet with something for everyone.

Bloody Hell is available to watch via DVD/Blu-ray and VOD right now!

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

Categories
Reviews

Review – Dark Whispers (Volume 1)

dark whispers dead northern

Anthology horror can force a hellish crusade of amalgamated visions to ultimately create a blended film artfully formed to deliver a starkly dark piece. Although this seems like a complex myriad to achieve, Dark Whispers (Volume 1) smoothly executes a faultless entry into the anthology horror terrain.

The Australian film consists of ten chilling chapters from across the entire country. With an anthology framework it can be difficult to capture an entire short story from beginning to end without being too brief, yet Dark Whispers (Vol 1) overarching framework allows for each story to shine equally, regardless of its length and overall strength as a standalone piece.

This framing has a simple premise, but it’s an age old tale that works seamlessly. Creator and director Megan Riakos presents ‘The Book of Dark Whispers’. When Clara unearths her mothers secret ‘Book of Dark Whispers’ she discovers that each page contains a cryptically twisted story that promises the most chilling scares.


One of the most noteworthy components across the entire premise is that each and every segment is directed by a female filmmaker. Of course this fact holds bountiful promises within its own right, but to have this revolutionary concept be brought into the world of horror holds a whole achievement on an impressive accord.

Amongst the cast are Ed Speleers (Downton Abbey) and Anthony LaPaglia (Without a Trace) who feature in the segment ‘The Ride’, a darkly comic thriller which was backed by the BBC and Asher Keddie (X-Men Origins: Wolverine) who is terrorised by a stalker in the chapter ‘The Intruder’.

Each haunting chapter is woven to express equal measures of devilish hope, delusions and grief, all tied together in a horrific labyrinth. In one particular segment ‘Birthday Girl’ (Angie Black), we see a nervous woman enter into an elevator from hell. Her nerves are only heightened when a somewhat innocent young girl enters the lift with her, however as each floor descends, a parade of questions are thrown upon the woman until she is left in a bumbling mess of mysterious guilt and grief.


The second segment ‘The Man Who Caught a Mermaid’ (Kaitlin Tinker) is possibly one of the most interesting chapters to originate from the entire film. The short film follows a middle aged man with an unorthodox obsession over supposed mermaids. The mockery from fellow townsmen and his wife do not bother him in the slightest as he is entirely convinced that he will be the first person to capture a living breathing mermaid… or so he thinks?

Each chapter not only explores a different topic, some even delve into alternative forms of filmmaking. Gloomy Valentine (Isabel Peppard) uses stop motion animation to portray a rather emotive story following a lost soul attempting to remould her broken heart. Stop motion is not necessarily an unfamiliar technique within horror, but it is rare and more importantly it is very difficult to achieve a strong sense of horror when the audience cannot make that physical connection to the characters. Nevertheless, Gloomy Valentine manages to both tug on the heartstrings all the whilst maintaining a steady sense of creeping unease throughout.

Quite impressively Dark Whispers (Vol 1) was selected for a plethora of festivals, including Berlin Final Girls Film Festival and Cinefest Oz. And it’s no wonder why.

Dark Whispers (Vol 1) is a unique take on the anthology sub-genre that excitedly keeps audiences on the edge of their seat. An eclectic mix of short stories with something for all tastes, as long as those tastes are twisted!.

DARK WHISPERS (Volume 1), releasing on all major digital platforms across the UK and Australia on 25th January 2021.

This weeks article comes via Grace from Film Overload, you can check out more of her work here, including our 10 must see anthology horrors.