First conceived as a feature then reworked as a series for HBO, the new take on the 1988 slasher is once again set up as a feature, with MUBI now on board to finance the movie.

Deadline reports, “We hear that Refn is shooting Maniac Cop in LA this January. Casting is forthcoming. Refn is also producing through his NWR Originals banner, with Christina Erritzøe and Kimberly Willming acting as Executive Producers. Vincent Maraval will Executive Produce for GoodFellas. Veterans will handle sales for the rest of the world.”

“Mubi is fully bankrolling Maniac Cop and has taken distribution rights for North America, Latin America, the UK & Ireland, France, Italy, Spain, Benelux, Turkey, Australia & New Zealand. Mubi has committed to a wide theatrical release,” the outlet’s report continues.

In the original Maniac Cop from director William Lustig, innocent people are brutally killed on the streets of New York by a uniformed police officer. A young cop, Jack Forrest (Bruce Campbell), finds himself marked as the chief suspect after his wife is murdered.

As Lieutenant Frank McCrae (Tom Atkins) investigates, the death toll rises and he suspects a mysterious police cover-up. This maniac cop (Robert Z’Dar) must be stopped, but it might not be so easy. He seems inhuman, and he’s ready to take on the entire police force.

“The concept has always appealed to me,” Nicolas Winding Refn said in a statement to Deadline this week. “In today’s political and social climate, the iconography of Maniac Cop alone provokes an immediate, uneasy reaction. I’ve been watching it all unfold while constructing this project in the shadows… waiting. Now, that moment has finally arrived.”

“The time has come to unveil a radical new vision where there is no protection, no safety net, only mayhem,” Refn’s official statement continues.

“Maniac Cop in Nicolas’s hands is not a remake. It is a resurrection,” said Efe Cakarel, Founder and CEO of MUBI. “Nicolas has one of the most dangerous imaginations in modern cinema, and he is exactly the filmmaker to reawaken something this iconic. We’re proud to be partnering with him on a film that feels bold, singular and impossible to ignore.”

Expect NWR’s Maniac Cop sometime in 2027.

The post ‘Maniac Cop’ – Nicolas Winding Refn Announces Fresh Take on 1980s Slasher Movie Coming Soon appeared first on Bloody Disgusting!.

Not only would we have to say goodbye to our favorite heroes and villains, but considering the show’s ultra-violent playfulness, their ends would likely be unthinkable. And Kripke did not disappoint. 

From the first of eight final episodes, The Boys’ swan song has been a cavalcade of grotesque kills. We wouldn’t have it any other way. We’ve watched the show’s US President have his head abruptly crushed in the Oval Office and a human guinea pig bled to death through his asshole, spraying blood all over his prison cell. But on a list of season five’s most horrific expirations, these don’t even crack the shocking top ten.

What sets this season’s death scenes apart is the weight of finality and a current of emotion running alongside the body horror. After all, we’ve run out of canon fodder, and most of the following kills cut deep, providing heartbreaking or cathartic closure for characters we’ve come to either loathe or love.   

10) A-Train’s Final Race (Episode 1)

As promised, season five begins with an excruciating death that takes us back to where we first began. After years executing Homelander’s violent whims, A-Train (Jessie T. Usher) has finally broken with Vought and begun working with the Boys. Now going by Reggie, the world’s fastest man joins their mission to infiltrate an internment camp to free a handful of resistance fighters. As Homelander (Antony Starr) tries to prevent their escape, we watch in awe as a slow-motion sequence follows Reggie running through the chaotic scene, taking pins out of grenades and saving Hughie (Jack Quaid) from Homelander’s deadly laser vision. When the dust settles, he speeds off into the night with Homelander hot on his heels. But when a civilian steps into his path — a mirror to the grisly collision that kicked off the show’s first episode — A-Train proves that he has truly changed by moving out of the way to save her life. 

Unfortunately, this sends him careening through the dense woods, smashing into large trees at the speed of light. Homelander quickly catches up and snaps his neck, but not before the fallen hero delivers a blistering critique that will become eerily prophetic as the season unfolds. As Homelander holds him by the throat, Reggie laughs in his face, saying, “Take away these powers, and what are you, huh? A pathetic, weak, snivelling fucking loser.” It’s a painful yet redemptive moment for a character who’s finally found the courage to stand up for what’s right. 

9) Firecracker Freed (Episode 5)

As Homelander grows increasingly unstable, others begin to doubt their place in his army. Firecracker (Valorie Curry) has always been a loyal follower, but Homelander discovers that she’s been sharing her doubts with his father, Soldier Boy (Jensen Ackles), in the afterglow of their secret affair. He confronts Firecracker about her faltering belief just moments after she’s publicly burned all connections to her former life. Yet even this self-destruction is not enough and Homelander asks her to pack her things and go.

Desperate to stay in her hero’s good graces, Firecracker professes her love for the caped crusader and begs to stay. But something in her sycophantic tone pushes the monster over the edge. After a gentle caress, he smashes her face into a nearby statue of a bald eagle, impaling her head with its outstretched wings. Blinking as her body collapses, Firecracker finally understands that no amount of devotion will ever fill the gaping hole in Homelander’s heart.

8) Oh Father, Where Art Thou? (Episode 8)

After five seasons, we’ve come to expect exploding heads in The Boys universe, but the disturbing death of Oh Father (Daveed Diggs) tops them all. The pastor-turned-superhero is not only known for his proselytising, but also for his forceful voice, strong enough to literally blow people away. The only downside is that his destructive screams can be quite dangerous in the throes of sexual gratification. So, to celebrate her ascension to the presidency, his wife Ashley (Colby Minifie) buys him a heavily reinforced ball gag designed to muffle the most catastrophic sounds.

When the Boys break into the White House, Oh Father attempts to stave them off and opens his mouth to pulverize Hughie. Spying Ashley’s kinky gift, Mother’s Milk (Laz Alonso) uses the gag to stop this deadly blast, reversing Oh Father’s power and popping his head. Once again, Hughie is covered with gore as brain matter splatters all over the room. On the other hand, perhaps it’s better that Oh Father’s life ends this way rather than his head exploding from vocal enjoyment of a sexual act. 

7) Adam Bourke Takes a Bow (Episode 5)

Adam Bourke (P.J. Byrne) has long been a heel in The Boys’ universe. We first meet the problematic and foulmouthed director on the set of Dawn of the Seven, an in-world film designed to smooth over Homelander’s disastrous romance. But Bourke has finally left Vought Studios behind and is now helming an off-broadway play about the Bee Gees that just happens to star Justin (Nathan Mitchell), a.k.a. Black Noir II. Unfortunately, The Deep (Chace Crawford) discovers Noir’s secret gig and jealously sabotages his chance at fame.

While Bourke “drops a deuce,” Deep sends an eel through the toilet bowl to burrow itself into the director’s rear end. Coming to his rescue, Black Noir extracts the bloody creature, but rips out Bourke’s intestines as well. He dies a fittingly undignified death, bleeding on a dirty bathroom floor while quipping about how his asshole hurts. This grisly vignette not only allows Mitchell to pull off his mask and show his face for the first time in Boys history, but combines the series’ trademark irreverent humor with shockingly violent special effects.  

6) Karma Catches The Deep (Episode 8)

Thankfully, Deep does not get away with his atrocious acts. After five seasons of bro-ing his way around and blaming others for his own mistakes, the cowardly hero has finally run out of places to hide. In retaliation for Bourke’s death, Noir damages the oil pipeline Deep has just endorsed, creating a horrific oil spill that kills millions of fish. The so-called Lord of the Seven Seas is unceremoniously warned by a shark named Xander — hilariously voiced by Samuel L. Jackson — that if he dips a toe into any body of water, the fish will immediately rip him apart. Word has spread, and every aquatic animal now blames him for what they call the Pipeline Genocide as well as the death of Ambrosius (Tilda Swinton), Deep’s octopus lover, whom he betrayed to curry favor with Homelander.

Unfortunately, Deep finds himself far offshore after a grueling fight with Annie (Erin Moriarty). As cries of “justice for Ambrosious” ring in the air, a massive sea creature rises from the murky depths. Sharks close in while one giant tentacle encircles Deep’s waist and another juts out of his open mouth, paralleling the sexual assault he perpetrated in episode one. It’s a moment of long-awaited karmic retribution for a pathetic, yet all-too-familiar character.

5) Strangled by a Love Sausage (Episode 1)

Throughout the Boys’ audacious run, we’ve seen a variety of unusual powers, from a man burrowing through the earth by blowing the dirt out of his butt to a “hero” capable of duplicating himself to create a human centipede. But perhaps the strangest is Love Sausage (Derek Johns), whose abilities stem from a monstrous penis he controls like an octopus’ tentacle. Long tormented by this depraved supervillain, Mother’s Milk now finds himself held prisoner in a Vought camp where Love Sausage serves as a prison guard. But when Butcher and his crew infiltrate the bunker, M.M. sees his chance for revenge.

Warning, “I’m gonna chop that thing up like a party sub,” he tries to evade the lunging man who uses his elongated dick as a whip. M.M. is finally able to grasp the appendage, repeatedly stabbing the tip with a jagged stake. Finally subdued, he wraps the shaft around Love Sausage’s neck and slowly pulls it tight, marking the first time in mainstream television history that a man has been strangled to death by his own genitalia.  

4) Synapse Snapped (Episode 7)

As Homelander nears his strange announcement, the insecure supe begins wondering if the masses will actually accept him as their God. To weed out everyone but true believers, he’s assembled a team of devious psychics to read minds and identify any doubt. Synapse (Steven Yaffee) is a deranged psychic who receives a pardon for multiple crimes in exchange for running interference for Homelander. Holding Hughie and Butcher (Karl Urban) hostage, he digs into their subconscious thoughts and disguises himself as Joe Kessler (Jeffrey Dean Morgan), a painful figure from Butcher’s past. But Hughie turns the tables on this sinister man, recounting his knowledge of the villain’s first kill.

As grisly crime scene photos flash before our eyes, we learn that a young Synapse mentally forced his seven-year-old brother to eviscerate himself with their mother’s corkscrew. This bloody anecdote proves to be an effective distraction, and Butcher is able to free himself, impaling the psychic with two of his waspish tentacles. As he pulls them apart, Synapse’s body is ripped in half, his entrails spilling all over the floor. This peek into the mind of a murderous man reminds us just how devastating superpowers can be.

3) Jetstreak, Rock Hard, and Soldier Boy (Episode 2)

As the Boys search for Homelander’s Achilles heel, they replicate an experimental virus engineered to kill all supes while leaving humans essentially unharmed. Hoping to test the concoction’s strength, they plan to inject it into an indestructible hero known as Rock Hard (Andrew Iles) and observe the results. But when they arrive at his Vought-arranged home, they discover that the man has severely let himself go. Rather than a muscle-bound hero made of stone, he’s now a rocky head sitting atop a massive pile of molten lava created by untold hours of pleasuring himself to volcano porn.

Wearing a protective mask, Frenchie (Tomer Capone) opens the vial in the sealed basement alongside a teen supe called Jetstreak (Dylan Colton) and Soldier Boy, who’s been sent to retrieve the unstable substance. The Boys watch in horror as the infected heroes vomit black goo, their skin beginning to bubble and blister. Rock Hard’s face cracks open and crumbles, revealing brains and viscera underneath. They are the first victims of this dangerous plague, yet only two will remain dead.

2) It Was a Crazy Game of Poker (Episode 5)

The moment Jensen Ackles first appeared as Soldier Boy in season three, fans of Kripke’s long-running series Supernatural began clamoring for a larger reunion. Season five delivered in spades with a hilarious gore-fest also featuring several of Hollywood’s funniest stars. Searching for the elusive V1, Soldier Boy, and Homelander travel to the home of Mr. Marathon, a former member of the Seven, played by Ackles’ onscreen Supernatural brother Jared Padalecki. With Misha Collins in tow as Malchemical, the two have devised a plot to kill Homelander via Soldier Boy’s power-removing blast. This leads to a fantastic meta conversation in which Ackles, Collins, and Padalecki contemplate abandoning Kripke’s new characters and retreating to the comfort of old times. But Soldier Boy demures, setting up a chase-turned blood bath in the Hollywood mansion. 

As Soldier Boy crushes Malchemical’s throat, the famous men sitting at a nearby poker table panic and try to flee. First, the lightning-fast Mr. Marathon collides with Will Forte, splattering his body all over the washed-up athlete’s designer track suit. Next, Soldier Boy slows down his attacker by throwing Kumail Nanjiani, Christopher Mintz-Plasse, and Craig Robinson in Mr. Marathon’s way. Finally, he hurls Seth Rogen at the hero, his speed shearing the comedian’s body in half. Upstairs, Mr. Marathon slips on his own baby oil, giving Soldier Boy the upper hand. Demanding answers, he shatters both of the hero’s feet before Homelander stomps on his upturned head. By far one of The Boys’ most gory scenes, this gleeful vignette revives some of Supernatural’s most beloved tricks in delightfully wacky fan-service fun. 

1) Homelander Powers Down (Series Finale)

As the show’s final season barrelled toward its jaw-dropping conclusion, there was only one question on everyone’s lips: can anyone stop Homelander? Butcher has dedicated his life to this quest after the psychotic Superman raped and impregnated his wife, eventually leading to her accidental death at the hands of their superhuman son Ryan (Cameron Crovetti). Now that Kimiko (Karen Fukuhara) possesses Soldier Boy’s blast, Butcher and Ryan brawl with the monstrous hero, destroying the Oval Office along the way. As they hold Homelander in place, Kimiko unloads the full force of her power, knocking everyone to the floor. 

Homelander arises and tries to fly, only to find out that he has lost his superhuman abilities. Butcher wades in and begins pummeling the now-fragile villain again and again as blood sprays from his fracturing face. Brutalized and bleeding, the sniveling hero begs for his life, echoing A-Train’s prophetic final words. With the world watching on live TV, Butcher drives a crowbar into Homelander’s forehead then pulls up, cracking off the top of his skull. The audience watches in horror as their would-be saviour is revealed to be human after all. 

The post ‘The Boys’ Goes Out With a Body Horror Bang: Ranking the Gruesome Deaths of Season 5 appeared first on Bloody Disgusting!.

These five newcomers join another five new horror movies that released on Tuesday!

Here’s all the new horror that released on Friday, May 22, 2026.

A disturbing weight loss craze involving human ashes opens up a haunting world of hurt for a young woman in Saccharine, which is now playing in theaters from IFC and Shudder.

Check your local listings for locations.

From writer/director Natalie Erika James (Relic, Apartment 7A), the Australian supernatural body horror film follows lovelorn medical student Hana, who becomes terrorized by a sinister force after taking part in an obscure weight loss craze: eating human ashes.

Midori Francis (“Grey’s Anatomy”), Danielle Macdonald (Patti Cake$), and Madeleine Madden (“The Wheel of Time”) star in Natalie Erika James’ latest nightmare.

Director André Øvredal’s (The Autopsy of Jane Doe, Scary Stories to Tell in the Dark, The Last Voyage of the Demeter) new movie Passenger is now playing in theaters nationwide.

Here’s the synopsis for Passenger: “A few weeks into their van life adventure, a young couple witnesses a horrific accident that leaves the driver dead. Soon they’re being pursued by a demonic stalker who’s impossible to outrun and follows them wherever they go.”

André Øvredal told Bloody Disgusting in an exclusive chat, “It’s a road movie, which is what I really fell in love with. It’s totally unique for me as a horror movie. Bridging the road movie with a haunting, essentially, on the road. I think it’s the scariest movie I’ve made.”

The cast includes Jacob Scipio, Lou Llobell, Melissa Leo, Tony Doupe, Bonni Dichone, Devielle Johnson, Jessica Cruz, Miles Fowler, and Alan Trong.

The screenplay is written by Zachary Donohue (The Den) and T.W. Burgess (Mister Howl). Former Warner Bros production executive Walter Hamada, who steered the Conjuring and It franchises, is producing via his 18hz as part of his first-look deal with Paramount. It screenwriter Gary Dauberman is also producing via Coin Operated.

Odeya Rush (Goosebumps) fights for survival in gory horror-comedy Corporate Retreat, which also stars Alan Ruck (Ferris Bueller’s Day Off) and Rosanna Arquette (Pulp Fiction).

Corporate Retreat is now playing in theaters. Check your local listings.

Described as “a gory mix of The Menu and Saw,” Corporate Retreat centers around a group of young executives whose luxury team-building trip descends into a bloody fight for survival against a vengeful retreat leader.

Sasha Lane (Twisters), Elias Kacavas (“Pretty Little Liars: Original Sin”), Ashton Sanders (Moonlight), Zión Moreno (“Gossip Girl”), Benjamin Norris (“Never Have I Ever”), Tyler Alvarez (“American Vandal”), Kirby Johnson (The Possession of Hannah Grace), and Ellen Toland round out the ensemble.

Aaron Fisher (Inside the Rain) directs from a script he co-wrote with Kerri Lee Romeo. Uri Singer (White Noise, Experimenter) produces via Passage Pictures.

Gary J. Tunnicliffe (Scream 4, Candyman) handled the film’s special makeup effects.

The wife of a serial killer goes to terrifying lengths to protect the man she loves in Sick Puppy. The darkly comedic thriller is now playing in select theaters from Dark Sky Films.

Charlie loves her husband, John, even though he is a serial killer. She’s been trying to get him to quit for years. When he finally does quit to protect her, she’s thrilled, but the police soon show up and threaten to upend their new suburban life. Charlie must do whatever she can to keep them off their trail, all while making sure John stays on the straight and narrow.

Natasha Calis (The Possession), Brett Geddes (“The Boys”), Rachel Boyd (“Days of Our Lives”), Dylan Taylor (Resident Evil: Welcome to Raccoon City), Tony Nappo (Saw franchise), Madelin Dawson, and Precious Chong (“Revival”) star.

Writer-director Jay Reid makes his feature debut on the Canadian production.

A unique concept brilliantly executed on a low budget, Japanese horror-comedy One Cut of the Dead has already yielded two international remakes. Following Final Cut from France, Blood Moon Rite 8 is a brand new Vietnamese take on the meta material.

Skyline Media and Eastern Edge Films are collaborating to release Blood Moon Rite 8 in more than 90 theaters across North America beginning today. Check your local listings.

In the film, “A struggling director, known as the ‘king of trash movies’  gets one last chance to earn his art-loving daughter’s respect by taking on his biggest challenge yet: filming a 35-minute zombie movie… live, in one single take. But when his wildly unpredictable cast, nonstop mistakes, and behind-the-scenes chaos turn the whole set into a complete mess, the line between acting and reality starts to blur in the funniest ways possible. ”

Quoc Khanh, Quynh Ly, Lam Thanh My, Quang Minh, Hua Vi Van, Hong Anh, Duc Khue, and Charlie Nguyen lead the ensemble cast. Phan Gia Nhat Linh directs.

The post Friday, May 22 – These 5 New Horror Movies Released Today appeared first on Bloody Disgusting!.

A perfect example of this is Curry Barker’s smash hit Obsession, as recently released behind-the-scenes photographs reveal that one of the film’s scariest moments was achieved through practical makeup effects inspired by a popular TikTok trend that had yet to make its way over to traditional horror media.

In the film, there’s a moment where Inde Navarrette’s Nikki lurks in the dark and watches our main character sleep, with her face looking so distorted in the shadows that many fans swear that Barker used CGI to make the actress seem more “demonic.”

The truth is that Curry Barker and his Obsession team employed something known as uncanny valley makeup (hashtag #uncannyvalleymakeup) in order to make Inde Navarrette’s features look subtly inhuman from a distance.

Inde Navarrette as Nikki behind the scenes, originally posted by @DiscussingFilm on X.

Named after a term describing how objects/creatures that look almost human are often perceived as being scarier than completely inhuman figures, uncanny valley makeup was originally popularized by beauty TikToker Emilia Blarth back during Halloween of 2023.

Blarth’s attempts at making herself look less than human immediately went viral as other creators tried to perfect the makeup style where you make your mouth and pupils look larger while softening up other features in order to give the impression of a lifeless, mannequin-like face.

This budget-friendly approach to horror makeup was used to great effect in Obsession, with Inde Navarrette looking nearly unrecognizable after a handful of eerie alterations to her face, and it’s precisely this kind of out-of-the-box thinking that makes us excited to see what Curry Barker has in store for genre fans in his future projects.

Key makeup artist Kate Oja also shared additional images of Nikki’s uncanny valley makeup design on Instagram.

 

View this post on Instagram

 

A post shared by Kate Oja (@kate_oja)

The post Freaky Nikki’s Terrifying Look in ‘Obsession’ Was a Practical Effect Inspired By a TikTok Trend appeared first on Bloody Disgusting!.

When a drug ring of criminal clowns crashes a bachelor party and kidnaps the groom-to-be, it’s up to the bride and her mother-in-law to mount a rescue. Players will battle their way through psychopathic circus performers, bazooka-toting bearded ladies, and murderous mobsters across 30+ levels.

In addition to couch co-op, Lethal Wedding features what’s called the Vow System, which keeps the stakes high by challenging players to complete randomized objectives before reaching the end of each stage. Before entering any levels, you can pick optional challenges to unlock special rewards. For example, if you want elite upgrades like Speed Reload, you’ll have to “vow” to face enemies with bonus damage and increased movement speed.

In another nod to ZAMN, you’ll be making use of unorthodox yet appropriately-themed weapons. Set devastating traps, blast enemies with rapid-fire fruit, or deploy snapping, bouncing rabbits from a magician’s hat. You’ll also be able to tailor your character with more than 20+ randomized enhancements, including everything from Combat Veils to Bulletproof Dresses.

The post ‘Zombies Ate My Neighbors’-Inspired ‘Lethal Wedding’ Coming to Steam And Sega Genesis/Mega Drive [Trailer] appeared first on Bloody Disgusting!.

The upcoming movie adapts Andrés Barba’s same-titled novel.

In República Luminosa (titled A Luminous Republic in English), “a remote island town is terrorized by 32 feral children who emerge out of the surrounding jungle.”

Here’s a more detailed synopsis from Deadline: “The thriller follows events in the town as the children shatter the peace. Speaking an unknown language and defying social norms, they spark panic among the locals. As Daniel, the town’s official, struggles to restore order, his search for answers spirals into obsession.

“Tension reaches a breaking point when the children vanish, abducting the town’s youth, including Daniel’s stepdaughter. Daniel’s desperate pursuit leads to a hidden, luminous and anarchic civilization where children live entirely without adults or rules.

“His attempt to reclaim control triggers a catastrophic clash, destroying his moral compass and the very family he fought to save.”

Jayro Bustamante achieved widespread acclaim with his 2019 movie La Llorona – not be confused with the Warner Bros. horror movie The Curse of La Llorona – which was nominated in the Best Motion Picture – Foreign Language category at the 78th annual Golden Globes.

The post ‘República Luminosa’ – Jayro Bustamante’s Next Horror Movie Unleashes Feral Children appeared first on Bloody Disgusting!.

No job is safe from horror, either, from babysitting to even the most white-collar gigs. But if you work an overnight shift? All bets are off. Vengeful co-workers and bosses aside, the night shift is likely to come armed with witches, creatures, demons, and all manner of things that go bump in the night. Even deadly outbreaks. 

Corporate Retreat, along with these five horror movies centered around some of the worst night shifts, will make you glad the weekend has finally arrived.

The Autopsy of Jane Doe

Passenger director André Øvredal goes full throttle for the scares in this quiet little chiller that sees a father and son coroner team stumped over the bizarre mysteries contained within the body of an unidentified young woman during an unexpected night shift. Well-executed scares, clever twists, and earnest performances by Brian Cox and Emile Hirsch give this supernatural haunter serious heft. While the narrative bides its time unveiling the truth behind Jane Doe’s battered body, it’s heavily steeped in witchcraft. In other words, The Autopsy of Jane Doe presents a new take on the subgenre. More importantly, it’s seriously scary.

Cold Storage

COLD STORAGE, StudioCanal 2023

A lethal, mutated fungus breaks free from confinement deep within the bowels of a storage facility. At the frontlines of the madness are Teacake (Stranger Things’ Joe Keery) and Naomi (Barbarian‘s Georgina Campbell), two employees thrust into the middle of the chaos when they investigate an alarm beeping somewhere deep within the building. Director Jonny Campbell (Netflix’s Dracula), working from a script by David Koepp based on his novel, helms the goopy madness with workman efficiency. This lighthearted, goopy horror comedy romp makes the deadly night shift a bit more bearable.

Graveyard Shift

Graveyard Shift follows new hire Hall (David Andrews) tasked by his mean boss Warwick (Stephen Macht) to assist with the insane rat infestation beneath their mill. They find something much most monstrous as the cause. Though the film was panned, it’s a fun creature feature with an always welcome appearance by Brad Dourif as the intensely eccentric exterminator. The film also opts for a happier ending, whereas (spoiler), the story sees both Hall and Warwick getting devoured by the mutated rats, the crew in the upstairs mill none the wiser.

Last Shift

‘Last Shift’

Rookie Officer Jessica Loren (Juliana Harkavy) has been assigned to watch over a closing precinct on its final night of operation…alone. With nearly everything already moved over to the new station, including rerouted 911 calls, it should be a pretty quiet night as she waits for a Hazmat team to arrive to remove biohazardous waste. Instead, it becomes a waking nightmare as she’s forced to deal with unsettling visitors. Last Shift, co-written by Scott Poiley and director Anthony DiBlasi, brings the scares.

Intruder

The overnight stock crew of a local grocery store finds themselves falling victim to an unseen killer in this highly infectious late ‘80s slasher. The deaths are delightfully gruesome and inventive; look for this killer to make excellent use of grocery store items as weapons. Frequent Raimi collaborator Scott Spiegel directed this bloody slasher, which means a lot of overlap with the Evil Dead II. That means putting Sam Raimi in front of the camera for a change, along with Ted Raimi and Evil Dead II’s Dan Hicks. Look for a cameo by Bruce Campbell as well! 

Corporate Retreat releases in theaters today; get tickets now.

The post Five of the Worst Night Shifts in Horror Movies appeared first on Bloody Disgusting!.

Check out your first look at Anya Taylor-Joy and Chris Evans in Sacrifice above.

The cast for the upcoming Netflix movie Sacrifice also includes Salma Hayek, Vincent Cassel, Ambika Mod, Sam Richardson, Charli XCX, Yung Lean, and John Malkovich.

Here’s the official synopsis: “A film star attempting a comeback is abducted with two others from an environmental gala by a radical group who believes their sacrifice will save humanity.”

There are a couple alternate plot rundowns for the film over on IMDb, one of which mentions supernatural powers and another that makes it clear Anya Taylor-Joy is playing a cult leader.

Here’s one alternate plot synopsis…

“At an elite fundraising gala, celebrities and socialites find themselves in danger when armed activists storm the venue in pursuit of a legendary relic that could unlock supernatural powers.”

And here’s a more detailed breakdown of the plot for Sacrifice…

“During a star-studded charity gala brimming with celebrities, billionaires and empty speeches, a movie star in the midst of an existential crisis (Chris Evans) is taken hostage by a radical warrior (Anya Taylor-Joy) and her devoted followers.

“As the night descends into chaos, both an inward journey and an outward adventure ensue, where the line between performance and belief, salvation and sacrifice, begins to blur.”

For what it’s worth, IMDb lists the film as an “action-adventure-comedy,” so it might be one you don’t see too much coverage for here on Bloody Disgusting. But we’ll keep our eyes peeled.

The post ‘Sacrifice’ First Look – Anya Taylor-Joy Plays a Doomsday Cult Leader in Netflix Movie appeared first on Bloody Disgusting!.

Not only does A24’s Backrooms movie look like it’s going to be an unprecedented hit, but the success of films like Markiplier’s Iron Lung seems to suggest that mainstream viewers are ready for less conventional creators to make the transition to Hollywood filmmaking.

In honor of internet-based scares making their way to theaters, I’m highlighting five more ARGs (Alternate Reality Games) that Hollywood should adapt after Backrooms! While the film’s initial announcement inspired a similar article, there are now plenty of new options available, sure to entertain horror fans.

That being said, don’t forget to comment below with your own online favorites if you think a particularly freaky ARG was missed that could impress viewers on the big screen.

With that out of the way, onto the list.

5. The Mandela Catalogue

The best part about engaging with an effective horror ARG is being able to immerse yourself in a creepy new world that feels like a warped version of reality. This is precisely why Alex Kister’s The Mandela Catalogue is so effective, as his alternate history narrative about shapeshifting demons slowly replacing the population of a small town takes place within a fully fleshed-out community.

Set in the fictional Mandela County, Wisconsin, The Mandela Catalogue may not boast a Hollywood-level budget, but that doesn’t make this apocalyptic story showcasing the eternal conflict between Heaven and Hell any less ambitious. From nightmarish imagery crafted from simple Photoshop edits to subtle storytelling that implies Eldritch horrors without actually having to show them, Kister’s project is a masterclass in making the most of limited resources.

4. Where is Everybody

Originally posted to TikTok in October of 2019, Alexander Nielsen’s Where is Everybody is one of the shortest horror experiences on this list. In fact, I’d argue that it’s easier to simply watch all of Nielsen’s videos than to continue reading this entry. If you don’t have the time, however, this fascinating TikTok account posts brief recordings supposedly made by a young man who finds himself quite literally alone in the world, with his post-apocalyptic exploration making for a fascinating series of lo-fi thrills.

While we’ve seen similar concepts before in minimalist ARGs like hiimmarymary, Nielsen’s flawless execution of a simple concept makes his work extremely easy to adapt to a feature film. In fact, studios could maintain the exact same found footage format and focus on expanding the lonely world surrounding our doomed protagonist.

3. Angel Hare

The cursed kid’s show is one of the oldest tropes in Creepypasta history, with similar horror stories having been told even before the rise of Kris Straub’s infamous Candle Cove back in 2009. However, Angel Hare stands out by having its fictional animated series be a bizarre Christian program with a sentient main character that appears to directly address our confused protagonist.

Not only is this a legitimately unsettling story about confronting your past, but Angel Hare also benefits from tight writing that makes it feel like a complete narrative with a clearly defined beginning, middle, and ending – a rarity amongst ARGs.

2. The Oldest View

Kane Parsons has already stated that he’s not yet done working with The Backrooms, and fans have been left to wonder if the filmmaker’s comments are hinting towards a possible sequel or perhaps even more videos in his long-running ARG. However, I’m of the opinion that, after the release of his hotly anticipated film, Parsons should instead focus on an adaptation of his most original work to date: the incredibly underrated The Oldest View series.

A surreal narrative about a vlogger who inexplicably encounters an abandoned mall at the bottom of an underground tunnel, the show appears to be a moody commentary on nostalgia and historical memory. It also happens to be bursting at the seams with Liminal Horror (while also featuring one of the all-time creepiest antagonists in ARG history). That’s why I’d love to see this found footage yarn make the leap to the big screen.

1. Mystery Flesh Pit National Park

Inspiration can come from anywhere, but even veteran storytellers will likely be surprised to learn that Trevor Roberts’ cosmic/body horror opus has its origins in a rotting cantaloupe that he discovered in the break room while working as an architect. Roberts would then edit a snapshot of the decaying fruit into an existing picture of a mine in South Africa, with the ensuing image becoming the basis of a long-running story about a massive superorganism buried in central Texas.

A gruesome satire of corporate greed and how human beings can quickly adapt to ridiculous situations, Mystery Flesh Pit National Park is a multifaceted narrative told through in-universe writing, illustrations, and even a Tabletop RPG. Of course, a Hollywood movie would ideally take the form of a mockumentary following the creation of the park and the terrifying 2007 disaster that led to its closing.

The post Five More Horror ARGs That Hollywood Should Adapt After ‘Backrooms’ appeared first on Bloody Disgusting!.

So, is this puppet-themed story the most ghastly thing to come out of Tales from the Crypt? Hardly. “Strung Along”, however, understood how to use its time well, how not to drag out the violence, and how to shock the audience. Funny enough, though, this is an episode that, in spite of its haunting ending, feels tamer than the source material. The comic counterpart for “Strung Along” goes out on a note that is perhaps too disturbing, even for Tales from the Crypt.

Before going any further, take a look behind the scenes of “Strung Along”. This late Season Four episode might not have the directing pedigree of others in the series—this season alone had episodes directed by William Friedkin and John Frankenheimer—but it was helmed by the Crypt Keeper’s maker and handler. Special effects wizard Kevin Yagher, who was requested to create the show’s iconic host, was also responsible for getting John Kassir cast. After gaining experience in the director’s chair, beginning with Season Two’s “Lower Berth”, Yagher came back for an episode that felt right up his alley.

Mike Vosburg’s comic-style artwork for “Strung Along”, as shown in the Tales from the Crypt episode.

There seemed to be no one better to direct “Strung Along” than the person who brought Chucky into the world. Yagher was built for a story about killer puppets. Or so, that’s what this episode appears to be about (spoiler: it is). Initially, a murderer on strings looms over that plot of a faded puppeteer and his shady wife, until it’s time for the inevitable reveal. The show’s own “no batteries” scene, you could say. Smartly, though, Yagher and co-writer Yale Udoff (Bad Timing) didn’t allow their collaboration to be so routine. What you think will happen, most definitely does happen—just now in a different way.

This episode is partly in the vein of classic psychological thrillers—the kind where, bit by bit, someone is driven to madness by someone close to him or her. And here, the victim of such malice is a retired puppeteer (or marionettist) named Joseph Renfield (Donald O’Connor). Once a successful entertainer, Joseph is now deeply unhappy. A bad heart has ended his career, as well as caused problems in his marriage. With all this free time on his hands, Joseph’s mind also wanders. He’s become suspicious about his wife, Ellen (Patricia Charbonneau), as she spends every Tuesday night at her acting class.

It doesn’t take a detective to figure out what’s going on here, especially after Ellen supplies the assistant needed for Joseph’s sudden comeback; someone in her acting class, a guy named “David” (Zach Galligan), is quickly brought in to help organize the new show. That handsome stranger is actually more into mechanical, or remote-controlled, puppets, but he’s a fast learner. David is also the only person who looks to be supporting Joseph and his new project. Ellen lays it on pretty thick with her disruptions and open hostility, whereas Galligan’s role is a little less obvious. So much so that you’re almost disappointed once the ruse is over and the villains show their hand. Joseph is so pathetic that you wish David’s friendship had been genuine.

As for the “Strung Along!” found in EC Comics’ The Vault of Horror, there is no David character, or even any kind of convoluted plan to murder Joseph’s parallel. That even more depressed marionettist, Tony Zargano, feels the full anger of his money-grubbing wife, Nora, before she simply leaves him. Fed up with her husband’s blue period and no longer living the life of luxury, Nora gives up her long con, says words that could cut steel, and then storms out. It’s really more heartbreaking than horrifying.

A page from “Strung Along!”, as seen in EC Comics’ The Vault of Horror.

If not for its last two pages, the comic version of “Strung Along!” wouldn’t qualify as horror. Most of the story just shows Tony stuck in his bed, reminiscing about the past, and trying to figure out why things went so wrong in life. It’s that familiar sort of tragedy that’s been long associated with brilliant artists. Yet as a change of pace, it’s the comic, and not the Crypt adaptation, that draws a fuller picture of the character. Tony’s fragile heart keeps him immobile but also reflective.

The comic’s shift into horror occurs as soon as Nora has a supposed change of heart. The story’s remainder is largely saturated in blues and blacks, and apart from the last two panels, Nora’s face is never shown to the audience. She never speaks a word, either. Regardless, a reconciliation commences, and Nora makes Tony’s last night on Earth “complete”. The next morning, the cops show up to find both Tony and Nora dead; it’s safe to assume he had a heart attack. Nora, on the other hand, died before her reunion with Tony. Those marionettes, in their own twisted way, wanted to make sure that their friend would have one last night of happiness.

So, as you can see, Tales from the Crypt opted for a necrophilia-free ending. After serving up a plot twist that feels like it came out of an old Jimmy Sangster script, “Strung Along” delivers the comeuppance portion of the story. It just couldn’t end with Ellen and David/Rick scaring poor Joseph into another heart attack. No, the episode needed to make good on its promise of a killer Koko the Clown. However, instead of a drawn-out chase sequence, the episode spits out a conclusion that is both fulfilling and eerie. You’re left with a rather creepy last image.

While the comic ends up being more depraved, Tales from the Crypt’s “Strung Along” is more of a complete story. The latter also doesn’t skimp on the grisliness. Either way, you’ll be sure to get your fill of puppet horror.

Season Four of Tales from the Crypt can be streamed on Shudder, starting on May 22.

Tales from Tales from the Crypt celebrates the show’s Shudder premiere by singling out one episode from each season. So don’t even think about changing that dial, boys and ghouls. More spot-“frights” are to come.

A giant puppet made in Joseph Renfield’s (Donald O’Connor) image, as seen in “Strung Along”.

The post Tales from ‘Tales from the Crypt’: Exhuming Season Four’s “Strung Along” Episode appeared first on Bloody Disgusting!.

The slasher in this one is dressed like a walking, murdering blow-up doll!

Watch the official trailer for queer slasher Blowie below.

The film follows a group of sex workers who rent a remote mansion to shoot OnlyFans content…until a tragic accident unleashes Blowie: a doll-faced killer with a thirst for vengeance.

Blowie will be available on Digital and On Demand May 26, 2026.

Bishop Black, Kali Sudhra, Kayden Gray, and Gabriel Cross star.

Blowie is written by altSHIFT, and directed by Ed Aldridge, altSHIFT and Sam Lidbetter.

The post ‘Blowie’ Trailer – Queer Slasher Features a Blowup Doll Killer and Stars Real Adult Film Actors appeared first on Bloody Disgusting!.

Blending stealth-action, shop management, and dark comedy, ZOMBUTCHER puts players in the rotting shoes of a zombie entrepreneur trying to keep a small butcher shop alive in a haunting Louisiana town. By day, players manage the shop, serve monster customers, and upgrade their business. By night, they stalk the streets for “fresh stock,” avoid patrols, and gather ingredients to keep demand high.

In ZOMBUTCHER, running a business is hard enough. Running one while being hunted by humans is another challenge entirely. Players must balance the needs of their ever-hungry monster clientele with the dangers lurking outside the shop. As demand grows, they’ll invest in better equipment, expand their butcher shop, and craft increasingly unusual products, from fresh brains to bottled blood and other monster-ready delicacies. After all, these are customers you really don’t want to disappoint. The game allows players to customize how they hunt, manage, and survive.

Of course, seeing as you’re a zombie yourself, you’ll need to do some upkeep for yourself. Not a problem, as you can swap out arms and legs from over ten different limb sets to unlock new abilities, or just refresh your body.

The post ‘ZOMBUTCHER: Monster Business Simulator’ Opens for Business on June 11 [Trailer] appeared first on Bloody Disgusting!.

undertone begins streaming on HBO Max on June 26.

Nina Kiri (“The Handmaid’s Tale”) stars in the film as Evy, a paranormal podcast host who moves into her dying mother’s house to be her primary caregiver.

When she receives audio recordings of a young pregnant couple experiencing supernatural noises, she realizes the woman’s story mirrors her own. Each new recording scratches at her sanity, drawing her into a fate she cannot escape.

The eerie horror movie marks writer/director Ian Tuason‘s feature debut. Tuason will next tackle the eighth installment in the Paranormal Activity franchise.

“With the added element of audio in undertone, it’s not just imagining what you might see, it’s also imagining what you might hear,” Tuason previously explained of his auditory horror. “It’s the intermingling of the visual and auditory that amplifies the horror.”

Kris Holden-Ried (“The Umbrella Academy”), Michèle Duquet (The Virgin Suicides), Keana Lyn Bastidas (“The Hardy Boys”), and Jeff Yung (The Shrouds) round out the cast.

Joe Lipsett came away from the film’s Fantasia premiere a massive fan of the scares. He wrote in his 4.5-skull review, “I can’t remember the last time a movie made every hair on my body stand up, but undertone got me good.” Of the film’s use of sound, he writes, “It’s more than that, though; more so than any other recent horror film, The Undertone lives and dies on how sound and silence are used. And it is used incredibly well.”

undertone premiered at last year’s Fantasia Film Festival, igniting a seven-figure bidding war, and made its US debut at Sundance in January.

Turn the lights down low and sink into an aural nightmare when Tuason’s feature debut lands on streaming in June.

The post A24’s Auditory Horror ‘undertone’ Heads to Streaming Next Month appeared first on Bloody Disgusting!.

In the upcoming Burrow, “A year after the death of her brother, a young woman joins her friends on a drug-infused getaway that spirals into a night of horror when an alien insect burrows into one of her friends, transforming him into a vicious man-eating creature.”

Shea Vaughan-Gabor, Christian Fischer, Colin Huerta, Faith Orta and Alexei Valentino star.

Burrow is directed by Gillian Smith, written by Smith and Joel Hogan.

The trailer provides only fleeting glimpses of the aforementioned alien insect, though the sci-fi/horror movie looks to deliver a close encounter of the computer-generated kind.

ITN Distribution/ITN Studios is the label behind the “Poohniverse” horror movies that pervert your childhood memories, including Winnie the Pooh: Blood and Honey, Bambi: The Reckoning, and Peter Pan’s Neverland Nightmare. You can learn more about the label here.

The post ‘Burrow’ Trailer – Body Horror Movie Gives Birth to a Man-Eating Alien Insect appeared first on Bloody Disgusting!.

Watch the first look teaser below to get a peek at the next chapter, premiering on Prime Video in 2027. 

The series “explores the twisted origins of Vought International.” It’s been described as a murder mystery that traces the origins of the evil Vought corporation.

The supes at the center of Vought Rising include:

• Jensen Ackles as Soldier Boy
• Aya Cash as Stormfront
• Mason Dye (Teen Wolf, Stranger Things) as Bombsight
• Elizabeth Posey (Heels) as Private Angel
• Will Hochman (Blue Bloods) as Torpedo

KiKi Layne, Jorden Myrie, Nicolo Pasetti, Ricky Staffieri, and Brian J. Smith also star.

Paul Grellong will serve as showrunner and executive producer.

Eric Kripke, Seth Rogen, Evan Goldberg, James Weaver, Neal H. Moritz, Pavun Shetty, Ori Marmur, Ken Levin, Jason Netter, Garth Ennis, Darick Robertson, Michaela Starr, and Jim Barnes also serve as executive producers on the series. 

Kripke recently teased that viewers should expect a much grittier tone than The Boys. “It’s definitely got some Boys‘ DNA in that it’s irreverent and graphic,” Kripke said. “But it has this sort of lovely, almost noir-like murder mystery — not Black Noir but actual noir. There are detectives and twists, and there’s a murder that then opens up into a bigger conspiracy.

The series is produced by Sony Pictures Television and Amazon MGM Studios, in association with Kripke Enterprises, Point Grey Pictures, and Original Film.

The post ‘Vought Rising’ First Look Teaser Seeks Heroes in ‘The Boys’ Spinoff Set in 1950s appeared first on Bloody Disgusting!.

As the filmmakers reveal in a featurette video for Passenger that was released ahead of the film’s arrival in theaters, the team learned that the road can indeed be a scary place while they were filming the Paramount horror movie. Star Lou Llobell explains in the aforementioned featurette video, “We were out there filming on the road… that in itself was scary. You just never know who you’re gonna come across, you never know what you’re gonna find.”

Director André Øvredal adds, “On location, a lot of people had scary experiences.” Producer Walter Hamada explains, “Just a number of weird things. People started to say it was something demonic.” Writer Zachary Donohue chimes in, “Filming out in the backwoods of Washington, it’s been creepy.” Set dresser Lela Wulsin then adds some important context:

“We’re shooting right next to the hunting grounds of the Green River Killer.”

The real-life Green River Killer was serial killer Gary Ridgway, who was convicted of murdering 49 women in the northwestern United States between 1982 and 1998.

Wikipedia notes, “At the time of his arrest in 2001, he was believed to be the most prolific serial killer in United States history, according to confirmed murders.”

Ridgway strangled his victims and dumped their bodies in forests and other overgrown areas, with his first five victims found at the Green River in Washington State.

While he was convicted of murdering 49 women, that number could be as high as 71 or more. Wikipedia details, “Ridgway later reported that he had killed so many that he lost count.”

To be clear, the events of Passenger have nothing to do with the real-life Green River Killer, but it’s a chilling detail that the movie was filmed in those very same locations.

“I feel like I’m constantly being followed by somebody,” director’s assistant Maddie Borman said while on set of Passenger. Lou Llobell’s co-star Jacob Scipio even went so far as to ask the producers to get a priest to bless the set, which he reveals in the featurette video below.

Is this all just marketing nonsense from Paramount? Maybe? Who knows? But we figured it was worth mentioning all the same. After all, it’s quite true that the road can be a scary place…

Passenger is now playing in theaters nationwide.

The post ‘Passenger’ Was Filmed Near the Hunting Grounds of the Real Life ‘Green River Killer’ appeared first on Bloody Disgusting!.

Here are the coolest horror collectibles unveiled this week!

Obsession Vinyl from Waxwork Records

The Obsession soundtrack is available on vinyl from Waxwork Records. Priced at $32, it’s due out in July.

Composed by Rock Burwell, the album is pressed on pearlescent red colored vinyl.

It’s housed in a heavyweight gatefold jacket with matte UV coating featuring artwork by Robert Sammelin and a 12×12 insert.

Terrifier 3 Santa Art Figure from NECA

After a limited release at Walmart, NECA’s Terrifier 3 Bloody Santa Art the Clown ultimate action figure is now available online for $37.99.

The 7″ scale, fully articulated toy comes with four interchangeable faceplates, 11 interchangeable hands, chainsaw, axe, glass of milk, plate of cookies, liquid nitrogen tank, ice axe, Christmas tree sunglasses, Santa hat, beard, and sack to hold all his goodies.

It’s packaged in a window box with opening front flap featuring art by Sam Coyne.

The Arrival 4K UHD from Lionsgate Limited

The Arrival will be relased on 4K Ultra HD + Blu-ray + Digital on June 16 via Lionsgate Limited. Priced at $29.99, it’s #40 in the Vestron Collector’s Series.

The 1996 sci-fi thriller has been newly remastered in 4K with Dolby Vision and features artwork by Paul Mann.

Special features:

• Audio Commentary by Writer-Director David Twohy
• Convergence: Interview with Writer-Director David Twohy (new)
• Prescience: Interview with Actress Lindsay Crouse (new)
• Into the Vortex: Visual Effects (new)
• Technosignatures: Remastering Picture + Sound (new)
• New Horizons
• The Making of The Arrival
• Alternate Ending
• EPK Interviews with Cast & Crew
• EPK B-Roll
• EPK Featurette
• Promo Reel
• Theatrical Trailer
• TV Spot

David Twohy (Pitch Black) writes and directs. Charlie Sheen stars with Lindsay Crouse, Ron Silver, Teri Polo, and Richard Schiff.

Horror Polos from Fright-Rags

Fright-Rags has released new horror polo shirts featuring embroidered designs by Kyle Crawford.

Halloween comes in black or dark navy, Nightmare on Elm Street comes in black or red, and Terrifier comes in black or graphite.

Priced at $42, each shirt is made from 100% polyester with moisture-wicking and UV protection performance and a three-button placket.

John Carpenter’s Cathedral Vinyl from Sacred Bones

John Carpenter will release Cathedral, a companion album to his forthcoming graphic novel of the same name, on August 7.

Sacred Bones Records has several pre-order packages available, including a deluxe collector’s edition for $90.

It includes the album on “Midnight Splatter” colored vinyl, an exclusive variant of the graphic novel, a 7″ with two live songs, and an autographed promo photo of the band.

Backrooms Hat from A24

A24 has released an ASYNC Research Institute hat from Backrooms.

Priced at $35, it’s only available bundled with an early ticket to see the film through May 29. It’s expected to ship by June 19.

The Dark Crystal Chamberlain Mask from Bit Bot Media

Bit Bot Media has created a Dark Crystal mask of the Skeksis Chamberlain.

Measuring 16″ high and 18″ long, each latex mask is hand-banded by Oktober Studios.

Limited to 250, it costs $150 and comes with a 4×6 print by Preston Asevedo. It’s expected to ship in the fall.

Monsters Unborn by Bruce Kilkowski Jr. 

Bruce Kilkowski Jr. has published Monsters Unborn: The Lost Universal Monster Remakes via Harker Press.

The 272-page book chronicles 15 remakes of the Universal monster classics that never made it to the screen, including scripts by John Carpenter, George A. Romero, Mick Garris, David S. Goyer, Andrew Kevin Walker, Anne Rice, and more.

Evil Dead Rise Apparel from Gutter Garbs

Gutter Garbs has released Evil Dead Rise apparel designed by Sam Coyne, Brandon Stecz, and Mister Black.

They come on T-shirts ($32), Comfort Colors tees ($34), and Shaka Wear oversized tees ($36). Coyne’s artwork is also available on long sleeves ($40), pullover hoodies ($55), and zip-up hoodies ($55).

Pre-orders are expected to ship the week of June 14.

The Boys Vinyl from Mutant

The Best of The Boys will be released on vinyl on July 15 for $55 from Mutant.

It features score selections composed by Christopher Lennertz (“Supernatural”) and Matt Bowen along with original songs and covers performed by the cast.

The 3xLP album is housed in a triple gatefold jacket featuring artwork by Matt Ryan Tobin along with liner notes from the cast and crew.

The Duke Mitchell Collection from Grindhouse Releasing

Grindhouse Releasing has launched pre-orders for The Duke Mitchell Collection, expected to ship in mid-June.

The three-disc set induces both of Mitchell’s directorial efforts — 1974’s Massacre Mafia Style and 1976’s Gone with the Pope — on Blu-ray, along with the Gone with the Pope soundtrack on CD.

Massacre Mafia Style special features:

• Digital restoration of the original uncensored director’s cut
• Interviews with Jeffrey Mitchell, Frankie Ray, George Jacobs, Jim LoBianco, and exploitation legend Matt Cimber
• Duke Mitchell home movies
• Duke Mitchell Live in Concert, June 9, 1960 – Lost audio recording
• An Impressionistic Tribute to Jimmy Durante – Bonus TV special
• Still galleries
• Radio spots
• Theatrical trailer

Gone with the Pope special features:

• Digital restoration from the original 35mm camera negative
• Mono, stereo, & 5.1 sound options
• Interviews with actors Jim LoBianco and John Murgia, cinematographer Peter Santoro, editors Bob Leighton and Robert Florio, and exploitation legend Matt Cimber
• Deleted Scenes & Bloopers
• 2010 Hollywood World Premiere Footage
• Still galleries
• Theatrical trailer
• Liner notes by horror writer John Skipp
• Soundtrack CD

The set costs $29.95. A “Family Edition” bundle, which includes a Gone with the Pope 27×40 poster and a Duke Mitchell poker Chip, is also available for $49.95.

For more merch madness, peruse the Killer Collectibles archives.

The post 11 New Must-Have Horror Collectibles, Including ‘Obsession’ Vinyl & ‘Terrifier 3’ Figure appeared first on Bloody Disgusting!.

This freedom has allowed adult stories like Preacher and even Invincible to be adapted in all of their bloody glory without the need to compromise the action in order to secure a profitable PG-13 rating. That’s also how we got Prime Video’s incredibly successful adaptation of Garth Ennis and Darick Robertson’s The Boys, a satirical comic book that went on to become one of the most popular superhero deconstructions in media.

However, with the show finally reaching its conclusion after seven years of bloodthirsty setup, long-time fans are left to wonder where they’ll turn to for their next dose of horror adjacent comic book thrills.

So, here’s a list highlighting five ultraviolent comics that also deserve the The Boys adaptation treatment, as there are plenty of genre stories that would make for some riveting programming.

That being said, this is far from a comprehensive list, so don’t forget to comment below with your own comic book favorites if you think we missed a particularly gnarly one.

With that out of the way, onto the list!

5. Wanted

Yes, I’m very much aware that Wanted already has a reasonably successful film adaptation from 2007, but as much as I enjoy that batshit crazy movie about curving bullets and deciphering prophecies from textile mills, it has absolutely nothing to do with Mark Millar’s original story!

The real Wanted was actually about the son of a superpowered killer discovering that our reality is controlled by a secret society of supervillains who emerged victorious from a war against superheroes and wiped everyone’s memories so that they could continue their nefarious activities in the shadows. In a media landscape dominated by superhero stories and fantastical cinematic universes, I think a supervillain story taking place in a more grounded reality would be a breath of fresh air. That’s why Wanted makes it onto the list, though it’s a shame that Eminem is a bit too old now to finally play the main character who was clearly based on his appearance.

4. Brat Pack

Brat Pack is probably the most controversial book on this list, with this dark satire of superhero sidekick stories delving into uncomfortable territory in order to condemn child abuse and the underlying fascism behind vigilante justice. However, despite being a frequently unpleasant read with divisive story beats regarding homophobia and sexual assault, enough time has passed that I believe a new generation of writers could tactfully approach the subject matter in order to expose how media empires exploit children.

There have been enough real-life scandals since 1990 to inform a serious Brat Pack adaptation that could very well turn out to be one of the most important Superhero stories ever put to screen – so long as the showrunners treat the subject with the respect it deserves.

3. The Strange Talent of Luther Strode

Equal parts horror comedy, Spider-Man homage, and parody of those Charles Atlas bodybuilding advertisements that used to haunt comic books during the ’50s and ’60s, The Strange Talent of Luther Strode is one of the most insanely creative projects to come out of the industry in decades.

That’s also why I think Justin Jordan and Tradd Moore’s high-octane parable about a troubled teenager who suddenly becomes a hulking strongman could also turn out to be TV’s next big superhero-themed hit. And if you ask me, a digitally de-aged Alan Ritchson would be perfect for the role of Luther!

2. Nemesis

The sadistic brainchild of Mark Millar and Steve McNiven, Nemesis is so edgy that it often becomes an unintentional comedy. And yet, there’s an undeniable charm to the over-the-top cynicism of this ridiculously hyperviolent story that can best be described as: “what if Batman was the Joker?”

However, the farcical world of Nemesis is so over-the-top that an appropriately satirical adaptation has the potential to surpass its source material. Hell, the added limitations of a TV budget might even help to make this a more easily digestible experience, though it really depends on who might be cast as the Patrick-Bateman-esque title character.

1. Something is Killing the Children

Putting James Tynion IV and Werther Dell’Edera’s action-horror opus on this list is kind of a cheat since an adaptation has been in the works since 2021, but until Blumhouse gives us an update on the long-gestating movie and animated series, I’ll continue to beg for a live-action rendition of Something is Killing the Children!

In this ultraviolent Boom! Studios series, we follow monster hunter Erica Slaughter as she hunts down hungry abominations that are usually only able to be seen by kids. While the overarching story here is perfect for a multi-season TV epic (and maybe even a couple of spin-offs), there’s also plenty of room for monster-of-the-week stories too.

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This lineup of upcoming horror films being produced by Dario Argento includes…

Flesh of My Flesh

Flesh of My Flesh tells the story of three mothers investigating the disappearance of a teenage girl. It’s described as “a realistic and unsparing portrait of evil in its most unsettling form: everyday, unsuspected, the evil next door” as well as a “deliberate departure from Argento’s signature atmospheric horror.” The film “marks a new register for the maestro’s storytelling.”

The Girl With Crystal Eyes

The Girl With Crystal Eyes follows the encounter between a charming businessman and a mysterious woman whose passion drags him into a spiral of tragic murders.

The Black Velvet Mask

The Black Velvet Mask explores the minds of three young women from different social backgrounds and origins, united by the same nightmare: a man in a black velvet mask assaults them and throws them from a balcony. The victims manage to unmask him — but when they wake, they cannot remember his face.

Gabriele Altobelli is directing all three films, with Dario Argento producing.

Variety details that Flesh of My Flesh is currently in production, while The Girl With Crystal Eyes will shoot later this year and The Black Velvet Mask next year. The outlet also notes, “The trilogy will be produced across several European countries in Italian, English and Spanish.”

Stay tuned for more on all things Dario Argento.

‘Flesh of My Flesh’

The post ‘Flesh of My Flesh’ – Dario Argento Has Announced a Brand New Trilogy of Upcoming Horror Movies appeared first on Bloody Disgusting!.

The recent Absolute Batman has circumvented this concern by existing at the beginning of a new universe, but sometimes the best instances of Batman are miniseries that pick and choose when in Batman’s history they want to set their story in order to ignore whatever status quo is in place at the moment. This gives the story a timeless feel without allowing you to get distracted by trying to figure out who the mayor is or which Robin is active at the moment.

The strongest example of this in the past few years is Dark Patterns, a 12-issue miniseries written by Dan Watters and drawn by Hayden Sherman. In addition to excellent creator-owned books from Watters like The Seasons Have Teeth, Coffin Bound, and Home Sick Pilots, he had a great foray into the Batman corner of the DC universe with Arkham City: Order of the World, a creepy miniseries that had echoes of Grant Morrison’s classic Arkham Asylum: Serious House on a Serious Earth. Sherman has also been on a hot streak, drawing both the Annihilation-inspired Into the Unbeing and the Eisner Award-winning Absolute Wonder Woman. It’s a dream team that comes together to tell a moody series of tales that give me that classic Batman feel.

While Dark Patterns is a 12-issue miniseries, its greatest strength is that it’s divided into four distinct three-issue story arcs that each stand on their own. It feels like modern comics have become so focused on long-form storytelling, so it’s refreshing to see a title that’s telling a focused tale that doesn’t overstay its welcome. Not only are they bite-sized stories, but they are ones that focus on my two favorite aspects of Batman: creepy villains and street-level detective work.

The story’s stakes definitely do rise by the end, but it never gets to the point where a supervillain and their army hold the city hostage through fantastical means. Dark Patterns has that level of groundedness associated with the Christopher Nolan films, making for a refreshing counterpoint to the often grandiose scale of the main Batman books.

Hayden Sherman’s Art Gives Gotham a Distinct Visual Identity

Before delving into the plot of each of these arcs, I have to give Sherman their props on the art, which is consistently a highlight of the series. Not only are the designs of the villains, new and old, great, but they have some of the most interesting page layouts to bring the action to life. Their unique panel shapes bring to mind the J.H. Williams-drawn run of Detective Comics that focused on Batwoman, one of my all-time favorites.

The character illustrations themselves bring to mind the style of Tim Sale‘s The Long Halloween, with a bit of Batman: The Animated Series mixed in, but presented with unconventional angles and extremely human poses that emphasize Batman as a man rather than the near-supernatural being he’s often portrayed as. I came to the book as a fan of Dan Watters, but ended up being just as blown away by Hayden Sherman.

While each story can stand on its own, with only the final story somewhat building on events from the previous three, there are throughlines throughout the entirety of Dark Patterns that make it feel like a cohesive piece. Right from the beginning, we see a city that’s gone feral. Kids playing deadly games. Wild dogs roam the streets. A building on fire. In the opening narration, Batman, who at this point is three years into his career as the Caped Crusader, acknowledges that “there are heinous things in Gotham I can do nothing about.”

The stories focus on forgotten people, individuals the city has left behind to fend for themselves, with Batman trying to sort out how to find some form of justice for them in whatever way he can. One thing I love about this Batman is that he is fallible, often taking quite a beating over the course of these stories. None of these elements is new to Batman, but Watters uses them as a solid foundation for very contemporary stories. 

Meet One of Gotham’s Creepiest New Villains in “We Are Wounded”

The first story, titled “We Are Wounded“, introduces a terrifying new villain. It all starts with a horrific crime scene. Pathologist Dr. Sereika presents Batman and the reader with the body of a man found stabbed in every major nerve cluster, done with precision to keep him alive as long as possible. As Batman investigates, it leads him on a collision course with the killer, who has nails, rebar, and spikes stabbed through his body in a way that narrowly misses all his vital organs. Not only is he a ghastly sight, but he presents a huge challenge for Batman: there’s no place to strike him that won’t cause the many pieces of metal to kill him.

Dubbing him the Wound Man, named after the famous medieval medical manuscript drawing, this case takes Batman to an area outside Gotham known as the Town Without Screams, where corporate neglect resulted in a chemical spill that caused the entire town to no longer be able to feel pain. With the help of reporter Nicky Harris, who becomes a recurring character in the miniseries, he uncovers a tragic tale of greed and coverups, leading to a surprisingly sympathetic origin story for such a monstrous-looking villain.

“We Are Wounded” shows us a perfect blueprint for what this series is going to be going forward. The mix of horror and detective work is on display from the beginning, and the writing and art contribute to both of these elements equally. The Wound Man is a conceptual nightmare, a numb man looking to make people feel pain for taking away his ability to feel it, that’s brought to life with one of the most striking visual designs I’ve seen for a new villain since the Court of Owls. Just the sight of all the nails and spikes in him is enough body horror, but it’s clear that their placement was designed with care by Sherman for maximum effect, including a pattern of nails embedded in his face that almost mimics a mask.

The detective vibes of the story are not only conveyed by the intriguing legwork that Batman does to hunt the new villain, but also through the noir-esque locations and framing that Sherman uses to portray the action. The first arc is so important to a comic run to both hook readers and give them a taste of what’s to come, and “We Are Wounded” is a masterclass in opening chapters.

“The Voice of the Tower” Turns Gotham Into a Haunted House

After introducing a new villain in the first story, the second arc, “The Voice of the Tower“, decides to reinvent an old one by cleverly working with Ventriloquist and Scarface, an antagonist pair that always feels a bit like a cheap punchline. At the beginning, it doesn’t even seem like a Scarface story, introducing us to the soon-to-be-demolished Bledin Towers, where residents have refused resettlement packages and holed up in their homes, refusing to leave. The situation has escalated to the point where they’ve killed a police officer, so Batman infiltrates the apartment complex in an effort to save another cop that’s being held hostage by unknown forces within.

Once he gets inside, he finds Scarface, not accompanied by his normal Ventriloquist Arnold Wesker, and breaks the villainous dummy, only to hear Scarface’s voice reverberate through the tower. At this point, several residents armed with Tommy guns don Scarface masks and attempt to kill Batman.

The mystery of what’s going on in Bledin Tower is a compelling one, forcing Batman to question if the building itself is perhaps possessed by the spirit of Scarface. It’s one part haunted house, one part The Raid, seen through the lens of Batman, making for a compelling arc that feels unlike any other Scarface story I’ve read before. Batman feels truly out of his element and overwhelmed here, with Sherman’s panel layouts emphasizing the labyrinthine nature of the tower as he tries to untangle the truth. Action. Horror. Mystery. “The Voice of the Tower” has it all, balanced perfectly to set itself apart from “We Are Wounded” while still maintaining the previously established mood.

The Rookery Explores Gotham’s Cycles of Violence in Unconventional Arc “Pareidolia”

The third arc, “Pareidolia“, begins with a battered Bruce Wayne talking to Gotham, trying to make sense of the rash of fires that have been plaguing the city, theorizing that it’s the city itself trying to burn him out as though he were an infection. From his window, he sees another blaze and decides he’s had enough and will deal with this one. Police aren’t rushing to this fire because it’s in the Rookery, a neighborhood in Old Gotham that’s been decimated and neglected by the city at large.

It’s a maze of ramshackle houses rebuilt out of temporary materials with several places that have no running water or proper electrical wiring. When Batman finally gets to the husk of a building left behind by the blaze, he finds a body left in a dryer, which resembles a macabre method of execution used by the Red Hood Gang decades ago.

“Pareidolia“, as the book tells us, is the name for how we perceive patterns where there are none, and Batman spends this arc trying not to go down a rabbit hole as he attempts to find the killer. His descent into the history of the Rookery brings him back to both Dr. Sereika and Nicky Harris, all while the neighborhood violently rejects his presence. It’s a story that doesn’t turn out exactly as you, or Batman, expect it to, with a tragic conclusion that is far more intimate than anticipated.

There are some real standout pages here from Sherman, particularly the series of pages that are topped with headlines of Batman’s desperate campaign in the Rookery paired with striking panels of his actions. It’s the most unconventional story in the collection, both in content and in structure, but it’s effective in driving its point home about the forgotten people of Gotham.

“The Child of Fire” Delivers a Haunting Finale

The final arc, “The Child of Fire“, reveals the titular new villain as the source of the city’s rash of fires. After the conclusion of “Pareidolia“, Bruce is completely spent, with Alfred helping him as he recovers from a fever. As the blazes continue, Batman attempts to push past his sickness and chase down this new villain, who seems to be trying to recreate the Great Fire of Gotham, a 1835 blaze that originated in the financial district and reshaped the city.

This is definitely the highest stakes that the book reaches, but it still remains grounded in detective work as Batman attempts to figure out the identity of this unsettling villain.

The Child of Fire’s image is almost the exact opposite of the Wound Man. Rather than spiky and horrific, they look soft and comforting, wearing a fireproof suit that looks comparable to the Michelin Man’s body. The doll mask they wear gives them an off-putting child-like visage, especially creepy when seen peering through the flames. The arc incorporates the classic Batman villain Firefly in a way that immediately allows you to see the difference between the two villains, with the Child of Fire being more philosophical and high-minded. There’s an almost mythological aspect to this story, something many Batman tales like to play with, but it still feels rooted in reality, even when it’s at its most dreamlike.

There’s a phenomenal sequence in the second issue of the arc where Batman, still suffering from his fever, is swinging through Gotham, seeing and hearing flashbacks of the Great Fire. Sherman’s layouts do an amazing job of alternating between the past and the present, with a strong visual variation provided by excellent work from colorist Triona Farrell. It’s a harrowing scene that not only delivers exposition about the history but also sets high stakes for Gotham. “The Child of Fire” is a wonderful finale, feeling like a culmination of everything that’s happened in the three previous, disparate tales, doubling down on the strengths of the entire series in a big way.

Batman: Dark Patterns feels like an audition for Detective Comics, one that the team passed with flying colors. It’s both classic and experimental, feeling old-school in structure but forward-thinking in execution. Not every story needs to shake the foundation of Gotham City forever, and Watters understands how to make smaller-scale stories that resonate on a more personal and existential level. He’s currently still in the Batman corner of the DC universe, writing the ongoing Nightwing series, while Sherman continues as the regular artist on “Absolute Wonder Woman“.

Both of those series are excellent in their own right, but I can’t help but hope these two will be back together again writing Batman, because Dark Patterns demonstrated that this team will go down as one of the finest to write the character.

The post ‘Batman: Dark Patterns’ Harkens Back to Old-School Detective Stories With Haunting Style [Review] appeared first on Bloody Disgusting!.

Developed by Ares’ Swift Games, the studio behind the hit mobile title Heroes vs Hordes, in The Walking Dead: Aftermath, players will step into the shoes of iconic survivors from The Walking Dead Universe, including Rick Grimes, Daryl Dixon, and Michonne, as they fight to survive against relentless walker herds, hostile enemies, and powerful bosses. Aftermath combines “high-intensity” roguelite action with survivor strategy and base-building meta-progression, challenging players to adapt, scavenge, and fight to stay alive.

The journey spans increasingly harrowing campaign chapters set across the franchise’s most iconic locations, from the deceptive peace of Hershel’s Farm and the fortified streets of Woodbury to the haunting remains of Terminus to the Alexandria Safe-Zone.

When the fighting stops, players must retreat to their Base Camp to fortify their community and ensure long-term survival. There, players will be able to do the following:

• Forge Survivor Bonds: Unlock additional characters and exclusive progression bonuses. Assigning them to specific camp roles unlocks vital production synergies and enhances overall community effectiveness.
• Secure the Perimeter: Construct and upgrade defensive structures, such as watchtowers and walls, to safeguard the settlement.
• Generate Critical Resources: Manage farms, scrapyards, and lumber mills to produce the supplies necessary for expansion.
• Arsenal Progression: Permanently improve weapons, armor, and survivor attributes using scavenged materials.

The Walking Dead: Aftermath will also feature a robust live-service, delivering regular content updates, new storylines, new characters, and limited-time events.

The post Pre-Registration Opens for ‘The Walking Dead: Aftermath’ Ahead of Summer Launch [Trailer] appeared first on Bloody Disgusting!.

Steven Schneider will exec produce Recluse through his label Spooky Pictures.

Sasha Frolova (The Empty Man) stars in Recluse as Joan, a solitary audio engineer who returns to her family’s decaying country estate after receiving a call from her ailing father, an acclaimed but reclusive artist rumored to have dabbled in the occult.

Unearthing a malevolent secret decades in the making, Joan must determine whether the horrors she faces are the product of her father’s misdeeds or her own troubled mind.

Mia Vallet (“Believe”), Xander Berkeley (Candyman), Kimball Farley, Toby Poser (Hellbender), Frankie Seratch, Gillian Cooper, and Christine Nyland also star.

“Recluse is pure nightmare fuel – blending chilling storytelling, striking visuals and haunting sound design to deliver a totally immersive horror experience,” Schneider said in a statement to Variety. “With this fearless and loud debut, Henry is emerging as the next great horror auteur – and as the film begins its festival journey, it’s a thrill to be along for the ride.”

Recluse will world premiere at the Tribeca Film Festival next month.

The growing list of impressive horror titles on the Spooky Pictures resume includes Watcher, Late Night with the Devil, Strange Darling, V/H/S/BEYOND, V/H/S/HALLOWEEN, The Plague, Undertone, and Hokum. The label also produces Curry Barker’s upcoming Anything But Ghosts.

The post ‘Recluse’ – First Look at “Nightmare Fuel” Horror Movie from the Writer of ‘Antlers’ appeared first on Bloody Disgusting!.

The Florist tells the story of Jessica Park, who arrives in the lakeside town of Joycliffe to make a last-minute delivery. Her timing sparks disaster as the town quickly descends into a deadly fight for survival against omnipresent floral overgrowth. Solve ingenious puzzles, defeat horrifying enemies, and uncover a mysterious plan to create new life in the most inhuman way imaginable.

The gameplay trailer reveals enemies known as Seeds, who are tragic victims of a deadly floral affliction. No longer alive, their bodies are controlled by organic growth which instinctually move to attack and draw nutrients from living organisms. Luckily for the player, they can make use of the Catclaw Revolver or Rosetta Shotgun to even the odds.

Seeds aren’t the only foe players will need to worry about, as they’ll also have to deal with The Harvester, a hulking monstrosity that carries a bloodstained sack. The player will need to stay one step ahead, unravel the mystery behind the outbreak, and put a stop to The Harvester’s mission.

The post New “Gardens of Death” Gameplay Trailer Reveals Floral Horrors of ‘The Florist’ [Watch] appeared first on Bloody Disgusting!.

After an effective cold open that sees a road trip among friends run afoul of the eponymous entity, Passenger introduces young couple Maddie (Lou Llobell) and Tyler (Jacob Scipio) as they pack up their Brooklyn apartment and embark on a new van lifestyle, roadtripping across the country. But their novice experience leaves them exposed to danger, and crossing paths with the ill-fated opening sequence vehicle on a rainy night leaves them vulnerable to a demonic entity that latches on and refuses to leave them in peace.

Llobell and Scipio as the central couple are perhaps too precious and adorable for a film like Passenger. Maddie and Tyler are so wholesome that they gift each other with Bob Ross bobbleheads before a major life upheaval. The type that plot sickeningly sweet marriage proposals and offer unwavering support. They’re also almost completely devoid of conflict.

The script by Zachary Donohue (The Den) and T.W. Burgess (Mister Howl) bides its time acclimating to the van life with a novice pair who take nearly half the film to drum up any kind of drama or conflict to break up the increasingly formulaic haunting they’ve stumbled headfirst into. While Maddie and Tyler are endearing, they’re also extremely uninteresting.

Lou Llobell as “Maddie” and Jacob Scipio as “Tyler” in Passenger from Paramount Pictures.

That quickly becomes a glaring problem as Passenger doesn’t have much to say about its entity, either. The underserved Melissa Leo does pop up now and again as a veteran nomad more savvy to the road’s supernatural threats, injecting much-needed energy and urgency in a film that’s as laid back as its peripheral van life characters. But there’s not a lot of exposition for Leo to deliver, aside from vague formulaic warnings that propel the couple further along their fight for survival.

This is ultimately where Øvredal’s strengths as a filmmaker pick up the slack, compensating for the sparse mythology and plotting with stunning vision and set pieces. You can count on Øvredal to find inventive ways to frame a scene and raise visual interest. A scenic wooded screening of Audrey Hepburn’s Roman Holiday transforms into a breathtaking vision of terror. The film’s climax injects scale and awe with its scale and eerie imagery. And endless praise should be heaped on Passenger for its ability to capture night and darkness with rare clarity.

Joseph Lopez as “The Passenger” and Lou Llobell as “Maddie” in Passenger from Paramount Pictures.

As gorgeously well-crafted and tactile as Passenger is, it’s ultimately undone by a screenplay that offers nothing new aside from putting its haunted house on wheels. Joseph Lopez does make for a haunting vision as the demonic entity, but Passenger never really fleshes this character out beyond superficial, undefined motives. Without anything for the audience to latch onto here, both character-wise and lore-wise, the barrage of jump scares winds up mostly toothless. 

In keeping with the road trip metaphors here, Passenger doesn’t really offer much in the way of a journey or a destination. Its setup is novel, but the lack of depth prevents this handsomely made haunted house road tale from ever becoming truly interesting, let alone scary.

Passenger releases in theaters on May 22.

The post ‘Passenger’ Review – A Gorgeous Yet Bland Haunted House Road Trip appeared first on Bloody Disgusting!.

The official Scary Movie social media accounts have shared a short video teasing “the popcorn bucket theaters were never ready for,” with the video suggesting that multiple different bong-shaped popcorn buckets will be available ahead of the film’s release this summer.

It’s a bit hard to tell at this time if these are actually real or if they’re just having fun and slapped some Scary Movie stickers on actual glass bongs as a parody of the popcorn bucket trend, but for what it’s worth, director Michael Tiddes is claiming these are indeed real.

Tiddes, who directed the new Scary Movie, writes on IG: “Yes…. It’s real!”

We can’t imagine these will actually be sold in movie theaters, but maybe online? Stay tuned…

Scary Movie releases in theaters June 5, 2026.

Marlon Wayans (“Shorty”), Shawn Wayans (“Ray”), Anna Faris (“Cindy”), and Regina Hall (“Brenda”) reunite alongside returning favorites and fresh faces to slash through reboots, remakes, requels, prequels, sequels, spin-offs, elevated horror, origin stories, anything with the word legacy in it, and every “final chapter” that absolutely isn’t final.

 

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Thanks to Passage Pictures and Western Film Services, Bloody Disgusting is inviting its readers to check out the workplace horror this Memorial Day weekend. See the markets below, enter the day you like to attend, and we’ll e-mail you the tickets as long as inventory lasts!

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Described as “a gory mix of The Menu and Saw,” Corporate Retreat centers around a group of young executives whose luxury team-building trip descends into a bloody fight for survival against a vengeful retreat leader.

Odeya Rush (Goosebumps) fights her way through an eclectic cast that includes Sasha Lane (Twisters), Elias Kacavas (“Pretty Little Liars: Original Sin”), Ashton Sanders (Moonlight), Zión Moreno (“Gossip Girl”), Benjamin Norris (“Never Have I Ever”), Tyler Alvarez (“American Vandal”), Kirby Johnson (The Possession of Hannah Grace), Ellen Toland, Rosanna Arquette (Pulp Fiction), and Alan Ruck (Ferris Bueller’s Day Off).

Aaron Fisher (Inside the Rain) directs from a script he co-wrote with Kerri Lee Romeo. Uri Singer (White Noise, Experimenter) produces via Passage Pictures.

Gary J. Tunnicliffe (Scream 4, Candyman) handled the film’s special makeup effects.

The post ‘Corporate Retreat’ – Get FREE Tickets Now to Gory Horror Comedy appeared first on Bloody Disgusting!.

The genre favorite joins Brie Larson (Kong: Skull Island) in the “modern take on the creature horror film” from producer J.J. Abrams.

Skeletons “is told from the perspective of a young boy who slowly begins to discover that his beloved parents are hiding a disturbing secret about his mother’s true nature.”

Mollner will direct from a script by Brian Duffield (Love and Monsters, No One Will Save You), based on the short story Fail-Safe by Philip Fracassi.

From Bad Robot, Infrared, and Assemble Media, the film is produced by Abrams, Drew Simon, Jon Cohen, and Jack Heller. Executive producers include Larson, Duffield, Fracassi, and Caitlin de Lisser-Ellen.

Sony Pictures acquired the worldwide rights to Skeletons out of this year’s European Film Market in a deal landing in the $25 million range.

Gallner can next be seen opposite Samara Weaving in the romantic thriller Carolina Caroline, in theaters June 5. His other upcoming genre projects include Man Vs., which he also wrote, and Inground.

The post Kyle Gallner Joins Brie Larson in JT Mollner’s Creature Feature ‘Skeletons’ appeared first on Bloody Disgusting!.

Deadline reports, “Radio Silence’s Matt Bettinelli-Olpin and Tyler Gillett will work from a script by Tom Bissell, a WGA Award winner with credits including Andor and The Disaster Artist.”

The outlet adds in today’s report, “No details yet as to the plot of the feature take.”

Deadline goes on to explain in their exclusive report, “The series officially launched at Bantam Books in 1979 with The Cave of Time, a book by Edward Packard, who had ideated a novel branching-story concept while telling bedtime stories to his daughters. Between 1997 and 1999, more than 184 of these gamebooks were published from 30 different authors, with stories set everywhere from the ocean to outer space and myriad fantasy worlds.”

No word yet on which of the books the Radio Silence feature film will be pulling from (if any), what genre the movie will ultimately be, or how it will work the line’s trademark interactivity into a movie-going experience. But we’ll be sure to report more as we learn more.

For what it’s worth, the books did frequently brush up against the horror and science fiction genres, and it’s hard to imagine Radio Silence not embracing some of those genre elements.

The post ‘Choose Your Own Adventure’ Movie in the Works from ‘Scream’ Directors Radio Silence appeared first on Bloody Disgusting!.

They join previously announced leads Maisy Stella (My Old Ass) and newcomer Tatum Grace Hopkins in the series adaptation of the mystery adventure video game.

The show follows “Max (Hopkins), a photography student, who discovers she can rewind time while saving the life of her childhood best friend, Chloe (Stella).

“As she struggles to understand this new skill, the pair investigate the mysterious disappearance of a fellow student, uncovering a dark side to their town that will ultimately force them to make an impossible life or death choice that will impact them forever.”

Cullen is set to play Mark Jefferson, Max’s teacher. Hailey will play Chloe’s mother, Joyce Price, with Castillo as Chloe’s stepfather, David Madsen. Teague will appear as local drug dealer Frank Bowers.

“Life Is Strange” is created by showrunner Charlie Covell (“The End of the F***ing World”), who also writes along with Mackenzie Dohr (“WandaVision”). Karyn Kusama (Jennifer’s Body, The Invitation) will direct the first two episodes.

The series hails from Square Enix, Story Kitchen, and LuckyChap, with Amazon MGM Studios producing. Executive producers include Covell, Dohr, Kusama, Dmitri M. Johnson, Michael Lawrence Goldberg, Timothy I. Stevenson, Jen Roskind, Dani Gorin, and Natalie Berkus.

Developed by Don’t Nod Entertainment and later Deck Nine with Square Enix’s External Studios serving as publisher, Life Is Strange has amassed over 20 million players since its launch in 2015.

The video game franchise also includes 2017’s Life Is Strange: Before the Storm, 2018’s The Awesome Adventures of Captain Spirit, 2018’s Life Is Strange 2, 2021’s Life Is Strange: True Colors, 2022’s Life Is Strange Remastered Collection, 2024’s Life Is Strange: Double Exposure, and this year’s Life is Strange: Reunion.

Tom Cullen in “Knightfall”

The post ‘Life Is Strange’ TV Adaptation Adds Owen Teague, Tom Cullen, More appeared first on Bloody Disgusting!.

The film follows “the overworked and underpaid employees of a struggling tech startup on the day of a high-stakes AI product launch that could make them millions. But when the company’s secretive invention begins turning against them, the staff finds itself trapped in a chaotic fight for survival… at least until the checks clear.”

Amita Rao (“Adults”), Jake Prizant (“Deli Boys”), Sam Brown (“The Whitest Kids U’Know”), and Behzad Dabu (“How to Get Away with Murder”) lead the cast.

A number of comedians, many from The Second City, round out the ensemble: Jordan Stafford, George Elrod, Dani James, Max Lazerine, Annie Sullivan, Rogue Schmidt, and Zoe Agapinan.

Produced by Pluto Labs Films, the indie horror-comedy is directed by James Slaven and written by Kevin Noonan.

“On the surface, See Bot Run is a chaotic workplace horror-comedy, but at its core, it’s about people who feel trapped inside a system that only values them when they’re useful,” said Noonan. “The rise of AI and the culture surrounding it made the story feel even more relevant while we were making the film.”

“Everyone has experienced some version of this workplace, from impossible deadlines to inflated executive egos, and exhausted employees pretending everything is under control,” added Slaven. “The horror and comedy both come from pushing that reality just far enough over the edge.”

See Bot Run just wrapped filming in Chicago and is now in post-production.

The post AI Turns Against Workers in Horror Mockumentary ‘See Bot Run’ appeared first on Bloody Disgusting!.

Reproduced in stunning one-to-one format, these collector-worthy editions resurrect some of the most iconic and infernal stories ever unleashed from the depths of Barker’s imagination with HELLRAISER FACSIMILE EDITION #1, THE HARROWERS FACSIMILE EDITION #1, and PINHEAD FACSIMILE EDITION #1 coming in August 2026.

The comic book re-releases couldn’t be coming along at a better time, as the Hellraiser franchise is back in the spotlight with the upcoming release of video game Hellraiser: Revival!

Here’s everything you need to know about the BOOM! Studios comic books…

First up, go beyond the horror that began in Clive Barker’s darkly malevolent films and delve into an experience beyond limits in HELLRAISER FACSIMILE EDITION #1.

In this one-to-one reproduction from horror legend Clive Barker, Pinhead sets his sights on a new goal… to become human again. Sending Pinhead on a journey unlike any other in the Hellraiser mythos, this issue represents the start of a bold new era for Hellraiser!

From the mind of New York Times–bestselling author Clive Barker with blockbuster writer Christopher Monfette (Star Trek: Picard, 12 Monkeys) alongside artist Leonardo Manco (Dr. Doom, Apache Skies) providing the disturbing visuals, a true collector of ancient oddities and demonic devices can’t possibly resist a true reproduction such as this.

Then, experience a prison break of epic proportions with this thrilling issue from the twisted mind of Clive Barker in THE HARROWERS FACSIMILE EDITION #1.

In lower east side Manhattan, six strangers gather at the abandoned Bleecker Street Hotel, drawn together and hand-selected by the powerful goddess Mortē Mammē. Imbued with her special gifts, they’re tasked with a divine mission: break into Hell itself and rescue the innocent souls trapped in endless torment there!

But Hell has its own guardians… Can they learn to work together fast enough for their first dive into the infernal depths? And what secrets are they harboring that could tear each other apart before the demons do it for them?

Break into a new layer of dark delights from horror writer Clive Barker with writer Malcolm Smith (HELLRAISER) and legendary artist Gene Colan (Daredevil, Howard the Duck, Blade) with this faithful reproduction of the original series’ debut issue!

Complete your collection with the first appearance of Pinhead in comic book form with this ultimate collector’s item: PINHEAD FACSIMILE EDITION #1.

Something is amiss in the underbelly of Hell. A mysterious and powerful new foe forces Pinhead to take a journey through time. Best known for tearing people’s souls apart, it won’t be easy for Pinhead to bring down an ancient evil called the Aggregate in this stunning reproduction of the original comic!

From the depraved mind of New York Times–bestselling horror maestro Clive Barker with writer D. G. Chichester (Daredevil, Terror Inc) with illustrations by bold, visionary artist Dario Carrasco (Star Wars, Tales of the Jedi) comes Pinhead’s first-ever solo outing straight out of the celluloid frames of the original Hellraiser films.

Faithfully reproduced for longtime collectors and new initiates alike, each issue offers fans the chance to hold a piece of Hellraiser history in their hands once again.

Pre-order your copies at your local comic shop before they vanish back into the abyss!

Distributed by Penguin Random House and published by BOOM! Studios, these Hellraiser collector’s items will be available everywhere this August. Digital copies can be purchased from content providers, including Kindle, iBooks, and Google Play.

The post ‘Hellraiser’ – BOOM! Studios Brings Three Classic Clive Barker Comic Books Back to Shelves! [Exclusive] appeared first on Bloody Disgusting!.

The humble writer from Portland, Maine, published his debut novel in 1974 and quickly became a household name. By 1978, he’d released five incredible books that continue to dazzle modern readers. Carrie, ‘Salem’s Lot, The Shining, Night Shift, and The Stand run the gamut of horror subgenres, exploring everything from vampire lore and feminism to haunted houses and the apocalypse. But despite these differences, each story is a showcase for the prolific author’s ability to create intensely relatable characters forced to confront their darkest fears.

To celebrate this unparalleled legacy, Vintage Books presents a stunning reissue of King’s first five publications.

Adorned with gorgeous new covers from award-winning illustrator Gary Pullin, this series combines each story’s retro vibe with the timeless terror we’ve come to associate with the man now known as the Master of Horror. 

Carrie (1974)

Considering his later success, it’s surprising to learn that King’s debut novel almost ended up in the trash. When he first envisioned the bloody story, King was a young father living paycheck to paycheck on a teacher’s salary, supplementing the family’s meager income with short stories published in men’s magazines. Frustrated with what was shaping up to be a longer work, King famously gave up on his draft of Carrie and threw the first few pages away. Fortunately, his wife and fellow writer Tabitha pulled the manuscript out of the wastebasket and encouraged him to continue writing. 

Carrie follows a lonely high school girl whose telekinetic abilities blossom with the late arrival of her first period. A victim of relentless bullying, Carrie White finds herself the target of a vicious prank when her popular classmates orchestrate her unlikely election to prom queen, then douse her with pig’s blood at the moment of coronation. Humiliated, Carrie unleashes the full force of her awful powers on the laughing prom-goers, sparking a fire that threatens to destroy the town. 

The slim novel sold modestly upon initial release, but became a worldwide phenomenon thanks to a masterful adaptation from Brian De Palma. Featuring powerhouse performances from Sissy Spacek and Piper Laurie, Carrie (1976) remains a beloved genre classic and an early example of Good For Her horror. There’s even a new series adaptation on the way this year.

Vintage Books’ rerelease features an introduction from feminist author Margaret Atwood, who — upon the novel’s 50th anniversary — called its upsetting themes “still horrifyingly relevant.”

‘Salem’s Lot (1975)

King’s second novel highlights the author’s talent for creating abject terror while exploring the nuances of small town life. Haunted by an incident from his childhood, widowed novelist Ben Mears returns to the titular town intent on renting the Marsten House, a crumbling mansion said to be haunted by the ghost of its former resident. Unfortunately, he returns to find the home purchased by Kurt Barlow, a mysterious European antiques dealer, and his more visible companion, Richard Straker. Meanwhile, residents of the sleepy town find themselves shunning the light and inexplicably thirsting for human blood. 

A modern retelling of Bram Stoker’s Dracula, King reverses the legendary text’s exploration of Victorian technology with characters so convinced of their rationality that they reject the growing vampire threat until the moment it bites them on the neck. Several sequences remain among the most frightening of King’s vast catalogue, but ‘Salem’s Lot is at its best when following the residents of the secretive town. One mesmerizing chapter begins with farmhands working in the pre-dawn hours before circling through a series of scandalous vignettes featuring a cantankerous bus driver, an elementary school bully, a corrupt real estate mogul, and an unfaithful housewife. The chapter ends when two young brothers are stalked through the darkening woods, kicking the vampiric horror into overdrive.

In some ways, ‘Salem’s Lot encapsulates the best of King’s distinctive style. Ben Mears serves as the first writer protagonist, while folksy side characters juxtapose fantasy elements with the grounded reality of everyday life. Neighboring the infamous Chamberlain — the town nearly destroyed by Carrie White — ‘Salem’s Lot also begins a literary connected universe still rippling through pop culture more than five decades later. 

Vintage Books’ rerelease of the novel that inspired multiple adaptations comes with an introduction by horror author Joe Hill.

The Shining (1977)

Not only King’s first hardcover bestseller, The Shining also introduces readers to his signature brand of storytelling through unflinching self-examination. The terrifying tale follows Jack Torrance, a failed teacher and fledgling playwright struggling to maintain his sobriety. Hoping to get his life back on track, Jack accepts a job as the winter caretaker at a luxury hotel set high in the Colorado Rocky Mountains. Joining him in this eerie assignment is his watchful wife, Wendy, and son Danny, a little boy gifted with immense telepathic powers. But solitude begins to wear on the fracturing family as the spirits who wander the empty halls want to claim the child’s talents for themselves. 

On the surface, The Shining is a nerve-shattering tale of a haunted hotel filled with vengeful ghosts. But beneath this horrific exterior is an intimate story of addiction-fueled domestic violence and a man consumed by the worst parts of himself. Written several years before the author entered recovery, King has described Jack as a vessel for exploring his own relationship with alcohol and the pressures of early parenthood.

Four decades later, he would write Doctor Sleep, a sequel following an adult Danny Torrance struggling to make peace with his father’s legacy that would also be adapted into a feature film.

Night Shift (1978)

King’s first collection of short stories is a thrilling showcase for the author’s unparalleled creativity. Lean, mean, and often grisly, these twenty tales pack a powerful punch while spanning a variety of subgenres and subjects. “The Mangler” features an industrial steam ironer accidentally possessed by an unlikely demon, while “Sometimes They Come Back” follows a traumatized high school teacher who must battle disruptive students from beyond the grave. “The Lawnmower Man” is an Arthur Machen-inspired curio blending folk horror with the tedium of suburbia, while “Graveyard Shift” sees a factory worker devoured by hordes of mutant rats. 

In a nightmarish return to his tortured town, King bookends the collection with “Jerusalem’s Lot” and “One for the Road,” wildly different short stories which serve as prequel and coda, respectively, to ‘Salem’s Lot. Though many entries see King gleefully lean into the uncanny and gross — like “Gray Matter” in which a father is consumed by moldy beer — others are more poignant. “The Last Rung on the Ladder” follows a brother forced to reckon with his wayward sister’s legacy, while “The Woman in the Room” sees King explore the experience of watching his mother slowly pass away. 

With most entries clocking in under twenty pages, Night Shift is surprisingly cinematic and has spawned a staggering number of adaptations.

To date, thirteen feature films and TV series have risen from the collection’s pages, not including ten sequels to Fritz Kiersch’s campy classic Children of the Corn. With Rob Savage’s The Boogeyman — inspired by Night Shift’s sixth short story — terrifying audiences in 2023, this curious collection continues to fuel the horror genre with new iterations of unimaginable fear.

The Stand (1978)

The same year Night Shift became a national bestseller, King published The Stand, a sprawling apocalyptic fantasy inspired by J.R.R. Tolkien’s The Lord of the Rings. This harrowing story opens with a malfunctioning gate and a frightened security guard fleeing a chemical weapons research facility just minutes after a disastrous breach. Weeks later, the Superflu or “Captain Trips” has spread across the United States, decimating the population as the army frantically tries to maintain control. 

King shows the collapse of society through a handful of disparate characters who somehow prove immune to the virus and find themselves left behind in a country strewn with rotting corpses. As each struggles to pick up the pieces, some are drawn to an old woman playing guitar on a humble porch, while others dream of a Dark Man wandering deserted roads throughout the night. After a brutal summer, these two factions find themselves in a desperate battle between good and evil where the prize is the very soul of humanity. 

At a whopping 1,152 pages, King’s longest work to date was originally released in 1978 with dramatic edits removing around 400 pages of colorful prose. Vintage Books’ rerelease features the “Complete and Uncut” version of King’s epic novel, originally restored in 1990. Among other exciting sequences, this expanded tome features the Dark Man lurking within a massive tornado and a beer-swilling miscreant known as the Kid who pays an unthinkable price for his treachery.

The Stand is now considered a masterpiece and one of America’s best modern novels thanks to King’s skillfully balanced characters who contemplate the awful price of war and our collective ability to better ourselves. A poignant conclusion asks the reader, if given a clean slate to start again, would we find the courage to stand for what’s right or wind up remaking the same mistakes? 

Five decades after they first hit bookshelves, King’s first five novels continue to unnerve readers with stories that still feel frighteningly familiar. The Stand proved eerily prophetic during the 2020 pandemic, inspiring The End of the World As We Know It, a collection of in-world stories contributed by  Paul Tremblay, Tananarive Due, and more of the genre’s most popular writers.

Tobe Hooper’s 1979 adaptation of ‘Salem’s Lot just received a stunning new 4K rerelease while Stanley Kubrick’s 1980 masterpiece The Shining continues to shape the look of modern horror, prominently referenced in blockbusters like Ready Player One and Coralie Fargeat’s awards darling The Substance. And no one goes to prom without thinking of a wide-eyed Carrie White doused in blood on the high school stage. Mike Flanagan’s upcoming miniseries adaptation promises to modernize Carrie’s brutal themes, bringing this disturbing tale of bullying into the digital age.

There’s never been a better time to pick up a copy of Vintage King and join the vast community of Constant Readers.  

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Over Your Dead Body will be available for rent or purchase on Digital on May 26.

Jason Segel and Samara Weaving star in this remake of Tommy Wirkola‘s 2021 Norwegian film The Trip.

In the film, “a dysfunctional couple (Segel and Weaving) head to a remote cabin to supposedly reconnect, but each has secret plans to kill the other.” What the logline leaves out is that the couple’s plans to commit murder get derailed by the arrival of actual killers, and violent mayhem ensues.“

The Lonely Island’s Jorma Taccone (Popstar: Never Stop Never Stopping, MacGruber) directs from a script by fellow “Saturday Night Live” alumni Nick Kocher and Brian McElhaney.

Timothy Olyphant (“Alien: Earth”), Paul Guilfoyle (“CSI: Crime Scene Investigation”), Keith Jardine (Love Lies Bleeding), and Juliette Lewis (“Yellowjackets”) also star.

Over Your Dead Body is rated R for “strong bloody violence, gore, sexual assault, pervasive language, and sexual content.”

Taccone’s comedy earns that rating. I wrote in my SXSW review, “Everyone takes a nasty pummeling here, and the gruesome deaths are as wonderfully executed with an emphasis on practical effects. Even the film’s characters are genuinely surprised by the amount of pain they can inflict or receive, which in itself elicits laughs.“

From 87North, XYZ Films, and Resolute Films, the film is produced by Kelly McCormick, David Leitch, Aram Tertzakian, Nick Spicer, Guy Danella, and Lee Kim.

Executive producers include Kjetil Omberg, Jørgen Storm Rosenberg, Tommy Wirkola, Jorma Taccone, Maxime Cottray, Nate Bolotin, Timo Argillander, and Andrea Scarso.

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“We’re excited to finally bring Chapter 5 to console players,” said George Krstic, Senior Director of Creative at Mob Entertainment. “This chapter pushed us creatively in a lot of ways, both narratively and atmospherically, and we can’t wait for a whole new audience to experience what’s waiting inside the factory.”

In Poppy Playtime: Chapter 5, players descend deeper than ever into the depths of the Playtime Co. factory to confront the deadly puppet master orchestrating the horrors that have unfolded. As the truth behind The Prototype’s madness comes into focus, survival hinges on solving devious puzzles, navigating dangerous environmental obstacles, and mastering new GrabPack tools and abilities. Hunted relentlessly by Playtime’s security system, Huggy Wuggy, and separated from their only allies, players must explore a chilling new layer of the facility where tortured experiments lurk in the darkness and may not be what they seem.

Poppy Playtime: Chapter 5 is also available on PC via Steam and the Epic Games Store.

Meanwhile, fans can also look forward to the film adaptation of Poppy Playtime, which is currently in development.

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You can print your own and bring it to a Backrooms screening at Regal when the film opens on May 29 to receive a free small popcorn.

Kane Parsons makes his feature directorial debut based on his creepypasta-inspired YouTube series, which debuted in 2022 and has amassed over 190 million views to date.

Will Soodik (“Ash vs. Evil Dead”) penned the script for the film, in which a strange doorway appears in the basement of a furniture showroom.

Chiwetel Ejiofor (Venom: The Last Dance), Renate Reinsve (A Different Man), Mark Duplass (Creep), Finn Bennett (“True Detective: Night Country”), Lukita Maxwell (“Shrinking”), and Avan Jogia (Resident Evil: Welcome to Raccoon City) star.

A24 produces alongside Chernin Entertainment, Shawn Levy’s 21 Laps Entertainment, James Wan’s Atomic Monster, and Osgood Perkins’ Phobos.

Backrooms is rated R for “language and some violent content/bloody images.”

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To celebrate, Bloody Disgusting/BloodyFM has partnered with Paramount Pictures to deliver a limited podcast series dedicated to the van life nightmare. Below, Scare You to Sleep, Mayfair Watchers Society, SCP Archives, Creepy, and The Antiquarium of Sinister Happenings tell five original stories inspired by the highway horror.

Stream all five episodes below and see Passenger in theaters now. Get your tickets!

—

Here’s the synopsis for Passenger: “A few weeks into their van life adventure, a young couple witnesses a horrific accident that leaves the driver dead. Soon they’re being pursued by a demonic stalker who’s impossible to outrun and follows them wherever they go.”

The cast for Paramount’s Passenger includes Jacob Scipio, Lou Llobell, Melissa Leo, Tony Doupe, Bonni Dichone, Devielle Johnson, Jessica Cruz, Miles Fowler, and Alan Trong.

The screenplay is written by Zachary Donohue (The Den) and T.W. Burgess (Mister Howl). Former Warner Bros production executive Walter Hamada, who steered the Conjuring and It franchises, is producing via his 18hz as part of his first-look deal with Paramount. It screenwriter Gary Dauberman is also producing via Coin Operated.

In case you missed it, the lore within the film has bled over into reality with an eerie marketing stunt at your local gas station. 

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Deadline has learned that the cast includes Christian Friedel (The Zone of Interest), Sebastian Bull (Azrael), Saurabh Sachdeva (“Sacred Games”), Anasuya Sengupta (“Four More Shots Please”), and Vipin Sharma (Monkey Man).

Written by Patel and Will Dunn (“Ms. Marvel”), the revenge film is said to have shades of Braveheart, John Wick, and King Arthur.

It follows “a 14th-century shepherd seeking revenge against mercenaries who ravaged his community. As he hunts them down, his true nature emerges.”

A24’s first Indian production, The Peasant shot across the states of Maharashtra, Madhya Pradesh, Himachal Pradesh, and Rajasthan.

Patel produces under his Minor Realm shingle alongside Basil Iwanyk, Erica Lee, & Charlie Morrison for Thunder Road (John Wick, Monkey Man) and A24.

Executive producers include Graham Taylor, Chris Rice, Christopher Slager, & Dan Guando for Fifth Season (“Severance”); Shivani Rawat & Julie Goldstein for ShivHans Pictures (Hit Man); Sherrese Clark & Niija Kuykendall for HarbourView; and Dunn.

Christian Friedel in “The White Lotus” Season 3

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Kerry Washington (Django Unchained, Wake Up Dead Man) is set to star and executive produce.

Chris Luccy (“A Million Little Things”) is penning the adaptation, with McG (Terminator Salvation, The Babysitter) on board to direct.

In the series, “After taking the life of a disturbed man in the line of duty, Detective Elise Sutton (Washington) – a devoted wife, loving mother, and cold case specialist — reels from the guilt of her actions.

“To convince herself that she did the right thing, she makes contact with a mysterious man that she saved that day, only to discover that he’s not at all what he seems. She’s soon caught in a dangerous game of cat and mouse, following the clues he leaves for her and realizing that the only person who can stop him… is her.”

20th Television and Kapital Entertainment are behind the show, with Walker producing. Executive producers include Luccy; Washington & Pilar Sivone for Simpson Street; McG, Mary Viola & Corey Marsh for Wonderland Sound and Vision; and Aaron Kaplan for Kapital Entertainment.

Released in 2023 by Blackstone Publishing, What Remains is described as a “dark, twisty, and highly addictive psychological thriller” in the vein of The Woman in the Window and The Silent Patient.

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Corporate Retreat centers around a group of young executives whose luxury team-building trip descends into a bloody fight for survival against a vengeful retreat leader, described as “a gory mix of The Menu and Saw.” Aaron Fisher (Inside the Rain) directs from a script he co-wrote with Kerri Lee Romeo.

While the unlucky team members find themselves fighting to survive, they’re hardly alone. Ahead of Corporate Retreat, here are five more horror movies to see out that prove retreats can be hell.

A Cure For Wellness

Stockbroker Lockhart (Dane DeHaan) gets sent to a mysterious wellness retreat in the remote Swiss Alps to retrieve his company’s CEO (Harry Groener) in A Cure for Wellness. When he begins to suspect the center’s magic cure isn’t what it’s cracked up to be, the doctors diagnose Lockhart with an illness, admit him as a patient, and subject him to bizarre and cringe-inducing procedures. Gore Verbinski’s sense of grandeur is fully displayed in this stunning, epic-sized tale that’ll viscerally trigger dentophobia. Mia Goth and Jason Isaacs also star in Verbinski’s melodramatic Gothic horror film.

Corporate Animals

Before The Substance, Demi Moore played Lucy, the CEO of Incredible Edibles, a company that appeals to the ecologically conscious with edible cutlery products. She’s ruthless, selfish, and full of buzzwords. That means that she may be at the bottom of the food chain when her work retreat trip to the wilderness instead traps her team in a cave with dwindling resources. Creep director Patrick Brice aims for laughs above all in this corporate satire from screenwriter Sam Bain (Four Lions, Fresh Meat).

The Conference

It’s not just corruption that derails a teambuilding conference in Swedish horror comedy The Conference, but a masked killer hellbent on revenge. Work frustrations get worked out through brutal dispatches and demises in a slasher that takes its horror seriously and doesn’t veer too far into overly silly territory. A memorable killer mask and mean kills prevent this familiar slasher from becoming stale. Patrik Eklund directs the adaptation of Mats Strandberg’s novel; Katia Winter (“The Boys”, Banshee Chapter) stars.

The Invitation

The Invitation brings the wellness retreat home to unnerving results. Will (Logan Marshall-Green) accepts an invitation to his ex-wife’s dinner party, which quickly proves to reopen old wounds. Awkward social interactions turn into something far more sinister when hostess Eden (Tammy Blanchard) reveals her cultish reasons why she’s been absent the past two years, and that retreat has inspired her malevolent present. Karyn Kusama’s master class in unsettling psychological horror builds to one of the most unforgettable third acts of all time, with a final parting shot that elicits chills.

The Howling

A harrowing encounter with a serial killer prompts a reporter’s therapist to send her to a wellness retreat to recover from the trauma. Instead, she finds the idyllic resort infested with werewolves. Dee Wallace starred as the tormented reporter, Karen White, in Joe Dante’s seminal werewolf film featuring incredible practical effects by SFX legend Rob Bottin, who was only 21 at the time. 

Corporate Retreat releases in theaters this Friday; get tickets now.

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Universal Studios’ Halloween Horror Nights 2026 kicks off Friday, August 28 at Universal Orlando Resort and Thursday, September 3 at Universal Studios Hollywood.

The terrifying Sinners Halloween Horror Nights house will transport guests back in time to the popular Club Juke where they will quickly realize that nothing is as it seems when nefarious, red-eyed vampires Remmick, Bert and Joan appear with their insatiable hunger.

As they attempt to evade the vampires at every turn, fans will encounter some of their favorite characters lifted straight from the film, including Sammie, Mary, Annie, Pearline and Cornbread.

Caught in a deadly struggle between twins Smoke and Stack and the bloodthirsty vampires, guests must survive the night – because the terror will only relent once the sun rises.

“It’s been incredible to see audiences connect with Sinners in such a powerful way,” said Ryan Coogler, Zinzi Coogler and Sev Ohanian, producers of Sinners and founders of Proximity Media, in a joint statement. “Now, partnering with Halloween Horror Nights gives fans the chance to step even deeper into the world of the film — to feel the music, the atmosphere and the tension all around them. Watching it come to life on this scale has been really special for all of us.”

“At Halloween Horror Nights, we push the boundaries of what a live horror experience can be,” said John Murdy, Executive Producer, Halloween Horror Nights, Universal Studios Hollywood. “Just as Ryan Coogler’s Academy Award winning film Sinners re-invented the vampire movie, we are re-inventing the haunted house and creating new ways to scare our guests that we’ve never attempted and are thrilled to bring this amazing story to life in a truly terrifying and fully immersive way.”

“The moment Sinners premiered, we knew it was an undeniable fit for Halloween Horror Nights and it’s an honor to bring this story to life,” said Mike Aiello, Senior Director of Entertainment Creative Development at Universal Orlando Resort. “It’s rare for a film to fully satisfy hardcore horror fans while also inviting new audiences into the genre—and that’s exactly what Sinners does. Its world, characters and intensity will translate into a relentless haunted house.”

A variety of Halloween Horror Nights ticket options for Universal Studios Hollywood are now available. This year’s event runs for a record 42 nights with 8 haunted houses, Terror Tram, multiple scare zones and more. Tickets include General Admission, the Early Access Ticket, which provides entry to select haunted houses beginning at 5:30 p.m. (subject to change), Frequent Fear Pass and Ultimate Fear Pass, which enable guests to experience the scares again and again. The Day/Night Ticket, After 2 P.M. Day/Night Ticket, Universal Express Ticket and R.I.P Tour will all include access to the new “Fast & Furious: Hollywood Drift” coaster.

At Universal Orlando, guests can purchase select tickets, upgrades and event-inclusive vacation packages as Halloween Horror Nights, The World’s Premier Halloween Event, returns for its milestone 35th year in Orlando, running 48 select nights from August 28 through November 1. The event will feature 10 all-new haunted houses, outrageous live entertainment, terrifying scare zones and street experiences – with a few haunting surprises. Products on sale now include single-night tickets; the Scream Early add-on ticket, which grants access to Universal Studios Florida, including select haunted houses, beginning at 2 p.m. (guests must have a Halloween Horror Nights admission ticket), and event extras such as Halloween Horror Nights Express Passes, the R.I.P Tour, and the Behind the Screams: Unmasking the Horror Tour.

All-new merchandise inspired by the Sinners haunted house is now available at Universal Studios Hollywood, Universal Orlando Resort and shopUniversal.com. Fans can celebrate the upcoming house in style with a limited release t-shirt and hat. Additionally, an acrylic figure inspired by the house is now available for purchase.

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With Disclosure Day, their latest collaboration, Koepp set a new personal record with 42 drafts of the script.

“[Spielberg] was more exacting than I’ve ever seen him because he knows he’s worked in this area before,” Koepp tells Vanity Fair. “He wants this one to be the best one.”

Indeed, Spielberg has been probing the mystery of extraterrestrial life in his films for nearly 50 years, dating back to 1977’s Close Encounters of the Third Kind.

Koepp describes Disclosure Day, which came to him as a 38-page treatment from Spielberg, as a “further exploration” of the themes of Close Encounters and likens it to a ’70s-style paranoid thriller.

“[Koepp]’s a good collaborator because he listens as much to me as I do to him,” Spielberg added, noting that the writer is willing to rework a script “including and often through principal photography.”

In theaters June 12 via Universal, Disclosure Day‘s vague synopsis reads: “If you found out we weren’t alone, if someone showed you, proved it to you, would that frighten you? This summer, the truth belongs to seven billion people. We are coming close to Disclosure Day.”

Emily Blunt (A Quiet Place), Josh O’Connor (Wake Up Dead Man), Colin Firth (Kingsman: The Secret Service), Eve Hewson (Bridge of Spies), Colman Domingo (The Running Man), and Wyatt Russell (“Monarch: Legacy of Monsters”) star.

Spielberg produces for Amblin Entertainment alongside Kristie Macosko Krieger (Ready Player One, The Fabelmans). Adam Somner (Ready Player One, Bridge of Spies) and Chris Brigham (Inception, Shutter Island) executive produce.

Disclosure Day is rated PG-13 for “action/violence, some bloody images, and strong language.”

Koepp is currently writing a new Westworld movie for Warner Bros.

David Koepp on the set of ‘Disclosure Day.’ Photo: Niko Tavernise/Universal Pictures & Amblin Entertainment

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For years, social media has blasted us with conflicting messages about how to achieve a “healthy weight,” while the medical establishment continues to push outdated information about the body mass index. With Looksmaxxing and 90s thinness now dominating online spaces, it’s never felt more frustrating to live comfortably in a human body.

Writer/director Natalie Erika James combines this highly-charged topic with one of horror’s oldest taboos in Saccharine, a body horror tale about the confluence of cannibalism and diet culture. With the tag line, “you are who you eat,” this surrealist film blends girly pop style with the devastating experience of disordered eating. 

Hana (Midori Francis) is a medical student obsessed with losing weight. Hoping to impress her gym crush, Alanya (Madeleine Madden), she signs up for a 12-Week Challenge in which she’ll monitor her caloric intake while completing a series of intense group workout sessions. As Hana diligently tracks her plateauing progress, an old friend reappears with a miraculous, yet pricey, diet pill. Using her scientific expertise to recreate the formula, Hana makes a horrific discovery and must decide if she’s willing to consume the unthinkable in order to achieve the physique of her dreams.

James’ powerful film combines supernatural elements with grounded gore while exploring the pain and grief of self-acceptance. To unpack this surrealist vision, Bloody Disgusting sat down with the Australian-American filmmaker for a candid conversation about the horror of diet culture and the art of human consumption.

Midori Francis in Natalie Erika James’s SACCHARINE. Courtesy of Independent Film Company and Shudder

Bloody Disgusting: I’m obsessed with movies about cannibalism. It’s my favorite cinematic taboo, but it can be equally taboo to talk about diet culture and body image. What led you to combine these two topics? 

Natalie Erika James: I was fascinated by this idea of desire towards another person as an avenue in which to fill a void in yourself, or projecting your aspirational self onto someone, and how that can morph into a desire to possess and objectify. I think that’s what cannibalism does. It is the ultimate possession and the ultimate way to objectify someone. 

BD: I felt really seen by Saccharine. Who would you say your target audience is, and what message do you hope to send to people who may have a complicated relationship with food and their own bodies? 

NEJ: My aim was to speak to an audience that has dealt with similar struggles, with eating disorders or body dysmorphia. When I was growing up, there wasn’t anyone talking about this kind of subject matter in such an explicit way. I think horror allows you to do that. Whereas a lot of the films that I saw on the subject seemed to have this neat packaging around it, an almost moralistic kind of messaging. I didn’t feel like it captured both the thickness of certain feelings and the highs of compulsive behavior. That was what I was trying to accurately convey. But at the same time, I feel like the audience is broader than that. It’s anyone who would want to have an insight into that experience or can relate to it through any sort of addiction or compulsive behavior. I think all of us have something, whether it’s scrolling or shopping addiction, anything that relates to the feeling of trying to fill a lack in yourself through external means. 

I know that the topic of eating disorders can be difficult to navigate because it’s often very triggering. What was the culture like on set, and how did you approach developing Hana’s character with Midori Francis?

We definitely had a real awareness of the sensitivity of the subject matter. We consulted with The Butterfly Foundation [an Australian charity dedicated to serving those impacted by eating disorders and body image issues] and had an intimacy coordinator who was on set for our actors as a backup resource. We also had language and tone setting meetings with the crew to create an environment in which these things aren’t taken lightly. It’s definitely the nature of diving into an uncomfortable topic that you have to have a lot of uncomfortable conversations. Oftentimes, I found that what makes things uncomfortable is that people are very well-meaning and try to be almost overly sensitive, but there hasn’t been a discussion about what the right language is. It requires a very intentional kind of understanding from everyone. 

I shared my own experience with Midori, and she was very open to leaning on some of that as well. I think in the film, there are so many fantastical kinds of heightened moments, but we were always able to come back to, okay, what’s the real-life experience of that, and how do we build a performance?

Danielle Macdonald in Natalie Erika James’s SACCHARINE. Courtesy of Independent Film Company and Shudder

 I think that comes through in the film. In the spirit of uncomfortable conversations, I want to be careful how I ask this question because I make it a policy not to comment on people’s bodies. But I think in a film like this, it does matter. I really love Danielle Macdonald’s performance as Josie. Why was it important to feature this role and different types of bodies in this movie? 

I think Josie is so crucial to Hana’s story because she almost acts as a foil to Hana, but is also her anchor. She’s a woman in a larger body who is so self-possessed and confident. She thinks of herself as worthy and has love in her life. It’s all the things Hana really wants for herself, but is trying to achieve in the completely wrong way, by becoming smaller. And so she really is the voice of reason for Hana and also a source of connection. I think the act of being seen or accepted by someone is what really shrinks that sense of shame that Hana carries around. Josie is crucial in so many ways, and I think Dani as a person just embodies Josie. She is that grounded and has this effortless confidence in herself. She’s the perfect fit for the character. 

Watching Josie push back on this idea that smaller is better was so refreshing, but the moment that made me cry was a scene in which Hana looks at herself in a really vulnerable position and seems to finally find compassion. Is this a story about self-acceptance and body grieving?

Yes. Hana’s arc goes from one of self-destruction to self-acceptance, at least for a while. It’s about dismantling a sense of shame in yourself and recognizing how much that shame can imprison you. That scene is so pivotal because I think you hear the word self-love a lot, especially in online and wellness spaces. But what does that look like? How do you cultivate it? It can be as simple as looking back at a younger version of yourself and having empathy for where you were and an acknowledgement of how hard you’re trying. I’m glad to hear it resonated.

Midori Francis in Natalie Erika James’s SACCHARINE. Courtesy of Independent Film Company and Shudder

 Throughout this struggle, Hana is haunted by Bertha, a ghost that seems to grow larger in relation to Hana’s compulsions. How do you view her place in the story? Is she a villain, a victim, or something else? 

Bertha’s role is twofold. On one hand, she is the entity on which Hana projects all of her worst fears about herself. On a surface level, you could read it as a larger person depicted as a menace and read fatphobia. For me, or at least my intention was, we’re dealing with a character who has internalized this fatphobia. So we’re seeing Bertha through Hana’s lens. Her monstrosity is really driven by shame and self-hatred. It’s not so much about the literal size of her body. I think it’s really important that at the end of the film, we understand that Bertha is a real person and actually very loved.

I want to ask a similar question about Alanya, particularly her 12-Week Challenge. I think society creates a lot of conflicting messages about the right way to have a healthy body, and it can be really confusing. How do you view Alanya’s role in Hana’s life?

Maddie Madden had an interesting challenge in the sense that again, so much of Alanya is viewed through Hana’s aspirational lens and objectification. But I think she did an incredible job of grounding the character and making her very compassionate as well. Through association, Hana tries to create a new version of herself. I also feel as though there are hints that Alanya has gone through some sort of eating disorder journey of her own. 

There’s a sense that we’ve moved on from the diet culture discourse of the early 2000s, where women’s bodies were absolutely torn apart. Now this idea of thinness as an aspirational ideal has definitely come back at full force. But now it’s couched in wellness language. It’s about self-improvement, and it can be tied to mental health as well, but a lot of the underlying sentiment is the same. There is a line between self-improvement and self-erasure, something that we have to be really conscious of because it’s masquerading as something positive; there can be seeds of the same energy. I think Alanya has a mix of that. She’s well-intentioned, but even the poster that she has up in the gym has this before and after imagery. There are mixed messages there. 

I don’t want to spoil anything, but I absolutely loved the ending. It was the last thing I expected. I also love how queer the film is. At one point, Josie asks Hana if she’s decided whether she wants to be with Alanya or if she wants to be Alanya, which is a question that comes up a lot when exploring one’s sexuality, but it also ties back to what you were saying about objectification and consumption. So Josie’s question becomes quite literal. Where do we leave Hana and Alanya? 

In the end, Hana has an opportunity to forge something really authentic with Alanya. All the while, she’s been projecting her desires onto her, and there is this sense of fantasy tied up in it. When it comes to accountability, which Alanya kind of forces her to confront, Hana has an opportunity. But unfortunately, at that time, shame overrides it and wins. It becomes this all-consuming drive. That’s the tragedy, that she has all the tools and yet, if you can’t fill yourself up, there’s no external thing or person that’s going to do that for you. 

Madeleine Madden
and Midori Francis in Natalie Erika James’s SACCHARINE. Courtesy of Independent Film Company and Shudder

On a lighter note, I am obsessed with the way you film food and eating in this movie, particularly this credit sequence in which mouth-watering treats are merged with medical procedures. What do these moments say about the connection between food and the body?

Throughout the film, food is many things. At some points, it is a dopamine high and the ecstatic thrill of consumption. It’s kind of like a ride. That’s why we tried to infuse it with color and texture. On the other hand, it can be this source of nauseating, inescapable oppression. So the mix of those two things is what we tried to capture in those end titles. At the same time, food is also nourishment. It’s the first nourishment we get from our mothers as babies. It’s love. It’s caretaking. It’s Hana’s dad cooking her pancakes inexplicably, as well as her mother’s use of food as a means of control. So it’s many things. It’s not just nutrition. It’s very charged. 

It’s also something we can’t escape. Unlike other substance abuse issues, we have to eat to survive, and so we’re forced to navigate a relationship with food. I think a lot of the way we do that is shaped by how we were raised. What role do Hana’s parents play in the story? 

It felt crucial to truly understand the depth of Hana’s preoccupation with weight, food, and her body. When you think of appearances, it can feel very artificial or superficial. Who cares if you’re 10 kilos, 10 pounds heavier? What does it matter? But so much of how Hana views those things is tied up in love and value and acceptance. Once you understand that, then it becomes an existential crisis. It’s not just about looking good so you can go to a party or something superficial like that. It’s like, how do I exist in the world and feel okay? That’s what’s at stake for her.

Midori Francis in Natalie Erika James’s SACCHARINE. Courtesy of Independent Film Company and Shudder

Well, speaking of existential crises, I am a huge fan of Relic (2020) and Apartment 7A (2024). Along with Saccharine, I think they both feature elements of female life that we don’t often talk about. Why do you think it’s important to bring issues like aging, caregiving, abortion, and disordered eating to the screen?

When I start a project, there’s nothing more exciting than asking questions you don’t know the answer to, the things you want to think about or explore within the work. I think it’s inevitable that the things I grapple with are female-skewed and uncomfortable, but worth talking about because it’s territory that feels unmined or unearthed. 

I find that you’re often telling these stories in a surrealist way. I’m particularly thinking of the dance sequence in Apartment 7A. Sometimes I find that your films are softening the edges, and sometimes I find them sharpened in a really appealing way. How do you approach telling these heavier stories? 

I think particularly with that [scene], there was a very conscious sense of spectacle, like masking something horrific. But I’m always concerned with the subjectivity of the character and how she experiences it. The hard-hitting moments come later, after the fact, when something’s already occurred. I’m always concerned with how to externalize what’s happening internally. And often, surreal elements of horror are great for doing that. 

I think horror allows you to push things a little further, always with the intention of having the right emotional impact as well. It’s not as effective to just push things for the sake of it. It always has to be tied to some emotional truth. But I think horror allows you to go to places where you can balance absurdity alongside these really harrowing subjects.  

Saccharine opens in theaters on May 22, 2026 from Independent Film Company and Shudder.

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Written by Eli Roth and longtime friend Noah Belson, Ice Cream Man is set in the idyllic summer town of Bayleen Bay. As you might expect from an Eli Roth movie, the town descends into madness when an ice cream man serves kids sweet delights with horrifying results.

Fandango debuted a brand new image from Eli Roth’s Ice Cream Man as part of their Summer 2026 Movie Preview this morning. Meet the Ice Cream Man by checking out the still below.

Ari Millen (“Orphan Black”) stars in the titular role along with Benjamin Byron Davis (Red Dead Redemption), Karen Cliche (Thanksgiving), Dylan Hawco, Sarah Abbott, Shiloh O’Reilly, Kiori Mirza Waldman, Charlie Zeltzer (“The Handmaid’s Tale”), and Charlie Storey.

Snoop Dogg — who’s also working with Roth on Don’t Go in That House, Bitch — is contributing music to the film, along with composer Brandon Roberts (Thanksgiving).

The prosthetic makeup effects are handled by Oscar winner Adrien Morot (The Whale, Thanksgiving) and Steve Newburn (Frankenstein, Thanksgiving).

It’s worth noting that Roth’s Ice Cream Man has nothing to do with the ’90s movie starring Clint Howard. A sequel to that film, however, has been trying to get off the ground for years.

You can watch the previously released teaser for Eli Roth’s new movie below.

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According to Fantastico Creative Director Andrea Valesini, Green Inferno is an investigation horror game in the spirit of Color Gray Games’ The Case of the Golden Idol, combined with the graphic violence of Italian exploitation cinema, and built upon an original script by Ruggero Deodato.

The road to Green Inferno has been a rocky one. Development kicked off back in 2019, and was marked by significant setbacks: a 2020 legal dispute over image rights forced the studio to rename the project, a subsequent wave of international criticism required a creative rethink, and Deodato’s passing in 2022 cast doubt on the entire project. Fantastico Studio chose to continue, releasing the visual novel Cannibal Tales in 2024 as the first narrative expansion of the universe, and now culminating with Green Inferno.

“For six years we kept asking ourselves whether it was worth continuing. Every time, the answer came from the material itself, a story Ruggero couldn’t have told in any other way,” says Valesini. “Green Inferno is that story.”

Taking place in the same universe as Cannibal Tales, the game follows a group searching for a film reel on a tropical island, with its footage containing disturbing material tied to real cases of cannibalism. Players take on the role of investigator, exploring illustrated scenes to gather textual and contextual clues, and assembling them to reconstruct the truth.

No date on when the demo will arrive in June, but seeing as Steam Next Fest kicks off on June 15, that would seem as good a time as any to dive into the demo.

The post Delve Into ‘Green Inferno’ This November; Demo Coming Next Month [Trailer] appeared first on Bloody Disgusting!.

The franchise’s highest grossing entry joins the first six installments in the slasher saga on the streamer, along with behind-the-scenes extras.

Kevin Williamson (writer of Scream, Scream 2, and Scream 4) directs from a script he co-wrote with Guy Busick (Scream 2022, Scream VI).

“When a new Ghostface killer emerges in the quiet town where Sidney Prescott has built a new life, her darkest fears are realized as her daughter becomes the next target. Determined to protect her family, Sidney must face the horrors of her past to put an end to the bloodshed once and for all.”

Neve Campbell returns alongside franchise veterans Courteney Cox, Matthew Lillard, David Arquette, Scott Foley, Mason Gooding, Jasmin Savoy Brown, and Roger L. Jackson.

Isabel May, Joel McHale, Mckenna Grace, Asa Germann, Celeste O’Connor, Sam Rechner, Anna Camp, Jimmy Tatro, Michelle Randolph, Ethan Embry, Timothy Simons, and Mark Consuelos round out the cast.

Meagan Navarro wrote in her review, “There are enough thrills and chills injected, at least until its abysmal finale, to signal that there’s a faintly beating pulse buried somewhere under the mess.”

Scream 7 will be released on physical media on June 16 via Paramount.

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The film is being billed as “a thrilling — and terrifying — reinvention of the Resident Evil franchise” from the mind of visionary filmmaker Cregger. Check out the new posters below!

You’ll also find a brand new featurette video down below.

Austin Abrams (Weapons) stars as Bryan, a medical courier who unwittingly finds himself in a non-stop race for survival as one fateful, horrifying night collapses around him in chaos.

Zach Cherry (“Severance”), Kali Reis (“True Detective: Night Country”), Paul Walter Hauser (“Black Bird”), and Johnno Wilson (“Twisted Metal”) round out the cast.

Cregger directs from a script he co-wrote with Shay Hatten (John Wick: Chapters 3 & 4).

Zach Cregger has been pretty clear in recent months that his upcoming Resident Evil movie isn’t a direct adaptation of any of the video games, but rather his own original story that aims to recapture the experience of playing a Resident Evil video game. That said, Cregger has revealed that in his mind, his movie is taking place during the events of Resident Evil 2.

The Weapons director told IGN in a trailer breakdown video, “My rule for this movie was to try and make a movie that felt like my experience of playing the games, and that could live in the world of Resident Evil. I feel like this movie takes place alongside the events of Resident Evil 2. I like to think that everything that’s going on in the police station could be happening in this world. This is just another dude on another mission on the other side of town.”

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Skyline Media and Eastern Edge Films are collaborating to release Blood Moon Rite 8 in more than 90 theaters across North America beginning tomorrow, May 22.

In the film, “A struggling director, known as the ‘king of trash movies’  gets one last chance to earn his art-loving daughter’s respect by taking on his biggest challenge yet: filming a 35-minute zombie movie… live, in one single take.

“But when his wildly unpredictable cast, nonstop mistakes, and behind-the-scenes chaos turn the whole set into a complete mess, the line between acting and reality starts to blur in the funniest ways possible. ”

Within the movie, Blood Moon Rite 8 is the latest sequel in a fictional franchise filmed by the characters — a playful satire of sequel culture.

Quoc Khanh, Quynh Ly, Lam Thanh My, Quang Minh, Hua Vi Van, Hong Anh, Duc Khue, and Charlie Nguyen lead the ensemble cast.

Phan Gia Nhat Linh directs. Chanh Phuong Films, Anh Teu Studio, Sidus and Teu Entertainment produce.

The post ‘One Cut of the Dead’ Vietnamese Remake ‘Blood Moon Rite 8’ Hits US Theaters Tomorrow [Trailer] appeared first on Bloody Disgusting!.

The psychological horror thriller releases in theaters on September 25 via Bleecker Street.

Maika Monroe (It Follows, Longlegs) stars as an eccentric governess who arrives at a remote gothic manor where strange happenings stir suspicion that she’s not what she seems.

Zachary Wigon (Sanctuary) directed the film from a script by author Virginia Feito (Mrs. March), based on her novel of the same name.

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.”

That bizarre descriptor is certainly on display in the trailer below, which introduces a rather quirky serial killer comedy set in Victorian England.

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

Victorian Psycho is produced by Dan Kagan (Longlegs) and Sebastien Raybaud (Greenland: Migration).

Daniel Kurland wrote in his review of the novel for Bloody Disgusting, “The novel is a dark, disgusting satire of life, death, status, and everything in between. It’s not necessarily one that necessitates a re-read, but it’s still full of powerful passages that will stick with you.”

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

The post Maika Monroe Goes Full ‘Victorian Psycho’ As 19th Century Serial Killer in New Trailer appeared first on Bloody Disgusting!.

Set directly following the events of the previous game, Amanda the Adventurer 3 returns players to the world of Riley Park as they work to uncover the secrets surrounding the oddly interactive children’s show, “Amanda the Adventurer”. Having survived their Aunt Kate’s attic after being left a stack of VHS tapes of the 90s-era kid’s program, Riley followed the mystery to Kensdale Public Library, where new secrets and dangers awaited them. Now, after barely escaping the library intact with the help of an enigmatic masked woman, Riley must explore the abandoned Hameln Entertainment facility and put an end to the Adventure, once and for all.

As the final entry in the series, Amanda the Adventurer 3 aims to take the best elements from its predecessors to offer a satisfying and exhilarating experience for players everywhere, whether longtime fans or interested newcomers. Join Riley as they take on thought-provoking puzzles and uncover hiding secrets within the Hameln facility, on their way to discovering the ultimate truth.

And for the “try before you buy” crowd, you can check out the demo for the game, which is still available on Steam.

The post ‘Amanda The Adventurer 3’ Comes to Consoles Next Week [Trailer] appeared first on Bloody Disgusting!.

It’s no surprise that there are plenty of age-based horror films like Cocoon, The Leech Woman, and Old that tap into this space, not to mention genre movies like VFW, which celebrate bad-ass boomer energy. 

In this sense, Netflix’s The Boroughs isn’t doing anything that hasn’t been done before. It’s an eight-episode series that looks at a bunch of people who feel invisible to society, only for them to gain a remarkable purpose that won’t just change their lives, but the entire world. It’s full of futile rage against getting older that’s balanced by the reassuring freedom that comes from accepting that it’s a normal – and even empowering – experience. It’s a sci-fi horror adventure about how to find meaning, value, and community when you feel utterly alone and like you’re just marking time.

The Boroughs is guilty of coming across as “Geriatric Stranger Things” as it stumbles through often-clunky puzzle-box storytelling. There’s still a lot of heart on display in this inspirational story, even if it’s unlikely to capture a fraction of Stranger Things’ fandom and become Netflix’s next big hit.

The Boroughs. (L to R) Clarke Peters as Art, Alfre Woodard as Judy, Alfred Molina as Sam, Denis OÕHare as Wally, Geena Davis as Renee in The Boroughs. Cr. Courtesy of Netflix © 2026

The new series takes an idyllic retirement community – the titular Boroughs – and transforms it into a paranormal prison where its discarded residents are turned into defenseless cannon fodder. Sam Cooper (Alfred Molina) is a retired engineer with a respect for the classics who becomes the newest resident. He’s immediately skeptical of this macabre community that’s proudly billed as “a town that’s just for grown-ups.”

Cooper is a curmudgeon with a capital C who can’t even let his guard down around his family. There’s an authenticity to the formulaic-but-comfortable lifestyle that’s laid out for Cooper and his fellow neighbors. He is an empathetic character, despite his rough edges. The bristling and loss of autonomy that he experiences highlights the similarities between trauma and getting older, with both subtly affecting one’s sense of self and physical body.

It’s fair for Cooper – or anyone – to resent having their agency taken away from them. Cooper grows especially resentful of this scenario and the Boroughs’ many modern creature comforts, such as the community’s personal Alexa-esque digital A.I. helper. 

The Boroughs. Alfred Molina as Sam in The Boroughs. Cr. Courtesy of Netflix © 2026

The Boroughs is a little glib when it comes to how it juxtaposes youth and modernity against the older generation in order to make its points. The same is true regarding how it approaches loneliness as a sickness and that a place like this can actually be an opportunity to live, rather than a place where people fade away and die. The Boroughs isn’t subtle about any of this, but it’s a mission statement that works more than it doesn’t, thanks to a cast that’s full of phenomenal performances.

The best thing that The Boroughs has going for it is a murderers’ row of top-tier performances. Bill Pullman, Geena Davis, Denis O’Hare, Clarke Peters, and Alfre Woodard help round out the cast alongside Molina. Everyone really commits and is clearly having fun in these roles. It’s a delight to just watch these characters bounce off of each other and slowly open up, even when it’s mundane moments where there are no active threats.

It’s a series that’s all about celebrating life, but there’s also a really melancholy nature to all this. This isn’t wholly unexpected in a series like this, as characters reflect on their fleeting mortality and how much of their lives they have left. Wally’s (O’Hare) storyline about dealing with a terminal illness as he tries to embrace an existence of “cocktails and chaos” is particularly poignant. Each episode functions as cathartic character studies outside of the grander paranormal developments.

The Boroughs. Cr. Courtesy of Netflix © 2026

The Stranger Things parallels in The Boroughs are front and center, right down to the Duffer Brothers being on board as executive producers. There are also shades of other mysterious community series like Wayward Pines, From, and even The Prisoner present here, with some Stepford Wives-esque conformity thrown in for good measure. Also, much like Stranger Things before it, The Boroughs suffers from the ongoing issue with Netflix programs where characters repeat the plot and what they’re about to do ad nauseam. It also doesn’t help that The Boroughs is airing at the same time as Apple TV+’s far superior Widow’s Bay, which nails this type of tone and genre so damn well. 

The Boroughs is at its best once it gets out of its own way, but there are still awkward affectations and unnecessary vestiges of puzzle-box storytelling that don’t feel natural. It actually feels like a series from the early 2010s during the height of the Lost copycat craze. It’s easy to picture The Boroughs as a successful contemporary to Revolution and Alcatraz, whereas its mysteries struggle to pull their weight in a modern context. 

The Boroughs. Clarke Peters as Art in The Boroughs. Cr. Courtesy of Netflix © 2026

There’s plenty in The Boroughs that falls short of expectations. However, it’s not just hollow and gratuitous mystery-driven storytelling. There are satisfying answers that connect to creative mythology that explore an original idea through a curious lens. It’s also clever to connect antiquated technology and relics of the past to Cooper and company’s solution to these supernatural threats. 

It’s earliest episodes take a minute to find their rhythm and really get moving. It gradually overcomes a cumbersome start in order to become something really special and heartwarming once it does its own thing. I found myself caring less about the mystery and more about these characters. There’s inventive lore, but also some telegraphed twists. The tone is also initially all over the place as if it can’t make up its mind over whether it’s supposed to be a comedy, drama, or horror series.

The Boroughs takes a really long walk to make its points. Some people may jump ship along the way, but they’re still powerful thoughts, all the same. The season ultimately turns into a battle between compliance and rebellion that’s presented through a supernatural filter, but speaks to a universal concept. It works well enough for what it is.

There are creative monster designs, suspenseful stakes, and effective needle drops that speak to these characters. Outside of its heartfelt performances and brief flashes of inspiration, The Boroughs is unfortunately as forgettable as the very people who have been shipped off to its community.

All eight episodes of The Boroughs begin streaming on May 21, 2026.

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