Tag: last night in soho

Categories
Reviews

Dead Northern’s top films of the year 2021

top horror 2021

In no particular order here is our favourite films of 2021, from film festival premieres to big screen releases its been a great year for independent releases!

1- Psycho Goreman (Directed by Steven Kostanski) 

Siblings Mimi (Nita-Josee Hanna) and Luke (Owen Myre) discover a glowing crystal whilst digging in their garden, in doing so they unknowingly resurrect PG, an ancient Alien creature who threatens to destroy the entire world. 

Psycho Goreman is simultaneously wacky, wild and witty, as Steven Kostanski delivers a vivacious love letter to classic 1980s B-movies. The film is brimming with impressive effects. PG’s design is practically flawless, as his extraterrestrial demonic exterior oozes a textured glow that stands alongside fellow horror movie monsters such as Hellraiser’s Cenobites and The Toxic Avenger himself.

The gory aesthetics washed across the film is a blast to watch, but the whopping effects are not the only punch packed. Plenty of savage dark humour is sprinkled throughout, creating many laugh out loud moments. The majority of the absurd comedy comes from Mimi, who is both extremely well written and entirely hilarious without coming across as immature and clumsy. Mimi’s quick comedic timing nails the scene, with one of the most memorable moments coming from Mimi, Luke, and PG’s garage band session where the film is interrupted by a two-minute song and dance break. And this is precisely why Psycho Goreman is entirely ludicrous, yet so very entertaining – it simply doesn’t take itself too seriously. 

You can check out our full review here.

2- The Night House (Directed by David Bruckner) 

Beth (Rebecca Hall) is grieving the death of her husband Owen (Evan Jonigkeit) after he suddenly commits suicide. Whilst searching for answers as to why he killed himself she unearths a sinister secret.

The Night House brews a slow, moody horror that ignites a melancholic spark to provoke intense sensations of dread and foreboding angst. David Bruckner demands the audience’s devout attention. The Night House delivers its terror through employing staggering reveals and bountiful metaphors, the film simply grasps us from the outset without becoming overbearing. The overarching significance of Beth’s journey becomes more and more suffocating as the sinister understanding of Owen’s death is revealed. Hall’s acting has to be one of the most exemplary performances throughout any film of the year, her devotion to transcending into an unhinged, morose woman stricken with heartache is unbelievably moving. 

The Night House is an outstanding entry into the world of horror, but beyond everything, the focal point of the praise emerges from Bruckner’s handling of death. The film wields a mirror technique that forces the viewer to look at their own understanding of grief, and how it would feel to actually experience a tragedy so deep that you forget the reality that resided beforehand. 

3- Wyvern Hill (Directed by Jonathan Zaurin) 

Beth (Pat Garrett) has begun to show early signs of alzheimer’s, leading to her daughter and son-in-law taking her in. However after their move to an old house on Wyvern Hill her symptoms begin to worsen as she loses her grip on reality. 

Wyvern Hill is a haunting portrayal of personal grief through an entwined tale of uncertainty, lingering memories, and the decay of reality. Director Jonathan Zaurin, joined with writer Keith Temple, constructs a deeply haunting narrative that lingers with the viewer long after watching, in response to the strangely cathartic world built throughout the film. Whilst the reliance of emotions and diminishing identity is important to the heart of Wyvern Hill, the film has a brutally callous edge that is not afraid to pull out all the gory stops to ensure that we will not forget it for a long time. The viewer is continuously pushed and pulled in every direction, mainly thanks to Zaurin and Temple’s deceptive motives; Beth’s perspective is not entirely meant to be trusted, with the disturbing visions she’s experiencing both confusing and alluring us into her eerie state of mind. This avoidance of settling into a formulaic plot shoves the film onto another level that many other horror’s wouldn’t even dare to go, making Wyvern Hill a film not to be missed. 

Premiered at the 2021 festival and winner of ‘Best feature’, you can check out our full review here.

4- Censor (Directed by Prano Bailey Bond) 

Enid (Niamh Algar), a particularly cautious film censor, views a heinous video nasty, inspiring her to embark on a journey to unravel what happened to her missing sister all those years ago. 

Censor births a retelling of the systemic delusions that were formed under the video nasty movement in 1980s Britain. This rise in hatred saw horror films being ripped to shreds by the media in a contradicting moral panic where literal laws were put in place to prevent the ‘innocent’ from getting ahold of so-called filth. Despite this movement being notoriously documented, not many filmmakers set out to taunt horror’s biggest scandal… Well, that was the case until Prano Bailey-Bond created Censor. The film devotes itself entirely to rarefied horror, with Bailey-Bond’s esoteric treatment of enticing panic alongside contemporary commentary forcing a stirring rendition of cinematic history. Provocative digs at film classification are rife throughout the film, with the various nods to the ridiculous rules even provoking the odd chuckle out of the viewer. But, the most dominating factor is the harrowing subplot that is explored. The feeling of loss experienced by Enid worms its way through the film’s emotional undertone, allowing the viewer to become lost in grief alongside Enid, creating a frightening account of moral turmoil. 

You can check out our review here.

5- Zomblogalypse (DIrected by Hannah Bungard, Tony Hipwell & Miles Watts) 

Zomblogalypse follows three rather amateurish survivors of a zombie apocalypse that destroyed life as we know it. To counteract the inevitable boredom that surrounds complete isolation they maintain a video blog to tell their story.

Zomblogalypse unleashes a world of chaos, fun and utter madness throughout, with the neverending laughs and gory effects creating a zombie film to remember. Zomblogalypse is an adaptation of the beloved web series of the same name created by Hannah Bungard, Miles Watts and Tony Hipwell. Pushing the film’s brave bravado into the spotlight is the immense comedic timing emphasized by the grand element of found footage. The entire premise of the film relies upon the banter between the trio as they navigate life post-apocalypse.

Through utilising the intimate vibe that found footage provides, the viewer becomes heavily involved within the story, almost joining the gang on their ridiculously hilarious journeys. There are many quick jokes that don’t even need a ‘song and dance’ to be funny, in fact, one of my favourite moments has to be the casual ‘days without bites’ notice board. But, rather than allowing the film to slip into a trivial parody, elements such as superb gory effects and a deeply original plot allow the film to rise above and become the most refreshing zombie film of the year. 

Winner of the Dead Northern Award at this years festival, you can check out our full review here.

6- There’s Someone Inside Your House (Directed by Patrick Brice)

After Makani (Sydney Park) moves from Hawaii to Nebraska it seems that all her troubles have been left behind, that is until a series of brutal murders erupt amongst the graduating class of the small town. 

There’s Someone Inside Your House may not have received stellar reviews across the board, which despite my praise of this film is not overly surprising thanks to mass audiences not being fond of the slasher genre revival. Over the course of recent years there have been many stabs at reinvading slasher territory, with the likes of Cold Prey (2006) and Terrifier (2016) all taking aim at reviving nostalgic horror.

However, although acclaim is found amongst these film’s target audiences, there still is a universal lack of general appreciation. Patrick Brice’s adaptation of Stephanie Perkins’ 2017 novel of the same name may have garnered a slightly rocky reputation, but for many (including myself) it hit a sweet spot. From the very first opening scene, it wouldn’t be impossible to guess the standard plot points. That said, the entire film revived this certain feeling that I haven’t felt in years whilst watching a horror. Do you remember when you first got into the genre? When you were watching some grizzly frightfest when you should have been getting ready for school the next day, but instead you’d be hiding behind a cushion and screaming for the unknowing victim to turn around to see Michael Myers or Jason Voorhees standing right behind them? Well, that exact excitement and boldness were recaptured within There’s Someone Inside your house.

If you want to forgo reality for a while and not pay attention to whether the narrative is socially significant, or whether the timings are truthful then this gem is exactly what you’ve been waiting for. Not every film has to be a meaningful journey, sometimes all it takes is a creepy mask and some killer antics. 

7- Titane (Directed by Julia Ducournau) 

Alexia (Agathe Rousselle) has grown up with a titanium plate fitted into her head after surviving a tragic car accident when she was younger. Years later, she now works as a performer at a motor show, keeping her strange devotion to vehicles close. 

As with Julia Ducournau’s previous feature Raw (2016), Titane blasted through film festivals with ease, earning the Palme d’Or at Cannes 2021. Titane oozes a certain slickness that makes way for the intense titillation, dominating the screen and dictating the audience’s observations. Through this full-throttled antagonism that is paraded, an exploitative form of body horror is closely held, muting any concerns as to whether Ducournau is brave enough to ‘go there’, particularly through the symbolic bond between hardware and the body.

Documenting such controversial topics is not entirely foreign to horror cinema, with David Cronenberg’s Crash (1994) previously exploring those with Symphorophilia (arousal via car crashes). Crash focuses on this similar autoerotic asphyxiation towards vehicles; but do I dare to say that Titane goes above and beyond every ‘mainstream’ film that has explored similar topics. In a valiant way, the film leans into this void of understanding, we could easily pin fetishism to Alexia’s fascination, except her inner delirium runs far deeper than an obsession with something. Ducournau exaggeratedly taps into humanity’s primitive state of needs, forgoing traditional methods in favour of sculpting a mechanical outlook on intimacy and desire. 

8- The Columnist (DIrected by Ivo van Aart) 

Femke Boot (Katja Herbers) is a writer who is juggling pressure from her publisher to complete her book alongside handling a barrage of anonymous death threats online. Tired of the houndings she decides to take matters into her own hands. 

The Columnist exudes a magnetising charm that toys with your expectations and scrambles any form of routine when it comes to tropes. We’re all guilty of it, searching through some pointless comment section to read foolish replies that you fully know will tick you off. We just can’t help it. This animosity that comes with such child’s play was just screaming to be adapted for the big screen; luckily enough this is where The Columnist comes into frame. The film is very much reliant upon Femke’s character to show off the script’s devilishly dark humour and manically graphic kill scenes. And through this intriguing amalgamation of morally tainted actions comes a warming sense of gratitude, we totally end up routing for Femke. Hell’, I even cheered her on at multiple points, but the film doesn’t solely target her incessant revenge plot, instead, we are treated to a couple of interesting subplots to keep the pacing exciting, particularly Femke’s blossoming romance with a fellow writer, and her daughters journey into self-confidence. 

The Columnist may from the outskirts seem like another kill-revenge sequence, but it is truly a powerhouse of delightfully savage barbarism. 

You can check out our full review here.

9- Violation (Directed by Madeleine Sims-Fewer & Dusty Mancinelli) 

Miriam (Madeleine Sims-Fewer) along with her estranged husband Caleb (Obi Abili), visit her younger sister Greta (Anna Maguire) and her partner Dylan (Jesse LaVercombe) for a fun weekend trip. But, when the evening quiets down Dylan assaults Miriam, inspiring her to take revenge. 

Violation refuses to beg for our attention, nor does it take any pity when it comes to exhibiting the harsh truths that emerge from rape. Miriam confides in her sister, expecting to be met with anger and sorrow towards Dylan’s actions, not Miriam’s. Alternatively, she gets scolded by her own sibling and is quite quickly dismissed as being an attention seeker, igniting a stern fury amongst every viewer. Dylan as to no surprise brushes the incident off and acts stunned that his own sister-in-law would make such an accusation. Violation doesn’t just immediately revolt to an over salacious assault scene, followed by a barrage of cathartic kills. Instead, we are treated with a tortuously slow release where nothing (literally nothing) is shielded from our eyes. Sims-Fewer and Mancinelli understand that this subject matter is not to be miscalculated or fraudulently paraded, it is to be respected with a strong portrayal of accuracy; and it is through this emotionally encompassing evocation that Violation shines. 

You can check out our full review here.

10- Last Night in Soho (Directed by Edgar Wright) 

Eloise (Thomasin McKenzie) is a wannabe fashion designer who moves to London to achieve her dreams. During her time in the city she finds solace in a place infused with such iconic history, but after she discovers her ability to travel back in time to the 1960s she discovers that everything is not as it seems. 


Last Night in Soho thrives through its own chaotic exploration into 1960s media and social culture. Throughout, the film is laden with stylish iconography of the swinging sixties, making you nostalgic for a time that may be totally irrelevant to the viewer’s personal history, but that’s where Edgar Wright yields his charm. We become entirely lost with Eloise in this twisted time scale, not knowing where we are headed next. Naturally, as a result, all of the eerie moments are harshened, exemplifying the fear factor. Accompanying the bold twists and turns is the dazzling aesthetics that are reminiscent of lush giallo films from the 1960s and 1970s. Neon lights douse the film’s daring climaxes with a warming glow, ensuring that the graphic violence has a spotlight the entire time.

You can check out our full review here.

Categories
Reviews

Review – Last Night in Soho

The whimsical Ellie (Thomasin McKenzie), heads to the bright city of London to attend a prestigious fashion college, but her doe-eyed innocence is soon interrupted when she discovers an ability to slip back in time to the swinging sixties where she witnesses the life of wannabe starlet Sandie (Anya Taylor-Joy), who dangerously falls under club manager, Jack’s (Matt Smith) spell. 

Dancing in neon bravado and swaying throughout time to paint a daunting picture varnished with chilling fates and show-stopping performances is Edgar Wright’s Last Night In Soho. It seems that the promise of the film’s release has been held over our heads for years, with its premiere being repeatedly delayed. Luckily enough the wait was certainly worth it as the film upholds every promise that was made in the dazzling trailer. 

Wright is no stranger to cult fandom, especially with Hot Fuzz and Shaun of the Dead floating in his seemingly endless filmography. Joining his talents is co-writer Krysty Wilson-Cairns, who deservedly garnered copious praise for her screenplay of Academy Award winner 1917. Together their collaboration of this riveting descent into imaginative violence is a force to be reckoned with and certainly a film to remember.

With all the praise comes a truthful reality, Last Night in Soho is difficult. There’s no denying that the amalgamation of genres, which range from musicals to neo-noir comes with an inescapable level of chaos. The melancholic swells of drama echo throughout just as much as the shadowy thriller aesthetics. The whirlwind of vibes is what allows the film to be utterly mesmerizing and rather impressionable as a modern triumph in the horror genre. The clear inspiration from horror icons such as Alfred Hitchcock and Mario Bava is clear, but rather than simply manufacturing a carbon copy of what is already out there, we get to witness a new and exciting approach. 

In an episode of the podcast ‘Post Mortem with Mick Garris‘, Wright confessed to being engrossed by the culture of 1960s London after finding his parents’ record collection, mainly consisting of The Rolling Stones, The Beatles, and Simon and Garfunkel. His perception of the time was formed through listening to these songs and admiring the vinyl covers, creating an almost romanticised dream-like interpretation of such a culturally significant time. In essence, Last Night in Soho is not too dissimilar from walking through a museum, immersing yourself in a time that is long gone. With each scene comes a barrage of songs that will ring familiar to nearly everyone, including Cilla Black’s ‘You’re My World’ and a haunting cover of ‘Downtown’ performed by Taylor-Joy. 

The film has this air of nostalgia from a time that viewers may not have ever experienced. Wright regenerates what we know as modern horror, forgoing the now archetypal film path in favour of enveloping late 1960s/early 1970s culture into the frame. 

Last Night in Soho melts together Giallo influences alongside an eerie supernatural tale that creates a backbone so dense, that it makes the film almost hypnotic and impossible to forget. Giallo cinema has long been upheld on a pedestal within genre cinema, thanks to its innate ability to force the viewer to the edge of their seat, with aspects such as stark lighting, hyper-stylization, and graphic violence that plunges itself to the forefront of the narrative. In a commemorative ode to this, we get to see a type of format-based relationship that is common to Giallo cinema; an equal push-and-pull with both the story and the auditory/visual cues. Last Night in Soho liberally uses films such as The Bird with the Crystal Plumage as inspiration to conjure a blend of cathartic mystery, alongside a fully fleshed out story. 

The film’s rapid success is also owed to the immense performances by Mckenzie, Taylor-Joy, and Smith. McKenzie is a powerhouse who manages to build a character so vulnerable and feeble that gradually becomes ferocious in her motivations, whilst Taylor- Joy perfectly achieves a lost tormented soul whose troubles have made her both fragile and strong at the same time. One of the most surprising character developments takes place in Jack. Jack takes his form as the ‘teddyboy’ manager who could have easily been written as a typical sleaze whose creepiness is just a regurgitated version of every other predatory character that’s already out there. Alternatively, Wright and Wilson-Cairns elaborate and create a brutally narcissistic character who truly reeks of pure evil. 

Last Night in Soho is rich and disturbing, with a designated aim for making the viewer a pawn in a horrific tale of mistrust, vulnerability, and corruption. 

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

Categories
News

This week in horror – 29.05.21

dead northern news
Spiral: From the Book of Saw cements it’s place as one of the most successful Saw films

Sprial: From the Book of Saw drove in heaps of hype even before its release, with fans buzzing about seeing the Jigsaw Killer back in action. However, Sprial scrapped the previous films and continued in a new direction in attempts to reinvent the franchise.

Despite mixed reviews, it seems that Darren Lynn Bousman has succeeded in doing so as box office figures reveal that it topped the theatrical charts and has racked up enough profit to make the entire Saw franchise gross over $1 Billion total. Pushing Spiral’s success even more is the announcement of its streaming debut. At home audiences will be able to watch Spiral in perfect time for Halloween, as Starz has picked up the film for an early October release. 

Check out our review of Spiral here

Netflix announces Fear Street trilogy

Streaming giant Netflix is no stranger to criticism for its lack of attention to horror, every week we see a plethora of dramas and comedies be spun out, yet the horror section remains bare in comparison. And it seems that this feedback has finally gotten back to them, as earlier this week it was announced that a “Fear Street” trilogy will be coming very soon. Goosebumps author R.L. Stine is known for his PG horror novels, including the Fear Street series.

Netflix will take on this trilogy by creating three separate film set at different times. Fear Street Part I is set in 1994, with the others based in 1978 and 1666. Little has been released concerning plot details, but what we can gather is that Part I takes inspiration from 90s teen horrors, such as Scream. Part II delves into a cabin/ summer camp environment, possibly emulating early 80s hits including Friday the 13th. And then finally we have Part III, which goes way back in time and certainly gives off The Witch vibes.

Fear Street Part I premiers on July 2nd. 

New Evil Dead movie begins production

The Evil Dead set audiences ablaze in 1984 with its inventive take on possession horror. Since then the franchise has seen two sequels, a very successful remake and a tv series. So its no surprise that Sam Raimi’s innovative direction is back once again. Evil Dead Rise brings back Bruce Campbell and Sam Raimi as executive producers. Alongside them is Lee Cronin who will direct the upcoming hit.

Cronin’s credentials include a segment in the anthology horror Minutes Past Midnight and the A24 gem The Hole in the Ground. Production will commence shortly in New Zealand and even more excitingly Evil Dead Rise will not be based in the traditional wood setting, but instead a city landscape. 

Last Night in Soho’s highly anticipated trailer shows a promising descent into the disturbed  

Last Night in Soho has been the talk of the town since its announcement in 2019, and with restrictions it seems that fans have been waiting a lifetime to see Edgar Wright’s latest exploration into psychological horror. The film is set to follow in the footsteps of the genre’s most acclaimed thrillers, including Don’t Look Now and Repulsion.

The first trailer was released earlier this week and audiences already can’t get enough of Anya Taylor-Joy and Matt Smith in this frightful tale of delusion, distrust and madness. Despite the trailer being rather cryptic (possibly a hint to the film’s aura) Last Night in Soho alludes to the importance of time transference, with a keen focus on psychedelic themes.

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

Categories
Reviews

Dead Northern’s: 2021 release radar

Dead Northern 2021 release

2020 was a rough year to say the least, whist we saw a brilliant emergence of indie cinema taking centre stage, big budget horror was burdened with delays, reshoots and rescheduled release dates.

Dead Northern brings you a list of 2021 releases to look forward to, here’s hoping for a time not too far away where we can see some great new horror on the big screen!

Last Night in Soho

Edgar Wright is known for his quick witted, dark humour often seen in his beloved smash hits, including Hot Fuzz (2007) and The World’s End (2013), but it seems that his most well known and respected film amongst horror fans is the boundlessly successful Shaun of the Dead (2004). And it seems that Wright has decided to brave the horror genre yet again in his upcoming film, Last Night in Soho.

However, this soon to be success does not tap into comedy to deliver its scares, instead Wright has opted for a more daring psychological horror narrative. Little has been released about the plot, but what we do know is that we follow a young woman who is enthralled by the fashion industry, but when her mysterious journey takes her back in time to 1960s London she discovers that everything is not as it seems. Last Night in Soho has an impressive cast lineup as both Anna Taylor-Joy (The VVitch) and Matt Smith (Doctor Who), alongside Thomasin Harcourt McKenzie (Leave No Trace) star in this upcoming dramatic tale ridden with deception and enigmas.

Release date: 23rd April 2021

Spiral

In 2004 Leigh Whannell and James Wan released the sleeper hit Saw, which soon shook the genre and has since amassed an entire iconic franchise. And 2021 delivers us the ninth instalment in this ever growing series. Similar to its predecessor ‘Jigsaw’ (The Spierig Brothers, 2017) the film will alter its direction to focus upon the police investigation into the excessive, twisted games that Saw is known for. Comedy icon Chris Rock takes the lead role as detective Zeke Banks, with Samuel L. Jackson starring as a respected police veteran. But, no need to panic, this is not a tepid crime mystery. The teaser trailer promises that Jigsaw’s maniacal games will yet again grace our screens. Spiral hints that it will resurrect the charm of the beginning of the series, with the director of Saw 2,3, and 4 Darren Lynn Bousman returning as Spiral’s director.

Release date: 21st May 2021

The Conjuring: The Devil Made Me Do It

When The Conjuring (James Wan, 2013) was released it took the genre by storm, with an entire cinematic universe forming. Therefore, it’s to no surprise that this smash hit of a series was continued, with The Conjuring: The Devil Made Me Do It making its mark as the eighth instalment in the constantly expanding series. The film narrows in on the classic demonic possession trope to elaborate on the real life harrowing trial of Arne Cheyenne Johnson, who was charged for murder. However, according to Johnson, it was the devil who made him do it. This film is set to be a fresh take on the typical haunted storyline that the cinematic universe follows. Both Patrick Wilson and Vera Farmiga return as the paranormal investigating duo ‘The Warrens’.

Release date:  4th June 2021

Candyman

It’s safe to say that Jordan Peele has become a modern horror legend, with both Get Out (2017) and Us (2019) becoming solid favourites amongst both critics and audiences. Peele only furthers this legacy with his latest partnered venture, a sequel to the 1992 classic Candyman (Bernard Rose). To bring such an iconic story back to the big screen requires a fresh look at what made the original so terrifying, and it seems that Peele has found this within Nia DaCosta, who not only directs the film, but also co-wrote it alongside Peele. The trailer promises a macabre, tense and overall chilling reprisal of the Candyman legend. But, what horror aficionados will be looking forward to most is that Tony Todd will be back as the dreaded Candyman.

Release date:  27th August 2021

Don’t Breathe 2

Don't Breathe 2 Has a New Director – /Film

The long awaited sequel to Fede Alvarez’s 2016 horror hit will finally be released this year, with its production being in talks for years. The same tense atmosphere will yet again be captured as Stephen Lang reprises his role as the intriguing Norman Nordstrom, who has become somewhat of an anti-hero since the films release, with audiences taking a liking to his dark and twisted character. Instead of the reverse home invasion route that the first film took, director Rodo Sayagues (who co-wrote Don’t Breathe) focuses upon Nordstrom’s journey into solitude; he has since rescued a young orphan and taken her under his wing. However, their isolated lifestyle in a secluded cabin is soon disrupted when a group of merciless criminals kidnap Nordstroms only companion.

Release date: 13th August 2021

Halloween Kills

Michael Myers has once again proven his immortality as he strikes Haddonfield once again. The film will pick right up where Halloween (2018) left off, with Laurie (Jamie Lee Curtis), Karen (Judy Greer), and Allyson (Andi Matichak) teaming up as a triple threat against The Shape to finally end the chaos. Halloween Kills will see an exciting revival of characters as both Tommy Doyle (Anthony Michael Hall) and Lindsey Wallace (Kyle Richards) return as disgruntled adults traumatised from their childhood experiences of Myers wrath. Quite interestingly Halloween Kills is not a solo story, instead we will see a focus on Haddonfield’s collective trauma and anger over the community’s dismantlement that Myers has so wilfully caused.

Release date: 15th October 2021

There’s Someone Inside Your House

Just the title alone is enough to bring audiences back to the ever nostalgic teen horrors that made its mark within the late 1990s. There’s Someone Inside Your House is a promising upcoming slasher horror directed by Patrick Brice. Brice’s natural talent for creating an incredibly chilling atmosphere was showcased in Creep (2014), and although both films are on opposite ends of the genre, it’s clear that this sense of eerie mysteriousness will definitely melt into There’s Someone Inside Your House. This film is an adaption of Stephanie Perkins 2017 book of the same title; throughout the story we follow Makani (Sydney Park), a transfer student from Hawaii who is at the centre of a series of ghastly murders.

Release date: February 2021

Run Sweetheart Run

Run Sweetheart Run is based upon a horrendous true story from the director Shana Feste. The film tells the harrowing tale of Cherie (Ella Balinska), a single mother who decides to finally tiptoe back into the dating scene. However, after her boss sets her up on the blind date from hell, she has to fight for her life in an after hours L.A. where she cannot trust anyone. The powerful undertones of danger within urban dating for women alludes an unfortunately realistic situation. Early reviews from festival runs hint at Feste’s superb spin on cliched genre tropes, which is only further highlighted by the bold and bloody narrative that is not afraid to imitate thousands of survivors’ stories of trust and betrayal.

Release date: TBC

Terrifier 2

Clowns and horror go hand in hand, and no clown is more sinister and utterly sadistic than Art the clown. Art’s first appearance originated from Damien Leone’s short films The 9th Circle (2008) and Terrifier (2011). And since then he has featured in four feature films, with the latest being Terrifier 2. The upcoming independent film was primarily funded by an extremely successful Indiegogo campaign, which was aimed to fund impressive effects that Leone has planned. With the success of the campaign and the constant pushing back of release dates fans have never been more excited to see Art do what he does best- completely annihilate. Little has been released about the plot, but the teaser trailer promises an absolute bloodbath.

Release date: TBC

Antlers

Antlers is a supernatural horror produced by Guillermo Del Toro and directed by Scott Cooper. The film is adapted from writer Nick Antosca’s acclaimed short story ‘The Quiet Boy’. We follow Lucas Weaver (Jeremy T. Thomas), a young school boy whose strange behaviour is soon noticed by his teacher Julia Meadows (Keri Russell), who alongside her brother Paul, the local sheriff (Jesse Plemons) attempt to solve the mystery plaguing Lucas. The trailer showcases a dull town, drowning in monotonous habits. That is until strange occurrences start making themselves known.

Release date: 17th April 2021

A Quiet Place Part II

A Quiet Place Part II follows on directly where the first film ended. Evelyn (Emily Blunt) and her three children attempt to survive in an almost post-apocalyptic landscape heaving with sound sensitive beasts and ruthless fellow survivors. Despite John Krasinski’s lack of  personal appearances in A Quiet Place Part II, he will still be behind the camera as he returns to the directors chair. However, rather than just follow our four main characters in a desolate universe, we will be introduced to Emmett (Cillian Murphy), who is seemingly Evelyn’s only ally left in the entire world.

Release date: April 2021

Wrong Turn: The Foundation

The Wrong Turn series has been making people fearful of going into the woods for years. But, it seems that no one has listened as we are delivered a seventh instalment in the highly gruesome series. Wrong Turn: The Foundation is a reboot of the very first film that started it all, but with a twist. The trailer introduces us to a group of friends as they brave the Appalachian Trail, only for their expedition to be abruptly ruined when a group of murderous individuals known as ‘The Foundation’ brutally threaten their entire existence. What’s quite interesting however is that this latest take on the backwoods trope has an essence of cult horror that promises to showcase The Foundation as a savage community aiming to harm anything that gets in their sense of union.

Release date: 26th January 2021

Red Dot

Red Dot is a Swedish Netflix original that follows a couple as they brave the night camping in a snowy setting in the mountains of North Sweden. However, the cold seems to be the least of their problems as a random, glowing red dot finds itself following their every move. In this tense horror we will see a sense of isolation and anonymity forming together to disrupt any chance of the audience getting comfortable. The mysterious sniper dot acts as the perfect villain, with no chance of them getting caught.

Release date: 11th February 2021

The Banishing

The Banishing is a gripping horror set in a grand country manor. The naturally haunting setting is reminiscent of classic gothic horror, laden with sweeping foyers and old time’ ghouls. The film follows Marianne (Jessica Brown Findlay), who moves into an ominously dark estate with her husband and young daughter in the 1930s. Director Christopher Smith is no stranger to horror, with him directing both Severance (2006) and Triangle (2009), and his latest venture is sure to be just as much of a smash hit, with boastful reviews flooding in from last year’s festivals.

Release date: 8th April 2021

The Manor

Horror writer and director Axelle Carolyn brings us The Manor, an eerie supernatural horror following a woman who has been reluctantly moved into a nursing home after suffering a stroke. However, her journey to recovery is cut abruptly short when she convinces herself that a strong paranormal force is preying upon her fellow residents. This film is a part of the Welcome to Blumhouse series released exclusively on Amazon Prime Video and will be released at some point later this year.

Release date: TBC

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