This weekend, thousands upon thousands of fans will evade the California sun for three days of shadowy arts inside the Long Beach Convention Center. From vendors to panels, haunted houses to photo ops, Midsummer has become the crossroads institution for all things creepy, which is why Bloody Disgusting will be right there in the muck and the madness.

From Friday, August 7th to Sunday, August 9th, fans can stop by Booth 592 to meet many of the minds that make up your favorite horror brand. Specifically, the voices behind BloodyFM blockbusters like The Antiquarium of Sinister Happenings, Scare You to Sleep, 7Lamb Podcasts, Mayfair Watchers Society, The Losers’ Club, Halloweenies, and The Lady Killers.

Stop by to meet the staff, grab a trick or treat bag filled with goodies, and even pick up exclusive merchandise. We’ll also have killer photo ops, free podcast merch, and a number of Halloween giveaways courtesy of Street Food Cinema. In fact, they have a couple creepers stopping by — including Remmick, who will be back for this October’s outdoor screening of Sinners.

That’s not all! In partnership with Bleecker Street, Bloody Disgusting and The Mystic Museum will be hosting an immersive and interactive photo op for Victorian Psycho, due in theaters November 13th. That all goes down at Booth 553, where the Mystic will also be promoting their forthcoming haunts for the season. Be sure to stop by and get a physical photo to take home with you!

Midsummer Scream is the world’s largest Halloween and Horror Convention, often described as Southern California’s kick-off of the Halloween season. The event features previews from local haunted attractions and Halloween events of their fall plans, celebrity guests from the worlds of spooky and horror film, TV, and video games, hundreds of vendors to shop from, and live entertainment across multiple stages, and the Hall of Shadows: a massive hall filled with haunted walk-thrus and displays set up just for the weekend, showcasing the talents of SoCal’s best pro and home haunters.

Grab your tickets and learn more over at Midsummer Scream’s official website.

The post Bloody Disgusting at Midsummer Scream 2026 – ‘Victorian Psycho’ Immersive Photo Op, Giveaways, Goodies, and Guests appeared first on Bloody Disgusting!.

According to a new report from the outlet tonight, however, Gareth Edwards will not be returning to direct the next installment in the Jurassic World movie franchise.

Deadline details, “Insiders say the decision was made due to creative differences and Gareth Edwards will now focus on other original projects he is developing as the studio begins to open up the search for a new director.” Universal Studios released the following statement to the outlet: “We had an incredible experience working with Gareth on Jurassic World Rebirth.”

Deadline goes on to explain that Scarlett Johansson, Jonathan Bailey and Mahershala Ali are expected to return for the Rebirth sequel, with David Koepp again writing the script.

Universal could begin filming the next Jurassic movie as early as next year.

Stay tuned for more as we learn it.

Jurassic World Rebirth was something of a reboot for the franchise, getting back to basics and moving on from any characters previously featured in the Park and World trilogies.

In Jurassic World Rebirth…

A covert extraction team races to the most dangerous place on Earth, an island research facility where dinosaurs too deadly for the original Jurassic Park were left behind. Their mission: collect DNA from three colossal creatures to unlock a drug with huge benefits for humanity. In a terrain populated by perils, they will make a shocking discovery that has been hidden for years.

The post New ‘Jurassic World’ Movie in Development But Gareth Edwards Will Not Be Directing appeared first on Bloody Disgusting!.

Appofeniacs releases in theaters on October 2.

In Appofeniacs, “when Duke goes on a frenzy of reckless deepfake creations, his callous disregard of consequences shows how, with a few clicks on a phone, anyone can create a deceiving video of an unsuspecting victim and ruin their life…or end it.”

Aaron Holliday (Cocaine Bear), Jermaine Fowler (The Blackening), Will Brandt, Paige Searcy, Simran Jehani, Harley Bronwyn, Michael Abbott Jr. (The Dark and the Wicked), and Sean Gunn (Guardians of the Galaxy) star.

“Appofeniacs embodies the creative ambition behind Magenta Edge Films,” said Magenta Edge head Bill Vergos. “It is bold, original and built for audiences who want discovery. Launching the label with a film like this clearly signals the kind of storytelling and filmmaker partnership we believe in.”

Trace Thurman wrote in his review, “Appofeniacs is a pleasant surprise and a strong debut for Piliero, even if it does fall into the occasional style-over-substance trapping. It nails the thrills, though, and weaves the narrative threads together with enough confidence to make Piliero a creator to look out for.” Thurman also teases a hefty body count in this bloody horror thriller.

Watch the new age-restricted trailer below.

The post ‘Appofeniacs’ Trailer Manipulates Reality As Deepfake Videos Turn Deadly appeared first on Bloody Disgusting!.

Fan-favorite creature feature host Larry Kurtzberg (better known as H.R. Bloodengutz) is back in the original new house H.R. Bloodengutz Presents: A Halloween Fright-Tacular! Discover Universal has unveiled a sneak peek at the Halloween-themed terror in story.

Halloween Horror Nights show director Ramón Paradoa previously gave Bloody Disgusting the scoop on this sequel house to 2011’s H.R. Bloodengutz Presents: Holidays of Horror, teasing the horror host’s return to WKNB Television Station for a final Halloween Special of gruesome proportions.

“What I’ll say about that without giving too much away is that there are seven movies that we’re presenting as scenes in the haunted house; seven movies that are a part of the marathon. Some of those movies are callbacks to HHN’s past,” Paradoa explained.

A Halloween Fright-Tacular! will take guests through multiple different visions of the holiday: “Once we knew that the holiday of Halloween and the world of horror cinema was our playground, we knew that there was a lot to tap into,” Paradoa said. “There are so many different Halloween-based tropes that people know and love. We were really inspired by that, and we wanted to make sure that when you’re being transported into the worlds of these movies, although they have the throughline of Halloween, they’re all completely unique from each other. That they all have a very distinct feel, and they present environments and characters that again, are rooted in what you’d expect out of classic Halloween textures, but are different from each other.”

The new images give a glimpse at some of the scenes guests will step into, from monochromatic visions of terror to a ghoulish Tiki oasis.

This year’s Halloween Horror Nights event begins on Friday, August 28 at Universal Orlando Resort and Thursday, September 3 at Universal Studios Hollywood. Tickets are on sale now.

The post H.R. Bloodengutz Returns to Halloween Horror Nights 2026 with Holiday-Themed Haunt in New Images appeared first on Bloody Disgusting!.

Bloody Disgusting was founded 25 years ago (!!!) on one simple idea: we wanted to bring horror fans together. In our early days things like the message boards, Movie Pit and user community were a core part of what made Bloody Disgusting feel special. As BD grew and the internet evolved, things changed for all of us and those spaces were unfortunately stripped away in favor of social media and broader platforms.

Today we’re all very excited to take a first step towards bringing that sense of community back with the launch of the Bloody Disgusting Horror Movie Database.

Think of it as the reanimated (and modernized) corpse of our old Movie Pit where you can build your profile, rate films, create public or private lists, and discover what other fans are watching. Use it to find your next film to watch, follow other horror fans, or just leave your stamp on the horror community.

This is very much in beta, but it’s the start of building a home for the horror community again.

Let us know your honest thoughts, if you find any bugs, and what kinds of features you’d like us to add. We already have a whole slate of features and ways to tie it all more deeply into Bloody Disgusting that we’re getting ready to roll out, but this is meant to be a home for horror fans so we want YOU to help us shape it.

There are already over 6,000 horror films in the database waiting for you here, so go sign up and create your profile to get started. If you have any issues, find errors or bugs, or just want to let us know what you think, please send us a message.

If you weren’t around during the Movie Pit days, here’s what it looked like back in 2006. Raise your hand if you had a BD message board account way back when!

The post Introducing the New Bloody Disgusting Horror Movie Database and Community appeared first on Bloody Disgusting!.

Tickets are on sale now for the Kansas City premiere of Don’t Move at the Midland Theater on September 8 and the Los Angeles premiere at the TCL Chinese Theater on September 9, ahead of Don’t Move‘s theatrical release on September 11.

The upcoming creature feature adapts the 2020 novel of the same name from co-authors Murray and Darren Wearmouth. 

In Don’t Move, a church group’s annual retreat turns deadly when they wander into the wrong part of the Ozark wilderness, and something starts picking them off one by one.

Suspicion falls on Ricky, the troublemaker of the group. But the real threat is far worse. Deep in the forest, wrapped in a labyrinth of webs, the group is pursued by a terrifying prehistoric arachnid that hunts by vibration. When every step could be their last, they only have one choice: Don’t Move.

It’s up to Megan to hold what’s left of the group together and get them out alive.

Lyndsy Fonseca (Kick-Ass), Russell “Russ” Vitale, and Tom Cavanagh (The Flash) star alongside Hunter King (Life in Pieces), Rob Riggle (The Hangover), and Joseph Lee Anderson (Young Rock). Expect plenty of cameos including T-Pain, Matt Biedel, and “Impractical Jokers” members James Murray and Brian Quinn.

Maclain Nelson (Vamp U) directed from the script he co-wrote with Murray and Wearmouth. 

The creature feature is the first under Murray’s new banner, Impractical Studios, designed to bring his authored works and love of horror to mainstream audiences. Don’t Move is produced by Murray, David M. Wulf (The Card Counter, Call Jane), and Ethan Berman.

The post One Wrong Step Means Death in the New ‘Don’t Move’ TV Spot appeared first on Bloody Disgusting!.

Plot details are under wraps at this time, but it’s said to be a horror movie set in a NYC apartment complex in the middle of a heat wave blackout. 

John David Washington (The Creator, Tenet) is set to star. Nanny director Nikyatu Jusu is attached to helm from a screenplay by Stephen Herman (Silent, Black Box), based on his original idea. 

The project falls under Screen Gems’ first look deal with Black Phone 2 filmmaker Scott Derrickson, who will produce with Matt Tolmach under his Crooked Highway banner, as well as Camila Grove. Also on the way from Crooked Banner is Bitter Bitter.

That’s not a whole lot to go on at this time, but the talent currently attached has our curiosity.

Stay tuned for more as it arrives.

The post John David Washington to Star in Supernatural Horror ‘Mime’ From Producer Scott Derrickson appeared first on Bloody Disgusting!.

Horror assures us that trouble is underway once the characters set foot into nature. With the great outdoors being a popular backdrop in the genre, there is no shortage of camp horror.

Now, if you want to go off the well-beaten path and look beyond the likes of Friday the 13th and Sleepaway Camp, then you’re heading in the right direction.

These ten less-seen movies not only capture the spirit of camping, they also show the potential dangers.

Rituals (1977)

In this punishing account of camping gone horribly, horribly wrong, we head to Northern Ontario, Canada. Peter Carter‘s Rituals follows the unlucky doctors-turned-outdoorsmen who, over the course of this tragic story, are targeted by both an unseen madman and the harsh, rural landscape. Overall, Rituals doesn’t take its story lightly—and nor should you.

Body Count (1986)

From that sea of Friday the 13th emulators is this one Italian import. Although Body Count is almost egregiously low on originality, it’s rather high in aesthetic appeal. Cannibal Holocaust director Ruggero Deodato, along with cinematographer Emilio Loffredo, draws on the autumnal backdrop of this Italo slasher. The giallo-esque score is also another highlight in this attractive yet ultimately uninspired movie.

The Deadly Camp (1999)

While Bowie Lau‘s spin on the camping slasher movie is hardly any different from what’s plentifully available in the West, it’s also one of the few campout horrors from the late ’90s. By then, the genre had largely relocated to cities and suburbs, before then returning to nature, so to speak. The Deadly Camp premiered during a hot trend, specifically that fresh crop of post-Scream, postmodern slashers, and delivered something retro and straightforward. The end result is more along the lines of classic hixsploitation, albeit with some bandaged maniac running around with a chainsaw. As for its sense of humor, don’t go in expecting anything meta; you’re instead treated to that regional style of comedy that was so prevalent in Hong Kong horror.

Wilderness (2006)

In the 2000s, British cinema saw itself opening up to more kinds of horror stories. The genre wasn’t just haunted Victorian houses and wailing ghosts anymore. Among this new wave of Brit horror were the more extreme tales of survival, such as M. J. Bassett‘s Wilderness. Here, adolescent delinquents are thrown on the chopping block after they’re brought to an uninhabited island for team-building and disciplining. Yet it’s not their proctors who are doling out the grisly punishments. No, it’s that masked archer who’s picking them off, one by one, and using a pack of bloodthirsty dogs whenever one of his arrows misses its target. So, Lord of the Flies this movie ain’t, but it definitely offers coming-of-rage thrills.

The Barrens (2012)

A family campout can feel like a horror movie all on its own. But what if the trip occurred somewhere as eerie as the Pine Barrens? The titular location for this slow-burner is supposedly home to one of America’s most iconic cryptids: the Jersey Devil. Darren Lynn Bousman is sure to include New Jersey’s most infamous resident. You may come to loathe the human characters, but rest assured, your waiting for the Devil to show up will not be in vain.

Evidence (2012)

Given the popularity of found footage back then, it’s really no surprise that movies like Howie Askins‘ Evidence became so overlooked. However, this is a bona fide hidden gem that more found-footage fans should see, if they haven’t already. Here we have what looks like a very standard Bigfoot story; some unsuspecting campers spot a strange creature out in the forest. Soon enough, those same characters are thrown into a hellish situation that has to be seen to be believed. After watching, you might agree that “Endurance” would have been a better title for this movie.

Cub (2014)

As the Belgian movie Cub shows, camping isn’t always about having fun and relaxing. Sometimes it’s for learning, bonding, and confidence-building. In Jonas Govaerts‘ debut, some cub scouts and their guardians set up base in werewolf territory. Or so that’s what the boys have been told. According to their scout masters, a legendary wolf-boy named “Kai” is said to live around these parts. Well, they’re not exactly wrong. Cub may look like kiddie horror, on account of its young cast, but don’t let their ages fool you—there’s a lot of death in these woods.

The Pool (2014)

This horror story from the Netherlands doesn’t immediately disclose its threat. No, in Chris W. Mitchell‘s movie, you have to wait a short while before finding out what’s really after these two city families. Who, by the way, were asking for trouble. They incurred the wrath of someone, or something, after camping in a spot that was clearly marked off-limits. Their behaviors don’t make their trespassing any less offensive. Keep in mind, The Pool is not remotely trying to be scary, but it is intriguing and, quite often, darkly humorous.

Cruel Summer (2016)

Craig Newman and Second Sight Films producer Phillip Escott‘s ripped-from-the-headlines movie, one about an autistic teen who goes camping, lives up to its name and then some. This dark and disturbing dramatization makes fellow “hoodie horror” Eden Lake feel almost tame by comparison. Most likely you’ll not want to revisit this story too soon after watching, but that just speaks to its efficacy. It’s astonishing how unwaveringly evil this story becomes.

Marshmallow (2025)

Daniel DelPurgatorio treated us to Marshmallow, an atypical horror movie about summer camp. It’s a bit hard to discuss this unique story without getting into specifics, and also totally spoiling you. So, for the best viewing experience possible, avoid reading too much about Marshmallow. Just know it features a grieving boy, a mysterious summer camp, and an ending that is truly unexpected.

The post 10 Camp Horror Movies You Might Not Have Seen appeared first on Bloody Disgusting!.

Prime Video’s Fallout, which pulls from the rich nuclear wasteland of Bethesda’s multi-billion dollar gaming franchise of the same name, has not only risen to the occasion, but completely surpassed audiences’ high expectations. Fallout’s emotionally-driven post-apocalyptic saga juxtaposes the parallel stories of a hopeful vault dweller, a mutated Ghoul bounty hunter, and a loyal soldier as they make their way in this unique wasteland.

In honor of Fallout’s Emmy nomination for Outstanding Production Design, Production Designer Howard Cummings gets candid on the surreal joy of bringing this acclaimed video game universe to life and expanding upon its canon, the joys of practical effects and grounding Fallout in a tactile world, Fallout’s unique use of greenscreen to magnify environments, and his promise that things are getting “even bigger and bigger” in season three.

BLOODY DISGUSTING: One of the things that fans loved most about the Fallout video games is the immersive, detailed worlds that they feature. You got to work directly with Bethesda, but what exactly was that collaborative process like?

HOWARD CUMMINGS: When we were first starting out, it’s like, “What do you do with this? How do you make this a film?” But then you get there, and you realize that the challenge with Fallout is actually doing it. Committing to it. In the beginning, it was cool, and Bethesda didn’t really come out with an edict. They don’t tell me what to do. They were waiting for me to show them something, and then they go, “Oh, wow, you’re just actually doing it.” I got into the Fallout universe, and I really appreciated it. Then I began to appreciate the people and all the fans online who are doing their different mods. I get the ultimate fan mod. I get to do my own mod. It’s so cool. 

But in terms of working with Bethesda, they’ve never told me I have to do something in a certain way, which is awesome. I have a lot of freedom. They share their models with me, and they have a point person that I talk to if I have questions about the game because I’m not an expert on the game. There’s a lot of research. My basic inspiration goes back to Fallout’s original artwork. There’s a great book about Fallout 4 (The Art of Fallout 4: Bethesda Softworks) that’s just loaded with beautiful concept art. When you take those concepts, you can turn them into a game, but there’s a certain loss to it. 

So it’s weird. If I want to enhance something that’s in the game, I kind of look back at the concept and consider where to take it. You know, because I love Fallout: New Vegas’ story. It’s so good and so engaging, but Obsidian — who I think developed the game — it’s not as finely or artistically done as some of the other games. So a big struggle at times is wanting to honor what people like about Fallout: New Vegas, but I also want to enhance it in a way. But I have to enhance it based on the game, not just to be cool. 

What’s fun for me to work on in the show is that we have our own — it’s not set in the same timeframe as the games, right? The writers get around all sorts of stuff. They know so much about the game. It’s insane, and there’s a lot of stuff I do, and then suddenly someone is telling me why the choices that I made are now canon. Stuff like that is hysterical to me. I always try to stay true to what fans really liked about the games and try not to break it. We have a producer, James Altman, who’s from the game. If I have big questions about whether I’m stepping on some lore that’s going to make everybody go insane, then he’s pretty good at helping me with that. He’s on set all the time.

Like you were saying, there are some really creative ways in which the production design and props expand upon the games’ lore. It looks like a lot of the terminals in the series are modified computers from the late ‘70s and the start of the ‘80s that reflect a wider range of companies that existed in this universe. It helps make this world feel bigger and that there were competitors beyond just General Atomics and RobCo.

HC: I tried to see what they were sourcing things off of and then kind of go do that in the same direction. As I said, this story isn’t within the walls of the game. Visually, it’s the same thing, but I get to pull more stuff into it. You could probably hire me to “Fallout your apartment” or something, you know what I mean? I know how to make choices now based on all this stuff. A lot of that, we source stuff for all the decorating. It ranges from real vintage to things from Wayfair even that you can buy yourself that have this stylized bent to it. We have an approach to it all. What’s cool is that we are doing flashbacks, which there are very few of in the games. It’s usually just in the games’ intros. The flashbacks are fun, but in those we are still tweaking things to be more period correct, especially the stuff around Cooper Howard. There’s a sort of reality to his whole family and the emotion to all that stuff. So we kind of lean into it so it’s not as stylized in the retro-futuristic look. It’s a little more vintage-y. 

You definitely feel all of that, too. This show is such a celebration of practical effects, which adds such a realistic and tactile quality to this universe. Why was it important to go that extra mile and make sure that elements like the Power Armor suits were actually functional?

HC: You know, we work with one of the Nolan brothers — Jonah [Jonathan] Nolan. He’s our exec, and he also directed the pilot. He, just like Chris, wants to make things practical as much as possible. It’s always better to have this real thing that you’re working off of, even if you ultimately replace it with visual effects. So, the Power Armor was actually the first thing that I did. I had never done something like that before. So we had to take the game model, remodel it, and proportion it to a person. It wasn’t really built to be functioning as a full suit. It sort of fudged in many ways. So we had to remodel it, re-proportion it. 

We have a lot of great vendors, like Legacy — who have done like Iron Man’s suits — who helped solve a lot of problems with an armature that’s built underneath the whole thing that helps make it move. There was a lot of back and forth like that, but it was super fun. It’s the very first thing I did on Fallout. I said, “Do you know how long something like this takes?” It’s like at least 18 weeks, and then you need to rehearse with it and make it work. But that’s how we do it. Even the creatures! The Deathclaw, for instance, was a giant thing that Legacy created. We were trying to figure out the rig for its head. There’s a person there, and it’s all about the movement. Having the person moving the suit gave it a greater reality because it feels grounded. That’s why we do as much as we can practically.

Similarly, the Gulpers are one of my favorite elements of the show, and they’re so much more effective as practical effects. What was the process like for bringing them to life?

HC: They each have their own challenges. With the Gulper, it needs to eat somebody, and then later on, it throws itself up and dies. With that, we had to make the whole innards thing with a bag, which would get yanked out and all the guts and everything flies out of it. It’s fun to figure that stuff out. This last season, we had things like Radscorpions — these giant scorpions — and trying to figure them out. I thought, “Well, they should have little babies because the babies can actually jump on people.” And then determining if the babies are just as bad. That was a puppet, like a big puppet, when it came to the full-size thing. I have a scale chart that we do for the season, and it’s just hysterical because it’s just of all the creatures and things. We’re in season three right now, and everything’s getting even bigger and bigger.

So for the baby scorpions, that wasn’t something that was necessarily scripted? It was just you figuring out what made sense for these creatures?

HC: Yeah, we had talked about doing the big one, but then figured it’s even scarier if you’re getting surrounded or something by little ones. So we talked to the showrunners, the director, to figure out our environment, and then we can bring it to life. We put these duct works in this space that was kind of like a hospital. So we thought, “What if they’re in the ductwork? What if they pop out and jump on them?” There’s a lot of back and forth where I’ll pitch an idea, cross-reference it with the story, and then consider how to handle it practically. Questions over how we reveal it and when it stops holding up and looking real. Because, you know, they don’t always hold up. You’ll have to figure out ways to hide it behind something, or it’s dark, but you still try to do as much of that for real as possible. 

Walton Goggins actually had that giant thing thrown on his chest and wrestled it around and stuff. He’s really cool about that kind of stuff. I mean, he has to go through the whole makeup thing. All of that is so cool, too. We have great makeup effects people who still want the performance to shine through beneath it. You’ve got to read that line between what’s a mask and what’s real when trying to get somebody’s performance. There’s a lot of subtlety to play around with there.

The Brotherhood of Steel is another part of the show that I was just blown away when I saw for the first time. That armor is just so amazing, and there’s such detail to it all. How did you make sure that this felt like a completely different corner of the Fallout universe?

HC: That was interesting to figure out because, in the game, that’s very East Coast-based. There wasn’t a whole lot of West Coast information. There is some, but then I kind of made up some of the lore regarding what all this is. I pushed it a little bit Catholic, actually. They’re not Catholic, to be clear. The Brotherhood is not religious in any way. It’s like, it’s there. It’s military, you know. They had scripted this whole anointing sequence with Max and, to me, it just felt like incense and all that. We talked about how in the game we’re not seeing all the Brotherhood organizations, and so why don’t they each have their own thing? We’re not saying that they’re all like this. It’s just this particular group. 

Then, later on, in season two, there’s a meeting where all the different Brotherhoods are present, and they’re all into different things. Some hate women, some are run by women, but they all have their own thing. So, to me, charting those differences helped give all this more of a reality. It’s not all cookie cutter because we have the freedom to not just replicate things in a computer. We have the luxury of being able to detail things in a different way, which I think makes the story even richer. 

I love that Fallout incorporates greenscreens and state-of-the-art LED technology with real-world environments and that you actually built sets to pull a lot of this off. It makes such a difference. How did you find the right balance there? What were some of the challenges with finding the right locations, building sets, and not just relying on greenscreen?

HC: We’re working with these big, huge sets, but we also use this thing called the Volume that’s digital. We actually use as little greenscreen as we can. With the volume, you’re seeing the actors in real-time, and lighting effects — it’s all about the lighting — are working differently. It’s getting all the right reflective light, and even the Vertibirds are things that we do in the Volume. It’s really fun. We got really lucky with the Vertibird. The construction or the steel guy in the first season started out his welding career building aircraft. He got his professor from high school to help us build it because it was all pieced together with little pieces. It’s actually made of aluminum. It’s all aluminum, but it’s all hand work that’s been riveted and stuff. 

You’ve pulled off such incredible things in Fallout, but what was the biggest hurdle that you faced and overcame during production?

HC: For season two, it was definitely just trying to get the scale of the strip in Las Vegas right. In the game, it’s massive. And we really went above and beyond here. It’s truly huge. It’s like we’re actually shooting in Las Vegas. We have a mandate to do as much for real as possible. There’s an abandoned shopping mall near where I live that’s been like that for years. But, to me, that building looks a lot like Gamora. So we built all that. There was enough there that we could have just built the bottom of the building — maybe 14 feet — and then just made everything else digital. That’s not our style, though. 

I transformed this abandoned shopping mall and added giant pieces to it. All that lighting was practical, too. All that neon lighting. It’s challenging. It’s a big undertaking that takes a lot of planning. There’s a lot to do there. We model everything, find the sun direction, and things like that. I work with all the directors and cinematographers, and they’ll be like, “Okay, four o’clock is where the sun should be. ” It’s actually really strategically plotted out how to do all that. It’s only because we have such a great group of people that can pull shit like this off. It’s great, and I think that’s part of trying to achieve the scale that we need to achieve is probably the biggest hurdle. Even at the beginning of this season, I told our location person that we’re going even bigger. They’ve found us some amazing places that are truly incredible. I’ve listened to all of the people reviewing and talking about the show, so I know where people want us to push things. We all care about this show so much. 

Finally, what are some of your hopes for season three? What’s on your wish list, production-wise, besides making everything bigger?

HC: This season is bigger, yes. But it’s funny. That doesn’t necessarily mean that I have more money because generally that’s not the way it works. Season one, we shot in New York, actually. Season two, we moved the show to LA, which was great. That vault set was in New York in three different stages, and we moved it to one giant stage. I got to connect the vault into one giant vault, which was really super cool. I had to start with a whole new group in LA and try to educate them on what Fallout is and how this universe works. They’ve gotten all that by now. It’s kind of about halfway through the season you could sort of see it click and everybody just instantly had the same vibe. 

So this year, because weirdly almost everybody I worked with begged to come back because of how much fun they had, I was working with a really well-educated group of people. And now I can give them even bigger tasks. We’re tackling things that we couldn’t have before. People are always going “Oh my God,” when they see these environments. It’s so much fun to come to work because it’s all just there. I’m so glad we get to continue to do all this. 

The post ‘Fallout’ Production Designer On Bringing Bethesda’s Wasteland To Life And “Even Bigger” Season 3 appeared first on Bloody Disgusting!.

“The Nintendo Switch 2 version is another historic debut for us, and we worked diligently to ensure the Complete Edition was the same player-first experience for Nintendo fans after they’ve waited so long,” said Jiwon Choi, Director of Lies of P. “Lies of P is a testament to the hardwork and dedication put in by our development team, and we are grateful to our community for their support as we continue to shape the future of the franchise.”

In addition to the digital version of the game, NEOWIZ has teamed up with iam8bit on a collection of physical releases for Lies of P: Complete Edition. All physical editions include a cartridge with the full game, six boss lore cards, and are available for pre-order now. There’s even an exclusive edition from iam8bit that throws in an O slipcase. The iam8bit physical editions begin shipping on Friday, October 2, with the regular retail version of Lies of P: Complete Edition available at major retailers on the same day.

Fans can also snag several other physical items inspired by Lies of P, including an Amulet Keychain set, a marionette of Pinocchio, Boss Rush Pins, a Butterfly Brooch, and CD soundtracks for the base game and Overture DLC.

In addition to the Switch 2, Lies of P is also available on PC via Steam, the PlayStation 5, and the Xbox Series.

The post ‘Lies of P: Complete Edition’ Now Available on the Nintendo Switch 2; Physical Edition Coming This October [Trailer] appeared first on Bloody Disgusting!.

There’s no real context here and there quite honestly doesn’t need to be. I don’t know if there’s actually a monster truck featured in Onslaught or not but we do know there’s a chainsaw and one super cool group of actors that also includes Rebecca Hall. They all took part in the photoshoot, which is highlighted by a shot featuring Arjona wielding a chainsaw atop a monster truck.

How do you know an upcoming movie is legit cool? Well, there will be signs…

Adam Wingard (You’re Next, The Guest) heads back into the world of The Guest for A24‘s action-horror film Onslaught, which will be released in theaters on September 4.

The duo behind The Guest, director Adam Wingard and writer Simon Barrett, are re-teaming for the upcoming Onslaught, which stars Adria Arjona in the leading role.

Here’s the synopsis: “When a rogue squad of genetically engineered super soldiers break loose in the desert, a badass Army sniper must unleash hell to protect her young daughter.”

Rebecca Hall (The Night House, Godzilla x Kong) and Dan Stevens (The Guest) also star in Adam Wingard’s upcoming new movie Onslaught alongside Michael Biehn, Reginald VelJohnson, Eric Wareheim, Drew Starkey, and Alex “Poatan” Pereira. 

In case you missed it, watch the new official trailer now.

The post Chainsaws and Monster Trucks: A24 Just Released a Very Cool ‘Onslaught’ Photo Shoot appeared first on Bloody Disgusting!.

In addition to two new Michael Myers toys, the upcoming Halloween II wave from Funko will also include Laurie Strode and Dr. Loomis toys based on the 1981 sequel.

The full lineup includes…

• Michael Myers (On Fire)
• Michael Myers (VHS Cover)
• Laurie Strode
• Dr. Samuel Loomis

Laurie Strode is dressed in the hospital gown she wears throughout Halloween II, while Dr. Loomis is holding the lighter he uses to set Michael Myers ablaze in the movie’s finale.

All four toys will be available for pre-order on Friday, August 7 at 9am PT.

Thanks to The Scarlet Joker for the below sneak-peek photos.

The post New ‘Halloween II’ Toys from Funko Include Michael, Laurie and Dr. Loomis appeared first on Bloody Disgusting!.

River sees genre favorites Jane Levy (Evil Dead) and Jessica Rothe (Happy Death Day) plunged into a survival horror scenario.

It follows three estranged siblings who reunite in their hometown after the death of their father. They set out to scatter his ashes at his favorite spot on a remote river, but when their boat breaks down, the trip devolves into a waking nightmare.

Stranded miles from help with no cell service, they soon realize they’re being stalked by a faceless killer who has emerged from the woods. To survive the night, the siblings must put their long-standing grudges aside and fight together against a ruthless, almost mythic terror.

Max Mattern (“Devil in Disguise: John Wayne Gacy”) and Dane DiLiegro (Prey) also star in the film, which marks the feature debut of writer-director Joshua Giuliano.

River is one of 10 films joining TIFF’s Midnight Madness slate this year.

In addition to the new premieres, Midnight Madness also expands this year with a special screening of Na Hong-jin’s sci-fi action thriller Hope starring Hwang Jung-min, Zo In-sung, and Jung Hoyeon on Wednesday, September 9, the eve before Festival; and a “return to where it all started” screening of Focus Features and writer-director Curry Barker’s breakout success Obsession on Friday, September 11.

Here’s the TIFF 2026 Midnight Madness lineup:

Anchors Aweigh | Matt Barats | USA
International Premiere

After a thwarted marriage proposal, alt-comedian Matt Barats spirals into an existential crisis in this semi-autobiographical blend of deadpan absurdism and unexpected poignancy told in a first-person, confessional style à la Ross McElwee or John Wilson.

Arrested Memory | SABU | Taiwan, Japan
North American Premiere

A seasoned detective (Ethan Juan) recently diagnosed with dementia is doggedly pursued by both cops and crooks after he unwittingly wanders off with a multimillion-dollar ransom in a new absurdist crime caper from cult auteur Sabu.

HALF | Samjad | India
World Premiere

Twin half-blooded vampires (Ranjith Sajeev and Aiswarya Raj) wage war with desert highway hijackers in a gory martial arts curry western from writer-director Samjad and choreographer Very Tri Yulisman (The Raid 2, The Night Comes for Us).

Kick On | Nick Kozakis | Australia
World Premiere

Looking to prolong their night of partying, four youths are plunged into paranoid pandemonium after crossing a mobster’s volatile son in Nick Kozakis’ bloody ripper of a siege thriller.

Ladies and Gentlemen, Brian Mulroney | Matthew Rankin | Canada
World Premiere

This kaleidoscopic culture jam from visionary filmmaker Matthew Rankin (The Twentieth Century, Universal Language) details the rise of Canada’s 18th prime minister through a satirical collage of archival footage, television nostalgia, and national mythmaking.

River | Joshua Giuliano | USA
World Premiere | Midnight Madness Opening Night Film

Joshua Giuliano makes an audacious debut with a suspenseful slasher that sets three embittered siblings adrift along a rural waterway, and in the sights of a masked killer.

Rogue Trooper | Duncan Jones | United Kingdom
North American Premiere | Midnight Madness Closing Night Film

Directed by Duncan Jones (Moon, Warcraft), this outlandish animated adaptation of the influential British comic book follows a clone soldier bred for an interstellar forever-war and his fallen comrades whose personalities live on within his gun, helmet, and backpack.

The Face of Horror | Anna Biller | United Kingdom
World Premiere

The Love Witch’s Anna Biller stunningly adapts the famous Japanese ghost story Yotsuya Kaidanto for 14th-century England in this gory tribute to classic Technicolor shockers.

The Spiral | Paolo Strippoli | Italy, France, Belgium
International Premiere

Director Paolo Strippoli turns the screws on a desperate mother (Jasmine Trinca) as she confesses a series of Faustian bargains to her estranged daughter (Romana Maggiora Vergano) in this riveting morality chiller.

Vintage Violence | Eugene Kotlyarenko | USA, Japan
World Premiere

In Eugene Kotlyarenko’s mixed-media caper, a livestreamer (Cole Sprouse) discovers a cache of vintage denim only to run afoul of the Yakuza when he is lured to Japan to sell the jeans by one of his subscribers (Kiko Mizuhara).

The post Jane Levy & Jessica Rothe-Starring ‘River’ Opens TIFF 2026 Midnight Madness Genre Slate appeared first on Bloody Disgusting!.

Dark Horse Books will release The Complete Tales from the Crypt on November 10, bringing together every single Tales from the Crypt comic book tale for the very first time!

Dark Horse previews, “This immense tome of terrible tales contains every shocking story from Tales from the Crypt in a door-stopping hardcover, along with every cover, text piece, and ghoulish illustration from the venerable magazine’s original run along with past forewords from horror luminaries John Carpenter, Bruce Campbell, and more!

“Shiver from fright at the terrifying talents of Johnny Craig, Graham “Ghastly” Ingles, Jack Davis, Wally Wood, Reed Crandall, and many more in over nine hundred pages of terror.”

These classic Tales from the Crypt comic books have been re-released over the years in various volumes, but this is the first complete collection of the original run of comic books.

Seven decades of legendary horror. Together in one place. For the very first time.

The 1,032 page hardcover book is selling for $149.99.

The post Every Single ‘Tales from the Crypt’ Comic Collected Together for the First Time in Hardcover Tome! appeared first on Bloody Disgusting!.

To prep for the full game, you can take the demo that’s available now for a spin, which allows you to explore one area of the town, the farm and ranch, the first dungeon (the local mall), and several additional locations.

Everything in Elderfield is unsettling, from the haunting, horror manga-inspired visuals to the dark, lofi soundscapes composed by Dated. Despite the strange creatures lurking just outside your home, those who wander into Elderfield rarely find a reason… or option, to leave.

As one would expect, you’ll have plenty to do in Elderfield (this is a farming sim, after all). Cultivate your land, harvest your crops, and stop the growth of unruly tentacles. Manage a variety of strange, otherworldly livestock, grow useful crops like corn, pumpkins, teeth or eyeballs, and hope that beings from the woods don’t wander onto your farm. You can also customize your home and character, befriend the odd townsfolk (or even marry one), go fishing, spend your afternoons mining, or forage through the surrounding wilds.

For those who prefer a relaxing horror sim (odd as that may sound), you can choose the cozy difficulty, which offers a more laid-back experience. For those who crave a challenge, you can bump up the difficulty to better engage the Old Gods.

Speaking of which, Welcome to Elderfield also features a deep turn-based combat system, where you must utilize gathered resources, strategic buffs and your equipment to survive encounters with ancient, Lovecraftian horrors.

The post Cozy Horror RPG ‘Welcome to Elderfield’ Set to Launch September 10 [Trailer] appeared first on Bloody Disgusting!.

In the Resident Evil: Requiem – The Dive haunted experience, “The hit game Resident Evil Requiem comes to life, and the creatures that stalked you in the game are now closing in on you. They come from above, from below, from every direction, unpredictable and impossible to evade. Step in and scream until your voice gives out in this nightmare like no other.”

Both Leon S. Kennedy and Grace Ashcroft are featured in the haunted attraction.

Here’s the official synopsis: “Raccoon City is off-limits. On its outskirts stands The Wrenwood Hotel, abandoned and forgotten. When a series of unexplained deaths drew the FBI’s attention, intelligence analyst Grace went in to investigate. She never came back. Now you’ve come looking for her.

“One step inside and the world around you changes. Walls peel and crumble. The hallways hold what’s left of those who came before. And without warning, creatures unlike anything you’ve ever seen come closing in. Find your courage. Face the horror and make it out alive.”

Resident Evil: Requiem – The Dive features…

The 15th annual Halloween Horror Nights event at Universal Studios Japan runs from September 11 – November 8, 2026. The event will also feature the dark ride Sadako’s Curse.

Learn more about Resident Evil: Requiem – The Dive.

The post ‘Resident Evil: Requiem – The Dive’ Coming to Universal Studios Japan for Halloween Horror Nights appeared first on Bloody Disgusting!.

In RUNT, players step into the shoes of Runt Strayer, the 19-year-old youngest of five brothers, the last surviving sons of a dead cult leader who once called himself the Mouth of God. On the fifth anniversary of their father’s death, the brothers discover a horrific message written in blood across their boarded-up church pulpit: 5 Days. With the town of Skipclaw sealed behind protective walls and humanity no longer the apex predator, Runt must investigate the omen before the fifth day arrives, and choose who to accuse.

Sporting a branching narrative experience, you’ll gather clues by speaking to townspeople, interrogating your brothers, and navigating the politics of survival. The order of conversations, the questions asked, and the conclusions drawn will all shape the outcome at the end. Over five days, you will investigate every brother and their secrets, build or fracture relationships with masked townsfolk, survive in a world haunted by otherworldly creatures, and decide who is responsible. On the final day, after choosing a culprit, you’ll see one of the game’s dozen endings.

The post Release of Gothic Horror Visual Novel ‘RUNT’ Delayed from Today appeared first on Bloody Disgusting!.

I Saw the TV Glow filmmaker Jane Schoenbrun gives Clover’s theory their own inspired spin with Teenage Sex and Death at Camp Miasma, but not quite in the way you’d expect. Schoenbrun’s meta slasher isn’t commenting on the genre itself but rather the personal, applying Clover’s theory to a joyously blood-soaked vision of letting go and discovering the pleasures of sex. Through their protagonist’s descent into slasher mania, Schoenbrun explores their own fears through the loving lens of horror.

That’s certainly reflected in Kris (Hannah Einbinder), a director tasked with rebooting the 14-film Camp Miasma franchise. Determined to make her mark and shake things up, Kris fixates on the performance by the original film’s star and final girl, Billy (Gillian Anderson), and sets out to convince the reclusive actress to sign onto the reboot. That means venturing out to where Billy lives: the original location where Camp Miasma was filmed. Billy believes that the series’ killer, Little Death (Jack Haven), is real and still lurking around the campgrounds.

As her week with Billy wears on, deeply immersed in all things Camp Miasma, the more Kris suspects Billy may be right.

Teenage Sex and Death at Camp Miasma trades the somber existential terror of Schoenbrun’s previous films in favor of light-hearted humor and, well, camp. That’s evident from the outset, which introduces the fictional film within this film and its eye-catching killer, complete with cheeky decapitations that yield geysers of blood. The killer’s name, Little Death – a poetic euphemism for an orgasm – is the first tipoff to Schoenbrun’s humorous and heartfelt intention, one that only grows sharper and more pronounced the further into delirium and self-discovery that Kris falls.

Schoenbrun salutes the greats, namely Friday the 13th and Sleepaway Camp, with reverence. That’s not just reflected in the deep lore of the fictional 14-film franchise, but in the retro-styled Camp Miasma sequences. This meta slasher heavily embraces humor, but takes its craft seriously. A stunning montage sequence midfilm unleashes Little Death for exquisite carnage upon a slew of unlucky camp counselors, with Haven making nimble work of tricky blocking and dizzying single-take camerwork while wielding a monstrously phallic weapon. All set to Counting Crows’ “A Long December.”

It’s a film that uses matte painting backdrops, practical effects, and a heavy emphasis on junk food to blur the lines between reality and film. All in service to the film’s playful tone, too. There is an argument to be made that Teenage Sex and Death at Camp Miasma is more stoner comedy than pure horror.

Above all, it’s a mesmerizing two-hander. Anderson turns in a career best performance as Billy, channeling Sunset Boulevard‘s Norma Desmond as Kris’ eccentric and challenging guide into the deep depths of Camp Miasma. Billy is the calm, aloof one of the two, often quick to light up a joint in answer to Kris’ anxious probing. It’s the pas de deux between this seemingly unlikely pair that brings much of this film’s infectious magic. The sizzling chemistry between the pair also helps.

Of course, it’s Kris who undergoes the bigger journey, beginning the film trapped in a polyamorous relationship with Mari (Jasmin Savoy Brown) and Mari’s boyfriend Thor (Aren Buchholz) before getting plunged into the deep end to confront her sexual hangups. Einbinder captures Kris’ immobilizing fears, loneliness, and vulnerability with warmth, making the eventual embrace of her own sexuality all the more rewarding. 

Once the climax arrives, though, Schoenbrun seems unsure how to finish (pun intended?), tacking on a muddled saccharine ending that veers a little too off the rails. It’s also overlong and prone to a few lulls in pacing for a film that’s fairly straightforward with a simple concept. But it is Schoenbrun’s most accessible feature yet, while sacrificing none of the artistry. Fantasy and reality blur in breathtaking, whimsical, and jubilant ways in Teenage Sex and Death at Camp Miasma, using film theory as the launchpad for a dazzling sexual awakening allegory.

Teenage Sex and Death at Camp Miasma releases in theaters on August 7.

The post ‘Teenage Sex and Death at Camp Miasma’ Review: A Vibrant, Bloody Sexual Awakening appeared first on Bloody Disgusting!.

At last month’s Creep I.E. Con Aftermath, the iconic voice behind the bone-tingling host spoke to Halloweenies executive producer/cohost Michael Roffman and Vanity Fair writer and author Andrew Buss about his curious meteoric rise to fame and how he ended up collecting cobwebs in the Crypt. Now, you can listen or watch the full panel below.

The video was directed and edited by Matt Sampere with Diandra Lazor.

The post John Kassir on ‘Tales from the Crypt’, ‘Reefer Madness’, and Breaking Into Hollywood [Video + Halloweenies Podcast] appeared first on Bloody Disgusting!.

In addition to the graphic novel, there will be an accompanying soundtrack album from John Carpenter, Cody Carpenter and Daniel Davies, releasing this Friday from Sacred Bones Records.

Grab your copy of the Cathedral graphic novel now!

John Carpenter explains the Cathedral project, “I saw it in a dream: a nightmare landscape deep underground filled with monsters too weird and sinister to exist in daylight. I knew instantly I had to get these things out of my head and into everyone else’s brains.”

Downtown Los Angeles sets the scene for John Carpenter’s Cathedral in the book co-written with acclaimed producer and editor Sandy King and writer Sean Sobczak, illustrated by renowned artists Federico De Luca and Luis Guaragna, colored by Sian Mandrake, and lettered by Marshall Dillon.

Limited editions feature covers by some of the greatest talents in illustration right now: Storm King exclusive by Francesco Francavilla, Storm King Album exclusive by Luis Guaragna with Sian Mandrake; Sacred Bones exclusive by Leonardo Colapietro; and Midsummer Scream exclusive by Jason Shawn Alexander, in addition to the main cover by Federico De Luca.

The story begins where an abandoned cathedral stands, fenced in and ignored by the world around it. The preoccupied passers-by have long since ceased to notice the dilapidated church in their midst, never mind sensing the danger and centuries old evil trapped inside its walls. A gruesome murder one late night pulls the structure into the spotlight, triggering a police investigation into the loss of one of their own. Lieutenant Christine Marks, along with detectives Paul Hernandez and Steve Mayfield, must enter the church in search of the monster that murdered her father. Every step takes them deeper into the belly of the church revealing the mystery of an ancient evil imprisoned within.

Completing the audio/visual project is Cathedral, the album which finds John Carpenter and longtime band mates Cody Carpenter (synths) and Daniel Davies (guitar) providing the soundtrack for an elevated terrifying experience. Each track on the album aligns with a chapter of the graphic novel, with liner notes guiding listeners through the story.

As a result the story unfurls like a film and is the closest approximation to a new movie from Carpenter since 2010.

Listen to the single Revenge below for a taste of Cathedral‘s full audio-visual experience.

The post ‘Cathedral’ – John Carpenter’s Debut Graphic Novel Now Available! appeared first on Bloody Disgusting!.

Of course, the truth is that a movie’s overall quality depends more on who’s making it than whether or not it’s based on an existing idea, and that’s why I wasn’t so quick to judge when I heard that the popular found footage movie Gonjiam: Haunted Asylum was getting another re-imagining (the film has also been remade in Indonesia as Haunted Korean Hospital) in the form of Strange Frequencies: Taiwan Killer Hospital, that was quietly added to Netflix late last year.

A Philippine production set in Taiwan, writer-director Kerin Go’s latest film is less of a retread of Gonjiam’s localized thrills and more of an original found footage experience that just so happens to borrow elements from the South Korean original. In fact, Strange Frequencies isn’t a remake at all, with the film’s own characters referencing Gonjiam as a kick-ass horror film and the leader of the group even admitting that he got the idea for the team’s elaborate camera harnesses from Jung Bum-shik’s 2018 hit.

That’s why I think it’s worth comparing both of these pictures, as it says a lot about Gonjiam: Haunted Asylum that the feature is so well-suited for international remakes – especially when these productions turn out to be surprisingly entertaining homages with their own unique spin on the same premise.

The first major element that stands out when looking at these films is the fact that both productions are based on real abandoned hospitals that spawned countless urban legends over the years. In Gonjiam’s case, the real-life Gonjiam Psychiatric Hospital had at one point been featured on a CNN list highlighting some of the most haunted locations in the world, with both urban explorers and government officials claiming that the place was rife with unusually aggressive paranormal activity. However, a little digging reveals that the hospital’s eerie reputation is based more on bad vibes than anything else, as there’s nothing about the institution’s history remotely resembling a horrific backstory.

In fact, the Hospital’s ultimate closure was the result of economic mishaps and concerns regarding plumbing/sewage issues, with this actually being one of the reasons why the filmmakers ultimately opted to recreate the location inside of an abandoned elementary school rather than shoot the entirety of the film on location.

On the other hand, Strange Frequencies’ Xinglin General Hospital has a much more disturbing backstory despite being much less famous. Once a bastion of Taiwan’s highly advanced public healthcare system, the hospital closed down in the early ’90s due to multiple reports of medical malpractice, including wrongful deaths, and years of budgetary fraud. Since then, locals began telling stories about ghostly patients and orderlies who still roam the building’s decayed halls. Xinglin was also the setting of another horror movie back in 2020, appropriately titled Hospital.

Despite not being quite as famous as Gonjiam Psychiatric, Xinglin’s sordid history is much more well-documented, with claims of murdered patients seeming more plausible under the sleazy hands of a corrupt administration.

Beyond the settings, both films also share the same premise of having an exaggerated group of internet celebrities attempt to stay the night at these haunted locations before their own hubris leads to their doom. However, each movie goes about criticizing these characters in a different way. Strange Frequencies approaches the idea through a more meta lens, with some of the victims here being real actors and film producers risking it all in order to further their careers in an industry that has come to value likes and followers more than genuine talent.

There are still plenty of jabs at influencer culture and online engagement farming despite the sensitive nature of the hospital’s gruesome history, but it’s clear that what the movie really wants us to question is why we’re so entertained by the exploitation of a morbid past in the first place.

This also leads to a completely different ending this time around, with director Kerwin Go reworking certain story-beats from Gonjiam: Haunted Asylum in order to question if building cinematic success over a foundation of human suffering is worth the results.

It’s also interesting to note that, while the backstory of each haunting is remarkably different (with the original film presenting us with a ping-pong-obsessed hospital director who went mad and Strange Frequencies suggesting that otherworldly entities were involved in Xinglin’s collective downfall), both films focus more on the consequences of our main character’s actions than any master plan by the supernatural antagonists.

That being said, the very end of Taiwan Killer Hospital suggests that the success of the livestream may not have been natural, though I won’t get into details in order to avoid spoilers if you’ve yet to see the film.

At the end of the day, I’m more comfortable referring to Strange Frequencies: Taiwan Killer Hospital as a spiritual successor to Gonjiam: Haunted Asylum rather than a remake or even a pseudo-sequel. Both films share enough of the same base DNA to obviously be related, and they both borrow heavily from the cult favorite Grave Encounters, but there are so many creative differences in both story and presentation that the movies end up feeling like completely unique dishes based on the same ingredients.

While I still think Gonjiam is the superior film due to Jung Bum-shik’s incomparable eye for scares, both films are worth watching for completely different reasons.

If you really think about it, there are (allegedly) haunted hospitals in almost every single country in the world, each with their own unique histories and plenty of potential for ghostly scares. That’s why I wouldn’t mind seeing even more international “remakes” of Gonjiam so long as they’re as creative as this one and manage to include some local flavor into the mix.

The post Netflix’s ‘Strange Frequencies: Taiwan Killer Hospital’ Is More Than Just a ‘Gonjiam: Haunted Asylum’ Remake appeared first on Bloody Disgusting!.

Distributor MUBI has joined forces with Mutant for the Teenage Sex and Death at Camp Miasma collection, which includes retro trading cards and even VHS sleeves for all 14 movies in the in-universe Camp Miasma franchise. VHS tapes are not included, as the movies don’t actually exist, but throw some of your own tapes in there and put these bad boys on display.

The fictional franchise includes the following 14 films…

• Camp Miasma
• Camp Miasma Part II
• Camp Miasma 3D
• Camp Miasma Part IV: The Curse of Little Death
• Camp Miasma Part V: The Final Chapter
• Camp Miasma Part VI: A New Beginning
• Camp Miasma Part VII: Psychic Warriors
• Camp Miasma Part VIII: Little Death Takes Manhattan
• Camp Miasma Part IX: Slay Bells
• Medieval Miasma
• Camp Miasma Part XI: Little Death in Big Tokyo
• Miasma 3000
• Camp Miasma (2008)
• Camp Miasma Part XIV: Little Death vs Sleep Man

The full set of fourteen sleeves is selling for $40, while you can also grab a pack of 12 retro-style trading cards for just $10. Mutant is also selling a poster, a t-shirt, and a baseball cap.

Pre-order the full collection over in Mutant’s online shop today.

In Teenage Sex and Death at Camp Miasma, after years of slapdash sequels and waning fandom, the Camp Miasma slasher franchise is handed over to an enthusiastic young director for resurrection. But when she visits the original movie’s star, a reclusive actress shrouded in mystery, the two women fall into a blood-soaked world of desire, fear, and delirium.

Hannah Einbinder (“Hacks”) and Gillian Anderson (“The X-Files”) star.

Teenage Sex and Death at Camp Miasma from director Jane Schoenbrun is Rated ‘R” for “bloody violence, gore, sexual content, graphic nudity, drug use, and some language.”

The film is produced by Mubi and Brad Pitt’s Plan B Entertainment.

The post ‘Teenage Sex and Death at Camp Miasma’ – Retro VHS Sleeves and Trading Cards Now Available appeared first on Bloody Disgusting!.

Variety reports this week that Talia Ryder (Honey Don’t!) will also star.

The project is said to be a “terrifying and mind-bending psychological horror” movie.

Michael Shannon will play Doctor Caligari, a traveling mesmerist who journeys from town to town with a sleepwalker under his control, leaving a trail of grisly murders in their wake. When a young woman’s boyfriend disappears mysteriously, she believes that the enigmatic Doctor Caligari is somehow responsible. The problem is — nobody believes her.

Variety details that Talia Ryder “will play Jane, an intuitive young woman whose ability to perceive what others can’t has left her an outcast. Haunted by her sister’s murder and her parents’ betrayal, she discovers her greatest burden may be her greatest strength.”

Released in 1920, Robert Wiene’s The Cabinet of Dr. Caligari is a quintessential work of German Expressionist cinema that some consider to be the first true horror film.

The post ‘Doctor Caligari’s Cabinet of Wonders’ – Talia Ryder Starring Alongside Michael Shannon appeared first on Bloody Disgusting!.

Bloody Tennis marks the English-language debut of Greek-German filmmaker Nikias Chryssos (Der Bunker).

In the film, “After being admitted to an elite tennis academy hidden deep in the south of Europe, Sophie (Guldberg Kampp) must contend not only with the fierce brutality of her teammates but with the school’s increasingly sinister undercurrents, where competitive sports are taken to their extreme and only the hungriest survive.”

The cast also includes Helena Zengel (The Legend of Ochi), Lucie Zhang (Paris, 13th District), Lily Taieb (The French Dispatch), Tracy Gotoas, Elina Löwensohn (Schindler’s List), and Zlatko Burić (Triangle of Sadness), with an original score from Jim Williams (Titane, Raw, Possessor).

Adam Koehler, director, acquisitions and productions at IFC Entertainment Group, said, “ ‘Bloody Tennis’ serves up an unexpectedly wild ride that will keep viewers exhilarated from start to finish. Distinctive, elegant, and gleefully offbeat, it’s exactly the kind of bold, boundary-pushing horror we strive to champion at Shudder. We’re thrilled to give this unforgettable film a home on our platform.”

Katzenstein said, “After years of hard work, we’re incredibly excited to finally bring ‘Bloody Tennis’ to audiences with its world premiere in Locarno. This film would not exist without the extraordinary vision of Nikias, our wonderful cast and the dedication of everyone involved. Knowing that it has already found partners in so many territories—and that it will begin its journey with Shudder in North America—makes this moment even more special. We can’t wait for audiences to finally enter the strange and unsettling world we have created together.”

Bloody Tennis has also secured several international deals, nabbing distribution for Australia (Umbrella Entertainment), Baltics (BestFilm.eu), Italy (Plaion Pictures), Japan (Extreme Film), Poland (9th Plan), and Scandinavia (Njutafilms).

Stay tuned.

The post Shudder Acquires Extreme Sports Nightmare ‘Bloody Tennis’ appeared first on Bloody Disgusting!.

Davika Hoorne (A Useful Ghost) stars as a grandma possessed by a demon in what TIFF calls “her most magnetic role yet.“

Hoorne plays Woranart, who returns home 50 years later without a trace of aging. That’s likely because she’s possessed by a centipede spirit seeking a new host: Woranart’s 18-year-old granddaughter, Oui (Baipor Thitiya Jirapornsilp).

Sinjai Plengpanich, Trin Settachoke and Warattaya Nilkuha also star.

Banjong Pisanthanakun directs from a script he co-wrote with Thamsatid Charoenrittichai and Chantavit Dhanasevi, based on the Thai horror novel Tayard Asoon.

While the trailer below emphasizes psychological tension and atmosphere, we can count on reliable scares from this filmmaker.

Banjong previously revealed to ScreenDaily that this story stuck with him since childhood: “At its core, it’s a story about power, legacy, and the darkness we inherit. It’s a Thai story but told with the scale and sophistication that international audiences crave.”

Thailand’s most successful film studio, GDH 559, is also behind Banjong Pisanthanakum’s upcoming psychological horror movie.

Expect to hear more about Inherit and TIFF’s horror selections soon, as the festival gears up to announce its Midnight Madness lineup, where Obsession made its world premiere last year, tomorrow.

The post ‘Inherit’ Trailer Teases Chilling Demonic Possession Horror from ‘The Medium’ Filmmaker appeared first on Bloody Disgusting!.

Per a recent post on the r/Amnesia Reddit, the report outlines the developer’s current and future projects. While much of the report focused on ONTOS, user CarlZzZoneNnn spotted a line that stated that Frictional was planning on releasing a new version of Amnesia: The Dark Descent “at the end of 2026”. Outside of that one sentence, the report does not reveal what changes or enhancements the remaster will include, nor does it reveal any platforms.

Elsewhere, the report states that a smaller team is currently in pre-production on the developer’s next major project, though much like the Amnesia remaster, this project has not been announced yet, nor does it have a release date.

This all comes after news last month that ONTOS would be pushed to a 2027 release date after originally being scheduled for release this year. At the time, the team stated that they would be sharing more updates about the game, including its world and characters, “soon”.

Amnesia: The Dark Descent was originally released for PC via Steam and GOG, before heading to the Epic Games Store, PlayStation 4, Xbox One, and the Nintendo Switch.

Thanks to Rely on Horror for the heads up!

The post Frictional Games Developing a Remaster of ‘Amnesia: The Dark Descent’ for Later This Year appeared first on Bloody Disgusting!.

In his book The Official Guide to the King of the Monsters, he argues that the so-called “Monster Cinematic Universe” was well ahead of the curve as both a kind of proto-MCU and a mixed-media empire that successfully evolved to suit multiple formats. Yes, it may have got its start in the movies, but it wasn’t long before the scaly characters were popping up in everything from Saturday morning cartoons to theme park attractions, edutainment programming, anime, video games, and even erotica. Don’t ask!

One side-hustle that the franchise absolutely excelled at was infiltrating the comic book market. About this, Skipper writes: “The Japanese began adapting Godzilla into black-and-white manga almost from day one.”

In the early stages of this diversification, any comics that were printed tended to be straightforward novelisations of Toho’s films, changing only minor details in the translation from screen to page. While not especially creative, these faithful retellings did still serve a useful purpose. They let fans experience Big G’s exploits from the comfort of their own living rooms.

No longer would they have to wait for a theatrical re-release in order to get their fill of Godzilla duking it out with Mothra or the Xiliens. Instead, they could vicariously experience all those thrills again while sitting on the John! 

Of course, once home video became more ubiquitous, people didn’t need to turn to manga as a substitute for the real deal anymore. Which, in turn, freed up the writers to get a little bolder and to finally start telling their own stories.

Flash forward to the modern era and Godzilla comics are just fucking weird! No concept seems to be too outlandish. No crossover too absurd. No retcon too sacrilegious.

Indeed, if you’ve picked up a book from IDW lately (the custodians of the brand as far as print is concerned), you’ll have been exposed to some of the wackiest takes on the King of the Monsters imaginable. He’s been sent to hell (both Norse and Catholic), corrupted by the Venom symbiote, fought 16th-century pirates, and been the subject of a geopolitical conspiracy that triggered the respective assassinations of Archduke Franz Ferdinand, Bugsy Siegel and Abraham Lincoln. Some of those things all happened in the same batshit story!

2026 alone has been sheer lunacy for the titan, as the Monsterpiece Theatre one-shots had him gatecrashing numerous works of classic literature. You might have seen him getting caught up in a tussle between the feuding clans of Montague and Capulet, for example, or disrupting Odysseus’ long voyage back to Ithaca (in a way that curiously didn’t provoke outcry from those who are all of a sudden very invested in the authorial intentions of Homer).   

For better or worse, then, these comics have become “anything goes” territory. Some of them are delightfully silly. Some of them are just plain silly. But they’re all generally silly in one way or another.

Which brings us to The Horror of Godzilla, a new four-issue miniseries that aims to strip away all that gimmickry and go right back to basics. Taking place in 1954, it transports us to a time before kaiju were an accepted part of everyday life for the citizens of Japan and attempts to capture the shock and awe people felt when they first laid eyes on an extinction-level threat towering 250 feet above them.  

As the evocative title suggests, this is being pitched as a scarier interpretation of the material that has far more in common with Ishirō Honda’s original film than it does, say, Godzilla vs Fantastic Four. Here, the titular beastie is depicted as a dreadful force of nature that tramples all over our cities with chilling indifference — its soulless white eyes betraying a complete lack of regard, empathy, or even scorn for the meagre ants scurrying around its feet. To this version of Godzilla, we’re nothing but insignificant specks whose futile efforts to avoid being squished by elemental colossi don’t register on any level.   

The story being told around this more primal, existentially terrifying depiction of the creature is similarly intense. It’s framed by a Chernobyl-esque inquiry that has government officials trying to agree on who will be the patsy they hang out to dry when the public starts looking for someone to blame after a recent catastrophe left Tokyo in ruin.

The best candidate to be this fall guy (or, more accurately, fall gal) is Dr. Olivia Morrison, a scientist who was commissioned by an unnamed think tank to discover new renewable energy sources for the benefit of humanity. Or perhaps for the benefit of corporate interests. That much is not yet clear.

When this search led Olivia to the abyssal depths of the ocean, her team’s blundering operations inadvertently roused the slumbering Godzilla and let loose a biblical disaster upon the island nation of Japan. So, she’s as good a scapegoat as any!

With the context outlined, we then flit back and forth between the courtroom drama side of things and the guilt-ridden doctor’s account of that fateful day when man first met monster. What follows is a powerful tale about the devastating impact of tragedy, about mankind’s self-destructive race towards Armageddon, and about what it means to take accountability for one’s role in shaping seismic, history-changing events. Kind of like Oppenheimer, only this time the nuclear genie that’s been let out of the bottle comes with a set of razor-sharp teeth.    

Scribes Ethan S. Parker and Griffin Sheridan deserve a good deal of the credit for how effective Horror of Godzilla’s debut chapter has turned out, as they take their uncompromising vision seriously and resist the impulse to soften any of the nastier edges. This is, after all, a story where countless innocent civilians are wiped from existence in the blink of an eye, where our protagonist’s hands are stained with the blood of thousands, and where neither pregnant women nor children are afforded plot armour. The tantalising cliffhanger it ends on is especially dark and tees up a future instalment that promises to lean further still into pure horror.  

Backing up this pitch-black tone, there’s an adult quality to the writing that’s greatly appreciated. Treating the reader with respect, the issue starts in medias res and asks you to keep up with who’s who and what their various motivations are. And it does so without ever giving way to inelegant exposition dumps.

Parker and Sheridan likewise refuse to dumb down their weightier themes and make sure there’s ample time for the more introspective moments to breathe, at least as far as they can within the confines of a 30-page comic. Not that it’s a guarantee of maturity by any means, but there are even a couple of f-bombs organically woven into the dialogue that feel natural, as opposed to edgy for edgy’s sake. 

Godzilla comics have a propensity to over-narrate and spell out what their kaiju are doing at any given moment, and, again, the writers have nicely sidestepped that clunky trope of the genre too. Instead, if there’s no reason for any of the characters to be supplying a running commentary, they simply let the pictures do the talking.

And what pictures they are! Artist Tristan Jones’ panels are all beautifully textured, and he creates some indelible, albeit frightening, images here. He truly nails Godzilla’s sense of scale, which is so often lost in print, and pays close attention to little environmental details that make his movements feel visceral and the damage left in his wake all the more tactical. Without going into spoilers, he also does a masterful job with those harrowing final pages that are bound to sear themselves into your brain.

Jones’ work is perfectly complemented by that of colorist Josh Burcham as well. In an inspired stylistic choice (and yet another connection with Oppenheimer), the latter uses his hues to delineate between the flashforward and flashback sequences of Horror of Godzilla. The parts of the comic that take place in the hearing are all vividly tinged, while the flashbacks are depicted in stark monochrome — save for the eerie green of Godzilla’s atomic breath, which here scorches the sky and casts an apocalyptic glow on proceedings.

Letterer Tom Napolitano then completes this end-of-the-world vibe with onomatopoeic sound effects that cleverly integrate with the action and form tangible shapes that give you a deeper impression of what’s happening. Raindrops land with delicate, imperceptible “plips”, while cars roar past with elongated “vrooms” and thunderous footsteps resonate with a literal “DOOM” that spans multiple panels.

All in all, the whole project is a textbook case of a creative team being utterly in sync and aligned on what they want to achieve. This is Toho’s franchise at its most visceral, nightmarish and sensory, which is an impressive feat for a piece that is in an entirely visual medium.

Godzilla’s history in print may stretch back decades, but, if this auspicious first issue is anything to go by, then we might be on the cusp of getting his best outing to date. Bring on issue #2 and the follow-up to that excruciating cliffhanger!

Published by IDW, The Horror of Godzilla #1 is available now.

The post ‘The Horror of Godzilla’ #1 Review: IDW Returns the King of the Monsters to His Terrifying Roots appeared first on Bloody Disgusting!.

Fangoria reports this week that Clown in a Cornfield 2: Frendo Lives, a movie adaptation of Cesare’s same-titled sequel novel, is indeed in the works at Temple Hill Entertainment!

According to the outlet, Clown in a Cornfield 2 will be written by Hudson Morgan and Will Lowell, with Temple Hill looking to begin production sometime later this year.

Fangoria details that the upcoming big screen slasher sequel “takes the first film’s Final Girl, Quinn Maybrook, to college where she will learn some of America’s cruelest lessons.”

Here’s the official synopsis for the Clown in a Cornfield 2 novel…

“After barely making it out of the Kettle Springs cornfields alive, Quinn’s first year away at college should be safe and easy. All she wants is to be normal again. But instead, Quinn finds that her past won’t leave her alone when she becomes the focus of online conspiracy theories that claim the Kettle Springs Massacre never happened.

“It’s a deranged but relentless fantasy, and there’s nothing Quinn can do to get people to hear the truth—not even on her own campus or in her own dorm room. So when a murderous clown attacks Quinn at a frat party while another goes after her father in Kettle Springs at the same time, Quinn realizes that the facts alone are never going to save her. Her only option is to go back into the cornfields, back where the nightmare began, to set the record straight the only way she knows how. Because when the truth gets lost in the lies, that’s when people start to die.”

No word yet on whether or not Eli Craig will be back to direct the sequel.

Stay tuned for more on all things Clown in a Cornfield.

The post ‘Clown in a Cornfield 2: Frendo Lives’ – Slasher Movie Sequel Officially in Development appeared first on Bloody Disgusting!.

Victorian Psycho is now set to release in theaters on lucky Friday, November 13, moving from its initial September 25 date.

It’s a much more fitting slot for this psychological thriller, in which meals, dining, and holidays play a prominent role.

Maika Monroe stars as eccentric governess Winifred Notty, who arrives at a remote gothic manor where strange happenings stir suspicion that she’s not what she seems.

Thomasin McKenzie (Last Night in Soho), Jason Isaacs (Honey Bunch), Ruth Wilson, Amy De Bruhn, and “Hamnet” breakout Jacobi Jupe also star.

Zachary Wigon (Sanctuary) directed the film from a script by author Virginia Feito (Mrs. March), based on her novel of the same name. Victorian Psycho is produced by Dan Kagan (Longlegs) and Sebastien Raybaud (Greenland: Migration).

Wigon previously said of his lead, “Maika’s intense screen presence has resonated with me over and over again throughout her history of complex performances. I’m absolutely thrilled for her to bring her unique style of psychological portraiture to the fascinatingly bizarre Winifred Notty.”

Monroe turns in another unforgettable performance, this time as an unhinged psychopath unleashed upon a stuffy society. I wrote in my review for Bloody Disgusting, “Carnage becomes pretty dang delightful in Maika Monroe’s capable hands. Victorian Psycho operates on familiar slay grounds, but it’s an absolute blast thanks to its zany style and deranged sense of fun.”

Victorian Psycho is rated ‘R’ for “strong bloody violence and brief sexual material.”

Get ready to feast on Winifred Notty’s trail of destruction this November; catch up on the trailer here.

The post ‘Victorian Psycho’ Carves Up New November Release Date appeared first on Bloody Disgusting!.

That’s why I’ve always thought that handhelds were the perfect medium for horror gaming, as they allow you to cozy up to an immersive experience much like a good scary book. Unfortunately, not every developer sees things this way, and that’s why there are so few horror titles specifically produced for handheld devices. With that in mind, today I’d like to highlight five underrated portable horror games that broke the mold.

For the purposes of this list, I’ll only be considering games that were developed for handhelds first, so no ports like Silent Hill: Shattered Memories on PSP. That being said, don’t forget to comment below with your own portable favorites if you think a particularly spooky one was overlooked.

With that out of the way, onto the list!

5. Dementium: The Ward (2007)

It’s hard to imagine a disturbing psychological horror game made for the same console that gave us Nintendogs, but Renegade Kid’s Dementium: The Ward is probably the scariest game on this list. In fact, the only reason it ranks so low is that it recently received a remastered Steam port – meaning that it’s no longer quite as underrated as it once was.

Originally meant to be a Silent Hill spin-off before Konami shot the team down, Dementium wears its classic survival horror inspirations on its sleeves by putting you in the shoes of an amnesiac who wakes up inside a dilapidated hospital. Naturally, nightmarish (and technically impressive) frights ensue as you’re soon pursued by monsters.

If you like this one, don’t forget to check out the equally terrifying sequel.

4. Resident Evil Gaiden (2001)

The Resident Evil series saw some amount of portable success through the first Revelations game back in 2012, but that 3D spin-off was by no means their first attempt at handheld scares. The very first portable Resident Evil experience actually came out all the way back in 2001 on the Game Boy Color, and I’d argue that it’s even more impressive now than it was back in the day.

A remarkably faithful recreation of the early series’ gameplay loop, albeit with a top-down camera and RPG-inspired instances of first-person combat, this underrated standalone title follows Leon S. Kennedy and Barry Burton as they investigate a luxury ocean liner that appears to have been targeted by Umbrella’s latest assortment of bioweapons.

3. Alone in the Dark: The New Nightmare (2001)

2001’s Alone in the Dark: The New Nightmare may have gotten a lot of flak back in the day for following the familiar Survival Horror formula and not really innovating with anything except the game’s compelling narrative, but I’m of the opinion that not every horror game needs to reinvent the wheel. In fact, having the game’s GBC version be a faithful recreation of the home console experience (complete with pre-rendered backgrounds and static camera angles) makes this edition of the title the most impressive one of the bunch!

The New Nightmare’s commitment to classic Survival Horror aesthetics may result in gameplay itself taking a back seat as combat is relegated to a frustratingly difficult mini game that functions like an isometric shoot ‘em up, but the gorgeous pixel art and genuinely creepy story more than make up for the overall jank.

2. Infected (2005)

It was established in the beginning of this article that I’m a PSP apologist, and weird launch titles like 2005’s Infected are part of the reason why. An arcade-y third-person shooter that drops you right in the middle of a zombie outbreak and expects you to mow down hordes of enemies while listening to an appropriately brutal Nu-Metal soundtrack, this criminally underplayed title is one of my personal favorite games on the list.

While the action can get kind of repetitive and your enjoyment of the experience really depends on how much Nu-Metal madness you can take over the course of a single play session, the bite-sized levels and visual flair make this zombie shooter worth revisiting even two decades later.

1. Aliens: Infestation (2011)

When it comes to retro licensed experiences, WayForward is likely one of the best videogame developers out there. However, long before RetroRealms and Shantae’s much-appreciated revival, the studio was already applying their skills to lesser-known titles like the Nintendo DS’ Aliens: Infestation.

A stylish Metroidvania with roguelike elements and plenty of acid-green blood and guts, Infestation was originally meant to be a tie-in to the ill-fated Aliens: Colonial Marines but ended up outshining its big-budget sibling with its comic-book aesthetics, courtesy of Canadian artist Chris Bachalo, and addicting gameplay.

Just don’t get too attached to your squad, as Permadeath is very much a reality in this prescient little shooter!

The post 5 Underrated Handheld Horror Games That Time Forgot appeared first on Bloody Disgusting!.

Which is why it’s so disappointing that Sager’s latest, The Unknown, doesn’t quite work for me. Like some of his best works (The Only One Left comes to mind), it’s a parallel journey of past and present, set in a compelling locale and featuring a cast of distinct characters. It’s also got a Hollywood horror hook that feels exactly like my cup of tea, but the more I read, the more frustrated I became. This is one of those thrillers that’s so laden with exposition and twists that, by the end, it’s a gnarled knot of information rather than a story, even if it does retain Sager’s inherent attention to craft and narrative propulsion. 

Marin is a struggling actress, waiting tables between auditions for commercials and obscure plays, so it’s a big surprise for her when she gets a face-to-face audition with Ronan Peters, the hottest of Hollywood’s hotshot young directors. Even more surprising, Marin gets the part! She’s going to be a major character in a new horror film by Ronan Peters, co-starring one of her idols, the legendary Violet Wright. 

Because the film is based on a real set of mysterious disappearances on an island in Vermont, Ronan aims for immersiveness and decides that his cast should spend a week on the island itself, New Avalon, where an arms manufacturer once built an estate now said to be haunted by the women who vanished there. With no electricity, no phones, and no modern clothes, Marin and her co-stars will live, rehearse, and immerse themselves in the world of New Avalon in 1926, essentially becoming the vanished women they’re set to play onscreen. 

This is perhaps my favorite setup in any of Sager’s books, a meta-story about actors living out their own American Picnic at Hanging Rock for the sake of cinematic authenticity, and of course you can see where this is going. One by one, the cast starts disappearing, a medical emergency strands the whole crew on the island, and Marin, equipped with no context but a diary written by one of the vanished 1926 women, is forced to dig deep into the island’s secrets in a search for answers.

There are seances, and storms, and dark pasts, and all the wonderful, simmering substance we’ve come to expect from Riley Sager. The first half of this book is a banger, driven by Sager’s trademark lightning pace, and even when it started to go off the rails, I found myself reading late into the night, unable to put the book down until I figured out where Sager was going. 

It’s tricky, of course, to explain why the back half of a book doesn’t work without delving into spoilers, but I’ll do my best. Because of the mystery surrounding the original 1926 disappearances, and the immersive environment Ronan hopes to create for his cast on the island, The Unknown spends much of its narrative questioning how much of what’s happening is real, and how much is part of the immersive experience. Characters bicker over whether or not a planchette is actually moving during a seance; they trade secrets about dead loved ones; they debate the merits of seeking help versus waiting things out.

At the center of it all is Marin, with a past of her own that motivates her in particular to seek out answers, and while that part works, the answers she eventually finds simply don’t. The novel, driven by Sager’s crystal-clear prose and always-dynamic pacing, builds up a very solid head of steam as Marin narrates, laying out the central questions in a setup for the third act, when Sager will unspool what’s really going on. It’s a trick he’s used many times before, and it usually works. 

So, why doesn’t it work this time? Because reading this particular book, as opposed to Sager’s other successes, I felt like the answers and the emotional impact they have on the characters were secondary to the basic need for the story to have twists that catch the reader off-guard. Riley Sager novels don’t necessarily have just one twist; they have several, nested together to create an added tension over what’s real and what’s invention. That should be extra potent in a novel about filmmakers, and yet by the end, The Unknown is much more driven by the need to swerve the readers than the need to serve the characters and their emotional journeys.

It was less exciting than it was tiring. I just wanted to see the impact of all of these secrets and decisions and hidden details, and instead the book devolves into a state of near-constant expository dialogue, laying out layer after layer of secrets. Are the questions answered? Yes. Are the answers satisfactory? Depends on your response. Do they feel like part of a story with genuine heft? By the end, they don’t. 

Again, Riley Sager’s one of our finest thriller writers, but even the best have missteps, and this was one of his for me. Maybe the old narrative tricks are wearing thin, maybe this book is over-ambitious, or maybe I just didn’t respond to it. Whatever the case, despite solid prose and pacing and a great start, this one went off the rails somewhere for me, and never got back on track. 

The Unknown is available now wherever books are sold.

The post ‘The Unknown’ Book Review: Riley Sager’s Latest Twists Itself Into Too Many Knots appeared first on Bloody Disgusting!.

Priced at $9.99 USD (plus tax and shipping) and offered as a way to ensure that the game is forever accessible to fans, half of the profits from the physical edition of VILE: Exhumed will benefit a Toronto-based charity supporting families, women and refugees feeling violence.

The physical edition of VILE: Exhumed embodies the essence of old school PC technology and retro, early gaming-era underground media, arriving in a classic jewel case complete with visually distressed paper inserts – and of course, a fully-playable copy of VILE: Exhumed on a pristine, physical CD. The “packaging” will consist of a black plastic bag and duct tape wrapping.

“When VILE: Exhumed was able to finally come out, the support was wonderful,” said Cara Cadaver, founder and solo developer at Final Girl Games. “Seeing the horror community create a home for my work was incredibly special, but it was hard seeing my creative vision, and such a personal story, just become a headline about censorship. Working on the physical edition of VILE: Exhumed allowed me not only to revisit the feelings I had around the wrongful ban of the game last year, but also step back into Candy and Molly’s world, and give them one more moment.”

VILE: Exhumed’s mystery centers on the retirement of adult film actress Candy Corpse, and Candy’s reasoning for leaving the scene is unknown to many – but not to all. Piece together a story of parasociality, entitlement and consequences set within the fledgling stage of digital connectivity, pouring over decades-old digital residue sprawled across notes, photos, videos, emails and dated internet forums. Discover the truth behind Candy’s decision and the repercussions inherent of the digital revolution.

To be notified as to when VILE: Exhumed’s limited physical edition is available for order, head on over to the game’s official site and sign up.

The post Physical Edition of Banned Steam Game ‘VILE: Exhumed’ Revealed appeared first on Bloody Disgusting!.

That being said, it’s only fitting to have Ryan Murphy return to high school, the very place where his television career began, for his latest ode to excess and emptiness. In fact, The Shards operates as a bizarro counterpoint to Murphy’s first series, Popular. The stark differences – and similarities – between these two programs highlight how much Murphy has and hasn’t evolved as a storyteller and filmmaker.

The Shards is certainly having a lot of fun with its detached take on 1980s Los Angeles, but it plays like a sarcastic sizzle reel of Murphy’s past triumphs. 

Murphy’s adaptations of other people’s works can be hit or miss and are never a guarantee that he’ll rein in his signature sensationalist impulses. However, Ryan Murphy and Bret Easton Ellis working together is a pairing that makes too much sense. It’s like the peanut butter and jelly of superficial societal satire. Murphy’s opulent extremism radicalizes Easton Ellis’ minimalist and detached storytelling. The Shards is an enthusiastic fetishization of not just the pop culture and fashion of the ‘80s, but also how it was a golden era for serial killers and new societal terrors. It’s the perfect marriage of Murphy’s past extremes as shallow prep school woes like parties and dances are juxtaposed against curfews, ritualistic sacrifices, and serial killer attacks. 

The series adapts Bret Easton Ellis’ autofiction of the same name, which chronicles a fictionalized version of Ellis (Igby Rigney) in 1981 Los Angeles as he juggles his prep school duties with a growing obsession over a local serial killer, The Trawler. The arrival of a mysterious new student, Robert Mallory (Homer Gere), coincides with this string of killings. A darkness descends over Los Angeles, and Bret is left to wonder if Robert Mallory and these massacres are actually connected or just a symptom of his own toxic thought process.

This all amounts to harmless entertainment if it’s not taken too seriously. It still lacks the juice of something like Euphoria or even Pretty Little Liars: Original Sin. Murphy finds himself increasingly out of touch in this world of teens. It’s enormously heightened, because of course it is, but it doesn’t feel as special in this oversaturated genre that’s naturally become so exaggerated on its own. Murphy’s trademark hyper-maximalism barely leaves an impression in a world where Riverdale and Gossip Girl are the baseline for heightened high school dramas.

Bret is at the center of a group of vapid characters who just want to survive senior year, graduate high school, and get out of Los Angeles, which makes the prospect of a serial killer a real drag. The Shards argues that kidnappings, killings, and ritualistic cults are the greatest dangers faced by children as they head into adulthood. It’s like Ryan Murphy’s own twisted version of Ned’s Declassified School Survival Guide, only it’s covering serial killers, cults, and stalkers. A lot of tangential clout-chasing frivolity is covered as the hypnotic pull between Bret and Robert acts as the nucleus to it all. 

The Shards is consumed with the death of the ‘70s and how this marks the start of a ruthless and vicious new generation of disturbing detachment. It’s drenched in tropes, cliches, endless ‘80s needle drops, and hard bodies. It is exactly what you’d expect from a joint collaboration between Murphy and Easton Ellis. At the same time, it’s also not trying to be anything deeper. Its superficial slayings and takedowns of society are all exceedingly surface level, but it’s sure sleek and pretty. Murphy wants the audience to get lost in the hollow hyper-sexuality. That’s the point. It just doesn’t touch on anything that hasn’t been done many times before, and better, including in Murphy’s own productions. There’s even a hamfisted riff on Shakespeare – specifically Hamlet – that argues that ultra-trashy camp is the new classic lit and theater.

The serial killer sequences with the Trawler, while genuinely disturbing, are similarly sapped of life. You know something is amiss in a Ryan Murphy production when gratuitous murder setpieces aren’t even properly crossing lines and generating enthusiasm. In the end, it’s The Shards’ moody score by Troye Sivan and Leland, alongside unhinged performances by Evan Rachel Wood, Jordan Roth, and Wes Bentley, that stand out as highlights. Bentley in particular chews – and snorts – the scenery. 

The Shards is content to languish among its flashy hedonism, the likes of which don’t even have the decency to provide its audience with closure or answers. These episodes feel like a piece of a greater whole that will inevitably become even more pointless if The Shards gets canceled or prematurely ends. This has increasingly become Murphy’s style with his latest horror programs. It doesn’t do The Shards any favors and only highlights the season’s narrative problems and how little gets accomplished across these nine episodes. A flashy finish that’s full of answers, but also sets up new terrors, would help The Shards feel more essential and complete. As it stands, it struggles to even reach the middling heights of Grotesquerie and The Beauty, and certainly has much less to say. 

The Shards is set in an empty world where adaptations have greater value than stories. It bombards the audience with fabricated boogeymen like The Trawler and the Riders of the Afterlife cult. It’s a series that’s full of derivative imitations of better and more iconic ideas. In a way, that’s exactly what The Shards is like. It’s a slap-dash amalgamation of what’s worked for Ryan Murphy in the past, without bringing anything new to the table. 

Self-aware meta commentary on ambivalence and diminishing returns aside, this doesn’t change the fact that The Shards is still guilty of the same things that it pokes fun at. It’s a fading Xerox of a once-interesting idea that struggles to stand out. There are fleeting moments of brilliance, like in most Murphy programs, but there’s not enough to cling to here once the shock factor and eye candy wear out their welcome. 

The Shards premiere on FX and Hulu on August 5 at 6 p.m. PT.

The post ‘The Shards’ Review: A Shallow Mix Of Sex, Sensationalism & Serial Killers appeared first on Bloody Disgusting!.

“From the hands that made Coraline,” the poster proudly notes, standing defiantly in opposition to the rise of generative AI in the arts. We love to see it. Check out the new art below.

The hand-made, stop-motion animated Wildwood comes to theaters October 23.

Travis Knight (Kubo and the Two Strings, Masters of the Universe) directs from a script by Chris Butler (ParaNorman, Masters of the Universe), based on the 2011 children’s novel written by The Decemberists frontman Colin Meloy and illustrated by his wife, Carson Ellis.

In the upcoming Wildwood, “After her baby brother is abducted by a murder of crows, headstrong teenager Prue McKeel launches a desperate rescue mission into the Impassable Wilderness—an enchanted forest hidden just beyond Portland, Oregon.

“Joined by her hapless but loyal classmate Curtis Mehlberg, Prue navigates a world of talking animals, bandits, and powerful figures driven by grief and ambition.

“As the pair is drawn into a conflict threatening the balance of the forest itself, Prue must discover the strength and belief she never knew she possessed. If she hopes to save her brother and protect Wildwood’s fragile future, she will have to risk everything.”

The voice cast includes Carey Mulligan, Peyton Elizabeth Lee, Jacob Tremblay, Richard E. Grant, Awkwafina, Amandla Stenberg, Tom Waits, Charlie Day, Blythe Danner, Arthur Knight, Maya Erskine, Jake Johnson, Tantoo Cardinal, Rob Delaney, Jemaine Clement, Marc Evan Jackson, Len Cariou, Ólafur Darri Ólafsson, Angela Bassett, and Mahershala Ali.

Described as “a sweeping adventure about love, sacrifice, and the magic that reveals itself when we dare to look beyond the familiar,” Wildwood is produced by Knight and Sam Wilson.

The post Hand-Made Cinema: ‘Wildwood’ Official Poster Takes a Shot at Generative AI appeared first on Bloody Disgusting!.

Available at select Regal and AMC Theatres locations beginning on August 19, The Lipstick-Face Demon Collectible Popcorn Container comes with a Large Popcorn.

Played by Insidious composer Joseph Bishara, the Lipstick-Face Demon was memorably introduced in the original Insidious, and he’s back in Insidious: Out of The Further.

In addition to the collectible popcorn container, Insidious: Out of the Further will be getting a collectible cup and popcorn tin. You can preview all three collectibles below.

Insidious: Out of the Further opens in theaters August 21, 2026.

The film follows Gemma, a mother raising her daughter in the house she grew up in, who discovers she can travel into The Further, the purgatorial realm of lost souls at the heart of the Insidious universe. When something evil comes after her, Gemma discovers an ability that changes everything: she doesn’t just enter The Further, she can bring what lives there back to the real world. Once the demons realize her power, our world becomes their playground.

Franchise star Lin Shaye reprises her role as Elise Rainier alongside Amelia Eve (“The Haunting of Bly Manor”) and Brandon Perea (Nope). Island Austin and Maisie Richardson-Sellers (“Legends of Tomorrow”) also star. Sam Spruell plays the malevolent entity known as Cyrus.

Jacob Chase (Come Play) writes and directs the franchise’s sixth installment, sharing story credit with David Leslie Johnson-McGoldrick (The Conjuring: Last Rites, Orphan). 

The post ‘Insidious: Out of the Further’ Gets an Official Lipstick Face Demon Popcorn Bucket appeared first on Bloody Disgusting!.

The upcoming horror movie written and directed by James Ross II makes its debut on Shudder on September 4.

Parasomnia follows “Riley, a young woman tormented by night terrors and a past of unresolved tragedy. When her best friend is the latest to go missing, she begins to suspect the demonic figure lurking in her sleep has crossed over into the real world.”

Jasmine Mathews, RJ Brown, Sally Stewart, Stephen Barrington, Danny Brown, and Simon Longnight star.

If the film’s tagline, “Don’t Fall Asleep,” wasn’t already an indicator, Wes Craven’s A Nightmare on Elm Street inspired the James Ross II for his feature debut. Shudder acquired the film ahead of its premiere earlier this year at the Overlook Film Festival.

The filmmaker said in a statement, “Parasomnia contains the DNA of many genre pieces influential to my development as a filmmaker. One thing I’ve wanted to explore involved drawing attention to some of life’s more mundane and involuntary aspects and making them scary, like sleeping.  When Wes Craven made A Nightmare on Elm Street, he brought forth an untapped goldmine of fear that resonates decades later due to the foundation of its scares being built on universal human experience – nightmares.  I’d like to bring a fresh perspective on the frightening aspects of sleep and take the audience on an immersive experience that will stay in their mind long after the credits roll.”

Don’t expect a retread, though, but the introduction to a new voice in horror as Parasomnia explores the terror of surrendering control to sleep.

The trailer below certainly packs in the nightmare fuel.

The post ‘Parasomnia’ Exclusive Trailer Unleashes Demonic Nightmares Ahead of September Shudder Premiere appeared first on Bloody Disgusting!.

Buckshot elaborated on the Lost Chapters playtest in a new press release, stating that this is a dedicated build of the game that’s specific for this public test. Rather than giving players the opening levels, the plan is to jump across all 3 chapters to show off the game’s core variety:

• 3 Distinct Chapters: Get a taste of different environments, visual themes, and levels from across the whole game.
• Expanded Arsenal: Test out a varied selection of weapons unlocked from different stages of the game to see how the combat loop feels.
• Diverse Enemy Roster: Face off against a diverse horde of foes from across all three chapters to help test combat flow and balance.

In Project Warlock: Lost Chapters, players once again step into the shoes of Warlock, this time before he ascended to the Throne of Hell, setting out on an adventure to claim back the Pirate, Space and Vietnam realms on his quest to vanquish evil spawning in adjacent domains.

In addition to the three new biomes, players will have access to a brand new arsenal of locale-specific weapons, new spells, and of course, plenty of new monsters and larger-than-life bosses to face.

The post Sign-ups for Playtest Now Open for ‘Project Warlock: Lost Chapters’ appeared first on Bloody Disgusting!.

Insidious: Out of the Further opens in theaters August 21, 2026.

The Final Trailer for the franchise’s sixth installment teases an almost Avengers-like approach to the franchise, with all the past demons being unleashed from The Further. This time, they’re pulled into OUR world, and they won’t stop until every human being is dead.

As Lin Shaye’s Elise Rainier says, “When the dead rise… it’ll be the end of the living.”

The film follows Gemma, a mother raising her daughter in the house she grew up in, who discovers she can travel into The Further, the purgatorial realm of lost souls at the heart of the Insidious universe. When something evil comes after her, Gemma discovers an ability that changes everything: she doesn’t just enter The Further, she can bring what lives there back to the real world. Once the demons realize her power, our world becomes their playground.

Franchise star Lin Shaye reprises her role as Elise Rainier alongside Amelia Eve (“The Haunting of Bly Manor”) and Brandon Perea (Nope). Island Austin and Maisie Richardson-Sellers (“Legends of Tomorrow”) also star. Sam Spruell plays the malevolent entity known as Cyrus.

Jacob Chase (Come Play) writes and directs the franchise’s sixth installment, sharing story credit with David Leslie Johnson-McGoldrick (The Conjuring: Last Rites, Orphan). 

Jason Blum, Oren Peli, James Wan, and Leigh Whannell produce, with Johnson-McGoldrick, Ryan Turek, Steven Schneider, and Brian Kavanaugh-Jones as executive producers.

The post ‘Insidious: Out of the Further’ Final Trailer Flips the Entire Franchise On Its Head appeared first on Bloody Disgusting!.

In addition, players who pre-order either edition of the game will receive the bonus Golden Survival Pack at launch, which includes seven golden weapon skins.

Fight through an action-packed campaign that reimagines the infamous All-Out War storyline from The Walking Dead television series, which saw the conflict between Rick and his allies against Negan’s ruthlessly cruel Saviors come to an explosive head. You’ll play as legendary characters from the series, using all your skills to battle through hordes of walkers, deadly human strongholds, and other explosive encounters to survive. The Walking Dead: Streets of Survival features unique walkers and classic environments – including the Sanctuary, Hilltop, Alexandria and more – enhanced by dynamic set pieces, retro pixel-art visuals, and intense, story-driven moments.

You’ll have access to crushing combos, signature weapon attacks, and devastating finishers in a relentless brawl for survival made for series’ die-hards and action game enthusiasts alike. Master each character’s moveset and tackle multiple difficulty levels in an experience built for repeat runs and escalating challenges.

The post ‘The Walking Dead: Streets of Survival’ Lumbers to September 18 Launch [Trailer] appeared first on Bloody Disgusting!.

It stars Hannah Einbinder as Kris, a young queer filmmaker tasked with rebooting the Camp Miasma franchise. When Kris seeks out the slasher’s original final girl, Billy (Gillian Anderson), she finds art imitating life as the pair are thrust into a blood-soaked delirium of fear and desire.

Schoenbrun lovingly crafts an irreverent homage to films like Friday the 13th and Sleepaway Camp, even developing extensive lore behind the film’s fictional 14-film Camp Miasma franchise. That the film’s two leads are deeply entrenched in the world of horror filmmaking also inspired Schoenbrun to provide homework, a list of films and material on slashers, a move made all the more helpful considering that both Einbinder and Anderson are new to the realm of slashers.

It wasn’t just informative about Camp Miasma‘s horror, but the burgeoning desire between Kris and Billy.

Einbinder explains in a chat with Bloody Disgusting, “Slashers and horror in general create a real visceral feeling in the body. I think that was important to access when understanding what was sexually exciting to Kris, and ultimately to Billy as well. So yeah, I definitely think that’s why I wanted to watch those films and tap into that. I think it’s true of horror in general, but I think specifically for the fantasy that’s being kind of expressed and explored within Teenage Sex and Death at Camp Miasma, I think that, that was the thing that I was trying to tap into.”

“I decidedly did not watch the list because I am not a horror fan or aficionado,” Anderson adds. “But I did read a lot of essays about the genre and the different genres, and a lot of what I read felt like an education and felt like it informed the choices that I made as Billy.”

Teenage Sex and Death at Camp Miasma makes for a truly blood-soaked first foray into slashers, too. 

Just how bloody? “The blood is definitely intense,” Einbinder says of her first slasher experience. “I have sensory issues, like sound and certain sensations on my skin. This really tapped into one of my most visceral discomforts, which is any liquid on my skin, and then a fabric touching that. Even if it’s water, it makes my skin crawl.”

Einbinder cites an ultra-bloody scene as an example: “So, to be in sticky blood and then have the blood rain down, and have the blood fill up the bed underneath me, sitting in like a soaking bed for multiple takes. For the first take, it was dry. And then when we reset, we kept the same bed. I would get into the soaking bed as if it were not soaking. It’s just such an overwhelming kind of feeling for me specifically, I think. There was a lot happening that kind of contributed to my anguish and discomfort, and I used it, as they said.”

The post How The ‘Teenage Sex and Death at Camp Miasma’ Stars Prepared for Their First Slasher Role appeared first on Bloody Disgusting!.

Here’s all the new horror that released on Tuesday, August 4, 2026!

A robbery descends into a comical battle for survival when the thieves discover the place is haunted in horror-comedy Haunted Heist, which is now available on Digital at home.

Rel Howery (Get Out) makes his directorial debut with Haunted Heist. Carl Reid (Mr. Crocket) wrote the screenplay from a story by Josh Feldman and Sean King O’Grady.

When a reunion trip turns into a robbery, four friends discover the mansion’s owners—ghosts from the 1950s—never left. Trapped by the spirits planning a demonic sacrifice, the friends must battle supernatural terror to survive the night.

The cast includes Tiffany Haddish, Andrew “King Bach” Bachelor, Karlous Miller, and Rel Howery as the four friends, with Ari Dayan and Brett Gelman.

Sébastien Vaniček’s Evil Dead Burn is now available on Digital at home.

Evil Dead Burn is said to “unleash the franchise’s most savage and terrifying ride to date, blazing onto big screens with an all-new chapter of carnage and demonic mayhem.”

After the loss of her husband, a woman seeks solace with her in-laws in their secluded family home. As one by one they are transformed into Deadites—turning the gathering into a family reunion from hell—she comes to discover that the vows she took in life… live on even in death.

Souheila Yacoub, Tandi Wright, and Hunter Doohan lead the cast of the brand new Evil Dead movie alongside Luciane Buchanan, Errol Shand and Maude Davey.

Sébastien Vaniček and Florent Bernard wrote the screenplay.

Rob Tapert and horror legend Sam Raimi produce. The executive producers are Bruce Campbell, Romel Adam, Sarah Spurway, Jose Cañas and Evil Dead Rise filmmaker Lee Cronin.

Sébastien Vaniček is joined behind the camera by director of photography Philip Lozano, production designer Nick Connor, editor Maxime Caro, makeup and effects designer Jane O’Kane and costume designer Sarah Voon. Evil Dead Burn features music by Double Danger.

Gallows Humor Pictures’ first feature film, found footage horror-comedy anthology Ragebait (previously titled Clickbait) is now available on Digital and streaming only on Screambox.

Tyler Arceneaux, Jack Arden Garrett, and Ray Beer star.

On Halloween night, a socially parasitic live streamer becomes the target of a malevolent entity after a mysterious viewer curses his stream, forcing him to watch a collection of cursed videos from missing content creators. As his stream continues, he reacts to a series of disturbing clips, each tied to creators who have disappeared under unsettling circumstances.

The videos grow increasingly dark, blurring the line between entertainment and reality as the situation escalates. As the night unfolds, the consequences of the curse intensify, drawing him deeper into a chain of events he cannot control, and forcing him to confront the true cost of his pursuit of attention.

Joe Martinez-Weinberger, David James Clark, Dean Smith and Taylor Weiss directed.

Indie Dybbuk box horror movie Evil Follows was unleashed on Digital today.

When Liz and Ethan buy their forever home after the loss of Liz’s mother, they think the worst is behind them. Then Ethan digs up an antique dybbuk box buried in the backyard — and opens it. The demon inside chooses Liz as its next host, and the possession begins. Now Ethan must race against the entity consuming his wife, turning to an exorcist, faith, and forces he doesn’t understand before Liz is lost forever. The evil didn’t follow them home. It was invited.

Grace Maddux, Stuart Maxheimer, and Greg Brandenburg star.

Brendan Rudnicki wrote and directed Evil Follows.

Director Daniel Stamm (The Last Exorcism) and Dark Castle Entertainment are back with Lockbox, which was released in theaters last month. It’s now available on Digital at home.

The film adapts Soren Narnia‘s Knifepoint Horror Podcast story “Winthrop” by Emmy-winning playwright Justin Yoffe.

In Lockbox, “Seeking peace after her mother’s death, Ellen retreats to a rural town and takes in her severely traumatized cousin Winthrop. Their fragile domestic balance shatters when an erratic neighbor warns that Winthrop is dangerous.

“As strange phenomena escalate, Ellen must put everything on the line to defend Winthrop from a dangerous otherworldly entity determined to track him down.”

Lou Taylor Pucci (Evil Dead), Carla Gugino (The Haunting of Hill House, Gerald’s Game, The Fall of the House of Usher) and Katharine Isabelle (Ginger Snaps) star.

The post Tuesday, August 4 – These 5 New Horror Movies Released at Home Today appeared first on Bloody Disgusting!.

This year’s fest delivered no shortage of surprises either, from intense new spins on vampirism with No Rest for the Wicked to inventive DIY horror comedies like The Peril at Pincer Point. It also delivered on gory sequels like The Last Temptation of Becky and the latest from Alice Maio Mackay, Our Effed Up World.

A final batch of reviews adds a horror-comedy starring a real-life sketch comedy group to the mix, along with a new take on werewolves, and a worksploitation splatstick comedy.

Big Break

Much like its title implies, horror-comedy Big Break follows a group of friends all pursuing dreams of making it big in Hollywood. Only in this instance, art comically imitates life as real-life New York comedy group Simple Town takes center stage in director Ian Faria‘s feature debut. As that implies, Big Break may drop its erstwhile Hollywood dreamers into a familiar slasher setting, but this horror-comedy only has eyes for laughs.

Big Break reunites friends and former collaborators Will (Will Niedmann), Caroline (Caro Yost), and Felipe (Felipe Di Poi Tamargo) years after their comedy troop has disbanded. They gather for a weekend visit with estranged former colleague Sam (Sam Lanier), the only one who’s achieved success post-disbandment, at his remote country cabin, hoping to work their way into his hit sequel “The Gummy Bears Movie”. Instead, old grudges are exposed and dark secrets uncovered, and the four frenemies discover how far they’re willing to go to get their big break.

Some might even be willing to kill for it.

It’s a clever setup for incisive Hollywood satire, and it’s here where Big Break is at its strongest. Big Break bides its time acclimating to this friend group, exposing their flaws and volatile relationships well before the body count begins. As such, Simple Town injects energetic improv and sketch comedy humor, lending an “anything goes” atmosphere. Moreover, their real-life history translates well on screen, making quick work of establishing character dynamics that are dialed up to satirical excess. Their larger-than-life personas make an easy foothold into this world, but they also overshadow some of Faria’s more clever musings on the industry and horror tropes.

Much of the film is dedicated to Will, Caroline, and Felipe taking turns trying to win a job on Sam’s upcoming sequel, one-upping each other or getting in each other’s way. They’re so fixated on their dreams of making it big that they don’t notice the glaring red flags signalling imminent danger. Sam isn’t exactly subtle either; Lanier leans heavily into Hollywood yuppie sleaze with sociopathic, murderous tendencies. Messy personal lives and a constant erosion of morality also get thrown into the pressure cooker scenario, and tensions rise.

Though that tension never quite translates to the audience. Big Break is a smart satire, but one far more content to use horror tropes to skewer the industry rather than embrace them. Faria never loses sight of his characters or their comedic strengths, leaving the horror part of the equation pretty underserved. It all fizzles out by the climax. There are a few good kills, but it’s all without any real stakes or suspense. The slasher is purely allegory in a comedy that’s more of a hang-out with messy friends in way over their heads. That’s not necessarily a problem with calibrated expectations, but mileage does vary on the sketch comedy chaos.

Sleep No More

Body horror takes shape as metaphor once more in Sleep No More, a gory, surreal slice of Indonesian worksploitation. Director Edwin injects a somber subject with splatstick humor, offering a raucous but occasionally sleepy shift from hell.

A bleak Jakarta wig factory serves as center stage to this horror-comedy that introduces sisters Putri (Rachel Amanda) and Ida (Lutesha), who visit the facility to investigate their mother’s abrupt death. Instead of answers, though, they’re immediately forced into labor by the ruthless owner, Mrs. Maryati (Didik Nini Thowok), who demands they pay off their mother’s debts. Not even a reunion with their younger brother (Iqbaal Ramadhan) can distract from the bleak conditions. Every employee is overworked and exhausted beyond their means, leading to an increase in unsettling accidents. It’s up to the sisters to discover whether it’s a severe case of bad management or demonic possession.

Edwin, along with co-writers Eka Kurniawan and Daishi Matsunaga, takes a grounded approach to the working conditions and labor allegory, but a delightful absurdist approach to the horror. As if to prove it, the film’s original Indonesian title, Monster Pabrik Rambut, translates to “Monster of the Hair Factory.” The film’s overarching question posed is whether that monster is ruthless boss Mrs. Maryati or whatever ancient evil seems to be maiming and slaughtering laborers. For some, the ability to regenerate allows for further abuse. 

It sounds dour, but Edwin relays workplace oppression critiques with pitch-black humor and practical effects. Sleep deprivation leads to literal extremes here, as Sleep No More dials up the gory antics for a wild finale that folds in folkloric evils to visual success. It makes for an entertaining creature feature of sorts, with inventive uses of carnage and body horror anchored by a relatable premise. But it is prone to pacing sags in its quieter depictions of overworked employees, an aspect that often clashes with the over-the-top horror elements. It doesn’t help that Sleep No More plays it almost too straightforward; there are no real surprises or horror exploration here beyond supernatural body mutations, and answers aren’t the most satisfying.

Still, there’s enough scrappy, gory splatstick charm for those who’ve ever felt exploited by terrible jobs and worse bosses…which is pretty much all of us.

When You Open the Door

Eriko Katagiri’s When You Open the Door brings Neil Jordan’s The Company of Wolves to mind, only in that both deliver dream-like visions of a repressed young woman who finds a means to rebel through lycanthropy. In execution, though, the films couldn’t be further apart. Katagiri takes a quieter, more methodical approach to externalizing the quiet, timid interiority of her heroine as she slowly transforms.

When You Open the Door even begins with a dream, setting the stage for the hazy voyage ahead. When we meet 27-year-old Miki (Serena Motola), she’s closed off and isolated in her own little bubble. She’s often overlooked at work, and the few interactions with co-workers expose Miki’s social awkwardness. Her husband loves her dearly, despite not seeming to really know her. Instead, Miki looks to her pet bird and various ephemera for companionship, until she’s bitten by a wolf in broad daylight.

While no one believes her – wolves went extinct in Japan long ago, after all – it marks the start of a peculiar transformation in Miki.

Katagiri, who co-writes with Shinozuka Tomoko, takes a subtle approach here. Telltale signs of werewolf infection are there, like the lengthening of nails and hair or sudden animalistic urges, but they’re handled with surrealism and restraint. The concept of a werewolf is infused with Japanese lore, giving a unique spin on the classic monster. Yet, When You Open the Door is only interested in using the werewolf as a means of exploring the isolating loneliness of the modern world. 

It instead languishes in the mundanity of Miki’s life, and her quiet surrender to it. The arrival of Itako, spiritual mediums, sheds light on Miki’s strange circumstances and livens up both the film and the protagonist, but not even the final gasp of gore can awaken this sleepy pic. Cinematographer Akiko Ashizawa captures Miki’s loose sense of reality like a cozy dream, filled with montages, motifs, and shadows that are tough to decipher. 

It’s a stunning vision of loneliness that makes smart use of the werewolf as metaphor, but it’s so internalized and introspective that it can be isolating for the viewer, too.

The post Fantasia 2026 Roundup Reviews: ‘Big Break’, ‘Sleep No More’ and ‘When You Open the Door’ appeared first on Bloody Disgusting!.

Hulu previews this week, “The X-Files: I Want to Believe – Vrach Frankenshteyn reimagines creator and director Chris Carter’s original vision in this all-new director’s cut.”

The new cut was first teased in an interview with director Chris Carter on the Fail Better With David Duchovny podcast from last year, where he promised a much scarier movie.

“Now I have a chance to go back and make the scary movie that I always intended to make,” Carter explained. “It’s not just doing a Director’s Cut to do a Director’s Cut. It’s really kind of bringing to life something that for me was on the page and never got to the screen.“

“We set out to make a real-life Frankenstein movie, and due to a variety of factors, our Frankenstein never completely left the operating room,” Carter tells Entertainment Weekly in a new interview this week. “A chance to apply the electrodes again was a special thrill.”

Years after walking away from the FBI, Fox Mulder (David Duchovny) and Dr. Dana Scully (Gillian Anderson) are pulled back from the shadows when a federal agent vanishes without a trace. In a case you’d never see on TV, their only lead is a disgraced, defrocked priest claiming to have horrific psychic visions of the crime. Forced to confront the ghosts of their past, the partners must navigate a chilling winter landscape and an even darker human monstrosity. The truth of these crimes is out there somewhere… and it will take Mulder and Scully to find it.

It’s been nearly twenty years since the release of The X-Files: I Want to Believe, with the 2008 movie serving as the second and last feature film based on the series.

The idea was for The X-Files: I Want to Believe to essentially be a feature length monster-of-the-week tale, and it came along ten years after the original X-Files movie. Unfortunately, while 1998’s movie scared up $189 million at the global box office, I Want to Believe ended its run with just $69 million, and the franchise later returned to the small screen in its wake.

Almost 20 years later, will the film finally be redeemed? We’ll find out on August 14.

The post ‘The X-Files: I Want to Believe – Vrach Frankenshteyn’ – Watch the Trailer for Scary New Director’s Cut appeared first on Bloody Disgusting!.

Not only will Brendan Fraser, Rachel Weisz, and John Hannah reprise their iconic roles as Rick O’Connell, Evelyn O’Connell, and Jonathan Carnahan in the upcoming movie, but Deadline reports that franchise veterans Kevin J. O’Connor and Oded Fehr are back as Beni Gabor and Ardeth Bay, respectively.

Also joining the cast is Numan Acar (Young Sherlock), though no character details have been revealed yet.

Radio Silence duo Matt Bettinelli-Olpin & Tyler Gillett (Ready or Not, Scream 5-6) are directing from a script by David Coggeshall (Orphan: First Kill).

Plot details remain under wraps at this time, but the brand new sequel is expected to skip the maligned third entry, in which Weisz opted not to reprise her role.

“It’s just really beautiful and scary and sweeping, and it’s awesome,” Gillet teases. Bettinelli-Olpin adds that the film “has all of the heart and the character that you could hope for.”

A remake of the classic Universal monster movie that took an action-adventure approach, The Mummy was released in 1999 and grossed $417 million worldwide. It was followed by The Mummy Returns in 2001 and The Mummy: Tomb of the Dragon Emperor in 2008.

The post ‘The Mummy 4’ Adds Franchise Veterans Kevin J. O’Connor And Oded Fehr appeared first on Bloody Disgusting!.

Brittany Snow has been cast to play the part, joining previously announced stars Sydney Sweeney, Kirsten Dunst, and Paul Anthony Kelly.

Michele Morrone will also return to star as Enzo, reprising his role from the first film.

In The Housemaid’s Secret, Sydney Sweeney’s character Millie returns, this time taking a job keeping house for a woman she’s never allowed to see—only to discover the truth behind the locked door that threatens to expose secrets far darker than her own.

If you’ve seen the first film, it’s safe to assume that appearances will be deceiving and there’s likely more than meets the eye to Marybeth.

The film will open on December 17, 2027 in theaters.

Screenwriter Rebecca Sonnenshine, who adapted the first book, will also return to write The Housemaid’s Secret, based on the bestselling novel by Freida McFadden.

The Housemaid grossed $400-million upon release last year, fast tracking the sequel.

I wrote in my review for Bloody Disgusting, “It’s a crowd-pleaser through and through, meant to be seen with a rowdy audience on board with the wild swings taken. Feig and Sonnenshine push the novel’s more outrageous aspects even further, injecting even bigger thrills, twists, and stakes. It’s the type of operatic insanity that practically begs for more.”

 

View this post on Instagram

 

A post shared by The Housemaid (@housemaidmovie)

The post Brittany Snow Joins Sydney Sweeney in ‘The Housemaid’s Secret’ appeared first on Bloody Disgusting!.

The 25th anniversary screening is FREE with Mass Mini Con admission and features a Q&A with writer/director Brad Anderson and writer/actor Stephen Gevedon, presented by Mass Mini Con and Contra Celluloid.

Mass Mini Con, a 2-day event celebrating the best in pop culture art, collectibles and physical media, commences September 12-13 this year at the Yawkey Theater, located at 1 Guest Street, Boston, MA.

That’s not terribly far from where Session 9 was filmed.

Anderson said in a statement, “I’m thrilled to be screening Session 9 in my old stomping ground, Boston. My career as a filmmaker started there back in the ’90s, where I worked concessions at the Brattle Theater, was an editing assistant at WGBH, and eventually made my first film, Next Stop Wonderland, a romantic comedy. Session 9 was a u-turn for me to a ‘darker‘ place. My old college friend Steve Gevedon and I, frustrated by mainstream horror,  wanted to tell a story that was genuinely chilling and unsettling.“

“We think Session 9 still resonates today because the place we filmed it was REAL – Danvers State Mental Hospital, North of Boston,” he continues. “The sinister stories that inspired the film came from actual ones we heard about Danvers. The crew and cast (of which Steve was one)  were genuinely spooked by the place, and we think that may have left its mark too. Danvers Mental Hospital was torn down years ago, but some spirits just won’t let you go. Session 9, a story of ghosts and possession, and a dark testament to a world forgotten by time, still lives up to its tagline: ‘Fear is a Place‘.” 

That tagline is front and center of a stunning new limited edition 19×24 screen printed poster by artist Daniel Danger that will be available at the event as well, further making this a “can’t miss” event for fans.

The 2001 gem follows a hazardous materials crew hired to clear out an abandoned mental asylum with a dark history. The job seems simple, but as they begin their work, strange discoveries and buried secrets begin to surface. The asylum’s walls whisper with the echoes of the past, and the crew members start to unravel—one by one.

As tensions rise and paranoia takes hold, the question remains: Is the horror inside the asylum a product of their own minds, or is something far more sinister at play?

Get a peek at the limited edition print for Session 9 below and follow @MassMiniCon on Instagram for additional information and updates.

The post ‘Session 9’ Celebrates 25th Anniversary with Special Screening Featuring Brad Anderson at Mass Mini Con appeared first on Bloody Disgusting!.

Those looking for something extra can also spring for the newly-revealed Deluxe Edition of Crimson Moon, which will offer players access to the Ceremonial Armor Set and the Axe of the Gods weapon cosmetic, along with an upcoming expansion for Crimson Moon that will be released at a later date.

“We’ve made Crimson Moon an intense action-adventure RPG that’s approachable to players. We want as many people as possible to enjoy it, and we priced it with that in mind,” explains David Lesperance, ProbablyMonsters General Manager and Game Director. “With our gothic-inspired art design, co-op support, and epic metal soundtrack, we’ve made something truly unique for gamers to experience this September.”

Crimson Moon is a gothic high renaissance action-adventure RPG built around intense, replayable missions. Players take on the role of the Nephilim, ruthless human-angel hybrids forged to defend humanity. They’re immersed in a blood-soaked power fantasy as they battle their way through the besieged city of Gildenarch using combat that blends brutal precision with deep character progression.

The game is built for either solo or co-op play, with solo slayers getting a satisfying single-player experience, and co-op turning every encounter into a “shared onslaught of power and resilience.” Players who are strong and skilled enough to fight through three districts of Gildenarch in a row will face a world boss. These epic foes will test players’ mastery of their abilities. Only by defeating the three world bosses can players face the hellish final boss.

The post Gothic Action-RPG ‘Crimson Moon’ Launches September 1 [Trailer] appeared first on Bloody Disgusting!.

The release date for the VHS and Blu-ray releases is October 13, 2026.

What makes these two releases extra special is that they both include the filmmaker-approved 2024 theatrical cut of The Blair Witch Project restored from original Hi8 tapes and 16mm film, which is notably being made available in the United States for the very first time!

It’s that 2024 theatrical cut that’s featured on the VHS release and while it’s also included with the Blu-ray, it’s not the only cut you’re getting with this brand new Blu-ray release…

This definitive collection includes three versions of the film on Blu-ray: the filmmaker-approved 2024 theatrical and festival cuts restored from original Hi8 tapes and 16mm film, available in the U.S. for the first time; plus the original 35mm theatrical exhibition version.

The collectible Blu-ray set also includes a new poster by renowned poster illustrator-artist Ken Taylor, and a 104-page booklet featuring original production journal, raw footage log, prop list with handwritten notes, and more. Lionsgate Limited Extras include new interviews with filmmakers and actors Joshua Leonard and Michael C. Williams, featurettes about the Blair Witch in other media, a tribute to cinematographer Neal Fredericks, exploration of two Blair Witch mockumentaries, and more, along with a host of legacy bonus content.

The full Bonus Features package for the Blu-ray includes…

• Legacy Special Features:
  o Curse of the Blair Witch Mockumentary
  o Sticks and Stones: An Exploration of the Blair Witch Legend
  o The Blair Witch Legacy
  o Analogue Horror in a Digital World
  o Deleted Scenes
  o Cannes 1999: Archive Directors Interviews
  o Directors Interviews
  o Fear Sections
  o Alternate Endings
  o B-Roll
  o Theatrical Trailers
• Lionsgate Limited Extras:
  o Season of the Witch (New Interviews with Filmmakers & Actors Joshua Leonard and Michael C. Williams)
  o Expanded Lore (Exploration of Two Mockumentaries)
  o The Matt Blazi Project (Shooting Location Tours and Making-of Book)
  o Mythos (Blair Witch in Other Media)
  o Eternal Impact (The Blair Witch Project Archive at the University of Pittsburgh Special Horror Collection)
  o Iconic Artifacts: The Blair Witch Project at MOPOP (Museum of Pop Culture)
  o Film Is Life: A Tribute to Cinematographer Neal Fredericks

Pre-order the VHS and Blu-ray releases from Lionsgate Limited today.

Relive the terror of three film students who disappeared in the Maryland woods while shooting a documentary about the local Blair Witch legend. All that remains is bone-chilling found video footage … and unanswered questions.

The post ‘The Blair Witch Project’ Comes to VHS and Blu-ray With New Cut Not Yet Released in the United States appeared first on Bloody Disgusting!.

You’ll be able to purchase the film Digitally in 4K and also on 4K UHD Blu-ray disc.

Featuring an all-star cast led by Tom Cruise and Brad Pitt and directed by Academy Award winner Neil Jordan (The Crying Game), the newly remastered film will also include new bonus content featuring filmmakers reflecting on the making of the film over 30 years later.

Based on the blockbuster novel of the same name by Anne Rice, the film features an all-star ensemble cast, including Academy Award nominees Antonio Banderas, Stephen Rea, and Kirstin Dunst along with Christian Slater. The film was nominated for Best Original Score and Best Art Direction at the 67th Academy Awards.

Bloody Disgusting is exclusively revealing the brand new physical media artwork down below, along with a sneak peek at a brand new featurette titled “Eternal Night and Deadly Light.”

In the featurette you’ll be able to watch in full on September 22, director Neil Jordan and editor Mick Audsley reveal the approach to the cinematography of Interview with the Vampire with a focus on the gothic romanticism achieved by director of photography Philippe Rousselot.

Bonus Features for the Digital and Physical release include DELETED SCENES that we have NEVER SEEN BEFORE. The full package of Special Features also includes…

· Eternal Night and Deadly Light (New)

Director Neil Jordan and film editor Mick Audsley reveal the approach to the cinematography of Interview with the Vampire with a focus on the gothic romanticism achieved by director of photography Philippe Rousselot.

· Interview with the Vampire: Creating the World (New)

Step inside the darkly beautiful world of Interview with the Vampire with director Neil Jordan and production designer Dante Ferretti as they unveil the art of the detailed sets, the augmented locations and the exquisite costumes of the film.

· Deleted Scenes (New)

· Commentary with director Neil Jordan (Commentary)

· Introduction by Anne Rice, Neil Jordan, and Antonio Banderas

· In the Shadow of the Vampire

· Lestat, Louis and the Vampire Phenomenon

In late 20th-century San Francisco, a 200-year-old vampire tells his story–of desire, love, yearning, grief, terror, ecstasy–to a young reporter, weaving a blood-soaked history of horror.

The post ‘Interview With the Vampire’ Coming to 4K UHD for First Time With Never-Seen Deleted Scenes! [Exclusive] appeared first on Bloody Disgusting!.

Violent Night 2 releases in theaters on December 4.

David Harbour reprises his role as Santa Claus, but this time he’s joined by Kristen Bell as Mrs. Claus.

In the sequel, “Now, not-so-jolly Saint Nick suits up again to take on a ruthless gangster (Jared Harris) terrorizing the merchants of the Silver Bell Mall. But when Santa forgets the true meaning of Christmas, he finds himself in the heart of a lively mall community in desperate need of his help.

“Sapped of his magic, he’ll need another way to take on the goons threatening the mall, and time is running out. Santa has to rediscover his faith in goodness and call in some last-minute reinforcements from the one person no baddie wants to tangle with: Mrs. Claus.”

Mrs. Claus is swinging swords and sledgehammers in the trailer below.

The cast also includes Daniela Melchior, Joe Pantoliano, Andrew “King Bach” Bachelor,  and pro wrestler Maxwell Jacob Friedman.

Tommy Wirkola (Thrash, Dead Snow) is back in the director’s chair, reuniting with Violent Night writers Pat Casey & Josh Miller (Sonic the Hedgehog).

“There’s stuff we left on the floor like the North Pole, Mrs. Claus, the elves,” Wirkola noted last year. “But story-wise, I think we have a really, really cool idea that expands on the world and scope but still keeping that tone that we love from the first one.”

Violent Night 2 is produced by 87North founders Kelly McCormick & David Leitch (Bullet Train, Nobody) through their first-look deal with Universal.

The holiday sequel is rated R for “strong/bloody violence, and language.”

The post Mrs. Claus Comes to Slay in First Trailer for ‘Violent Night 2’ appeared first on Bloody Disgusting!.