While the footage is only playing in theaters and hasn’t yet made its way online, the teaser does end with a website URL that takes us further into the world of Slayground: RunLikeHell.com.

So what is Slayground, you ask? Well, it turns out this is Jeremy Saulnier’s (Green Room, Rebel Ridge) new horror movie for A24, which previously had a much different title: October.

Described as a Halloween-set fugitive thriller, the newly titled Slayground stars Imogen Poots (Green Room), James Badge Dale (The Empty Man), Matty Matheson (“The Bear”), Cory Michael Smith (Saturday Night), Chase Sui Wonders (I Know What You Did Last Summer), Sophie Wilde (Talk to Me), Young Mazino (“The Last of Us”), and Stephen Root (“Widow’s Bay”).

World of Reel provides a bit more information about the upcoming movie. They detail, “Slayground takes its title from the haunted attraction where the lead character works.” The outlet dives in further, “the plot follows Cory Michael Smith’s character, the primary suspect in a mass murder investigation, after he escapes police custody. He goes on the run, attempting to prove his innocence while becoming the target of a massive manhunt.”

Head over to RunLikeHell.com to sign up for updates. No word yet on when the horror movie will be released, but take note of the countdown clock on the official website…

Jeremy Saulnier directs from his own script, with A24 producing and releasing Slayground.

The post Run Like Hell: Did You Catch A24’s ‘Slayground’ Trailer Ahead of ‘Resident Evil’? appeared first on Bloody Disgusting!.

Based on their appearances in the recent Scream trilogy, Sidney Prescott, Gale Weathers, and Dewey Riley will be available from Funko beginning Wednesday, September 23 at 9am PT!

Sidney is holding a gun – she’s Sidney fucking Prescott, after all – while Gale is getting ready for her latest news report and Dewey is holding a gun and also clutching a Ghostface mask.

The majority of the Scream toys and collectibles we’ve gotten over the years have been all about Ghostface, so it’s great to finally be getting the other iconic characters from Funko.

But will we ever get Scream toys based on the original classic? We can only hope.

Look for all three of these Scream Funko POP! toys beginning next week.

The post ‘Scream’ – Sidney, Gale & Dewey Getting Vinyl Toys from Funko! appeared first on Bloody Disgusting!.

Half refers to twins Ethan (Ranjith Sajeev) and Ivy (Aiswarya Raj), close-knit siblings born of a human mother and a revenant father. After an opening scene that establishes their dynamics in childhood, namely Ethan’s protective role over his mute sister, Half cuts to the present to introduce the now-adult twins as they set out on a road trip through the Rajasthan desert for Ivy’s new job.

It’s there that they run afoul of local marauders, an organized crime ring that robs passersby and brutally disposes of all evidence. Samjad evokes the nastiness of Mario Bava’s Rabid Dogs when it comes to the ruthless bandits, who degrade their victims before maiming and eviscerating them.

That’s precisely what happens to Ethan and Ivy, too, with the marauders none the wiser that they’ve victimized the wrong pair. When night rises, the twins’ vampiric half resurrects them, setting in motion a thrilling, bloodthirsty quest for revenge.

It’s a winning premise that only grows fiercer and more exhilarating the more the body count rises. The initial buildup, while no slouch by any means, feels downright sluggish compared to the vibrant, stylish, fist-pumping carnage fest Samjad unleashes in the back half. The earworm Malayalam soundtrack, largely filtered through Ivy’s headphones, creates the perfect energetic backdrop for Ethan and Ivy’s unrelenting aggression.

Yulisman tailors choreography to the siblings’ personalities, with Ethan the more aggressive of the two by far, though Ivy establishes herself as quite adept at makeshift weaponry. It’s Ivy who has the more robust arc, with the personal degradation she suffered providing the biggest motivation for the pair. Ivy also happens to be the epitome of cool, who’s far more capable than even Ethan initially gives her credit for.

Sajeev and Raj plausibly play siblings with a lifelong history; their natural bickering establishes familial rapport that only deepens when they unite to fend off grave threats.

Of course, the steady flow of visceral violence builds to its inevitable climactic showdown, and Yulisman unleashes a symphony of gruesome carnage that paints the desert red. It’s a well-staged siege that finds no shortage of ways to dole out pain and suffering from both sides of the battle lines.

It never wades too deep into vampire mythology beyond limited flashbacks, and for the better. Pared-back simplicity lends an easy shorthand to the twins’ supernatural abilities, which in turn allows for more surprises for both the audience and cruel villains alike. While that straightforward simplicity means that the closing moments don’t hit as hard as the bloodbath that preceded, it also doesn’t detract either.

Half joins the likes of Near Dark and John Carpenter’s Vampires in terms of vampiric savagery unleashed in the desert, but Samjad infuses it with a unique “curry western” spin that puts crowd-pleasing action front and center. Ethan and Ivy are so easy to root for in such a hyper-violent world, and it’s satisfying to see repulsive, immoral madmen get their comeuppance.

It’s the type of vengeance that comes with all the bone-crunching mayhem and arterial spray you could hope for, housed in a cool package helmed with singular vision.

Half made its world premiere at TIFF. Release info TBA.

The post ‘Half’ Review: Vampire Twins Paint The Desert Red In Gory Revenge Actioner [TIFF 2026] appeared first on Bloody Disgusting!.

Coming soon, Scratches the Cat will be unleashed in The Cat and the Hatchet.

A horror short from director Cameron Dodd, The Cat and the Hatchet is a twisted horror parody of The Cat in the Hat. The film follows two siblings, Ellie and Connor, whose boring day takes a terrifying turn when Scratches the Cat shows up at their house. What begins as a strange and unexpected visit quickly becomes a nightmare as Scratches reveals a twisted sense of humor that is far more sinister than anything Ellie and Connor could have imagined.

Watch the official teaser for The Cat in the Hat horror short below.

The Cat and the Hatchet is produced by Kaleb Carmichael and Mark Ricci and directed by Cameron Dodd, with production from Six Side Studios and Prime Capitol. Prime Capitol recently released the horror short Simon Says which is currently available on Tubi.

Mark Ricci stars in the upcoming horror short as Scratches the Cat.

The short is a non-profit parody unauthorized or affiliated with the official IP.

The post ‘The Cat and the Hatchet’ Trailer – ‘The Cat in the Hat’ Horror Movie Coming Soon appeared first on Bloody Disgusting!.

This is in addition to an animated series, which will launch alongside the upcoming sequel.

Announced at this year’s Tokyo Game Show, the film is being developed by an international creative and production team comprising Nada Holdings boss Joe Teng, Orange Chariot’s Robert Franke , Throne Inc MD Takafumi Yuki, Ambitious Entertainment’s Kirk Shaw and Non Stop TV’s Patricio Rabuffetti.

“We are truly excited to see our vision take another important step with the franchise’s first live-action feature film,” states Dragami Games President Shohei Sato. “We are especially pleased to be working with such an experienced and passionate international team— one that understands what makes Lollipop Chainsaw special while embracing the opportunity to create something new.”

According to Franke, the film will feel “unmistakably true” to the spirit of Lollipop Chainsaw, while standing as its own entry. “Longtime fans will recognize the attitude, irreverence, and glorious excess they love, while newcomers can simply enjoy an unforgettable action-horror comedy. Our ambition is to create a film that entertains audiences everywhere, whether they’ve played the game or not.”

The recently-announced Lollipop Chainsaw 2 Back2Back is currently being developed for the PlayStation 5 (and most likely other platforms) for release in 2027.

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It even, in the climax, attacks in mid-air.

Sometimes this is handled very seriously, and the personified object has a dangerous appeal. Just as often, however, the self-seriousness of Trees are Watching is at odds with its execution, which slips into silliness and occasionally even outright comedy. Expect at least some folks to mockingly refer to this as “the Eva Green flying chair movie.”

Green is Darya, a London-based writer whose area of expertise is the city of Mardin, Turkey, where she grew up. At the start of the film, she and her hearing-impaired daughter Connie fly in for a month-long writing retreat. Darya elects to stay at the home of a childhood friend, and the large, isolated house – with its two large and distinct trees – immediately becomes a visual focal point. The trees will, naturally, have an important role to play in the narrative.

Almost immediately, strange events begin to occur: Darya’s rental car breaks down unexpectedly on the road, and a news report on the radio indicates that this is the second consecutive summer with unexplained forest fires. Then there’s the mysterious figure of a woman that Darya first sees on the road, and then again in the backyard by one of the trees.

All of this precedes the moment when Connie, then Darya, realizes that one of the chairs is moving of its own accord.

The threatening furniture is part of a larger backstory involving Darya’s childhood, twin classmate sisters Nihal and Spin, and their relationship with their mother (Ozlem Tas). This unfolds in lengthy flashbacks and features a pair of great child actors, though the twists and turns of the past are not as complicated or twisty as Ghobadi’s screenplay believes them to be.

Nihal upsets her mother with a series of drawings which anticipate a dark, calamitous fate for the family matriarch. Nihal herself is then scared by (an admittedly creepy) plumber who tells her a tall tale while fixing the family’s toilet; as a result, the young girl is scarred to such a degree that she becomes fearful of going to the bathroom by herself. This pair of events – angering mom and being scared to flush – initiates a disastrous series of events* that carry deadly implications that reverberate from past to present.

*One of these is a sequence that can only call to mind the log truck crash that opens Final Destination 2, but sadly features unconvincing CGI logs, which flattens the visual impact. Still, it nevertheless earns a hearty chuckle.

Meanwhile, Darya processes her role in these events while contending with the return of adult Spin (Zeynep Çamci), who appears and disappears like a specter. The disgruntled childhood friend urges Darya to exact revenge on several authority figures from their childhood, which in turn takes Darya to plenty of scary locations, such as the house’s secluded basement, as well as the file room of their former school (sadly there’s no montage with microfiche, but it’s not far off).

So far, so familiar. Thankfully, Green, who has never met a genre project she doesn’t fully commit to, anchors the film along with the dedicated child actors. For long stretches, it’s the performances that carry Trees are Watching.

Even when the plot meanders or becomes fairly predictable (ie: the truth about what happened to the sisters and their mother or what is happening with the chair), Trees are Watching is visually appealing. Ghobadi and cinematographer Saba Mazloum favor plenty of overhead shots of the landscape to emphasize the clear-cut logging in the area, and a brief, but gorgeous survey of Mardin’s underground city feels sponsored by Turkey’s tourism board. Many of the scary bits are surprisingly effective, such as when Connie glimpses the shadow of the chair’s legs moving beneath a door or a fleeting, uncanny glimpse of the chair nuzzling one of the trees.

The visuals can only carry the movie so far, though. The nearly 1 hour 50 minute runtime doesn’t feel entirely earned, especially with regard to the mystery from the past. It’s far too obvious, though Ghobadi’s screenplay doesn’t seem to realize that, as evidenced by the fact that the climax treats the truth as a reveal.

By this point, the disconnect between the film’s more poetic, environmental, and philosophical underpinnings and its genre elements is clear. An earlier passage explores the often ironic way that individuals are reincarnated as wooden objects. This is a fascinating proposition, but it feels completely incongruous with other aspects of the film, such as Darya battling a flying chair in an empty pool or pleading with police officer Vedad (Murat Yildirim) about her sanity and going off her meds.

The tonal and narrative imbalance results in a film that feels at odds with itself. Trees are Watching simply never comes together, despite solid performances and several intriguing ideas. Chalk this one up as an interesting misfire. 

Trees Are Watching had its world premiere at TIFF 2026. Release information TBD.

The post ‘Trees Are Watching’ Review: Eva Green Can’t Save Imbalanced Supernatural Thriller [TIFF 2026] appeared first on Bloody Disgusting!.

Reviews for the movie started rolling in earlier this week and not only did these reactions lean heavily positive, but they are so positive that they set an all-time record for video game adaptations, with Rotten Tomatoes calculating a 96% positive rating. A key component of the movie’s success is its score from Hays Hollady and Ryan Hollady, with the score now available to stream.

Per press release, “Milan Records today releases Resident Evil (Original Motion Picture Soundtrack) by composers Hays Holladay and Ryan Holladay. Available everywhere now, the pulse-pounding score was written by the Holladay brothers for filmmaker Zach Cregger’s highly anticipated reimagining of the iconic horror franchise. Written in close collaboration with Cregger, the score serves as a constant companion to the film’s escalating tension and terror. Built on a foundation of heavy synths, pounding brass, dark atmospheric textures and haunting vocal elements, the music heightens the film’s suspense and scale, accompanying its relentless descent into horror and chaos. From TriStar Pictures, Constantin Film and Davis Films, Resident Evil arrives exclusively in theaters today.”

The pair shared in a statement, “We collaborated closely with Zach from the earliest days of the edit through the final mix, shaping a score that’s menacing and driving, a constant push and pull between tension and release, containment and chaos. Built on heavy bass synths and bombastic brass, and threaded with vocals and dark pads, the score mirrors Bryan’s journey deeper into an increasingly hellish, mayhem-filled world.”

The tracklist is as follows:

1. “Main Titles Extended”
2. “Skybridge Reprise”
3. “B-7”
4. “The Woods”
5. “Snowcrawl”
6. “Main Titles”
7. “The Barnyard”
8. “Upstairs/Downstairs”
9. “Meet the Fenners”
10. “Arms & Legs”
11. “Journey Continues”
12. “Tunnel”
13. “Hideaway”
14. “Upsidaisy”
15. “Roll On”
16. “There’s a Gun”
17. “Alley”
18. “Subterranean”
19. “Jumpers”
20. “Voice Memo”
21. “Climb”
22. “Elevator”
23. “The Plan”
24. “Maternity Ward”
25. “The Ledge”
26. “Infection”
27. “Laboratory”
28. “Mayhem”
29. “Skybridge”

Resident Evil is in theaters now.

What did you think of the movie’s soundtrack? Let us know in the comments below!

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Arrow Bentley (Gabriel Cagan) is the eager manager of flailing fast food chain Hamudders, working alongside his platonic girlfriend Lou (Madeline Barbush), new hire Zeke (Estevan Muñoz, pulling double-duty as the film’s co-writer) and line cook Jacques (Daniel DiLucchio, best known by his wrestling stage name Short Sleeve Sampson).

When Arrow’s latest addition to the Hamudders menu fails to drum up business, the higher-ups decide to resurrect the Flapjax, a chocolatey pancake from the ’80s that was discontinued for giving patrons explosive bouts of diarrhea. To help promote the return of the controversial menu item, Arrow enlists his mother Eleanor (Georgia Kate Haege), a former pop star whose claim to fame is a one-hit-wonder that sampled the nursery rhyme “Pattycake”, to be Flapjax’s celebrity spokesperson.

A sort of Society-by-way-of-Troma effort, Flapjax is content to be loud and grating and not much else. Though the narrative structure matches that of Brian Yuzna’s body horror classic, with the goopy effects only emerging in the film’s climax, it lacks the pointed satire that made the wait for the good stuff unnoticeable. Where Society‘s social critique had a biting wit to it, Flapjax can’t muster up anything more half-clever than a literal pig-man serving as the Hamudders’ mascot and CEO, or an obese foodie influencer vomiting up his own tongue.

Hell, the satire of Buffy the Vampire Slayer‘s season 6 episode “Doublemeat Palace” accomplished far more in its brief 42 minutes than Flapjax does in its not-brief-enough 98.

The Troma influences are felt, so your mileage may vary when it comes to Flapjax‘s more lowbrow antics. The best of Troma’s output, films like The Toxic Avenger or even the gleefully obscene Poultrygeist: Night of the Chicken Dead, all had a certain charm to them to help sand the edges a bit. That’s where Troma co-founder Lloyd Kaufman’s playful skills as a director came in handy.

Flapjax director and co-writer Rocko Zevenbergen, himself a student from Kaufman’s school of trash cinema (he worked as Kaufman’s assistant earlier in the decade), has yet to master the art of making watchable trash.

There are a few inspired technical choices sprinkled throughout the film, however. Zevenbergen delights in making his audience uncomfortable, with sporadic bursts of energy occurring in the film’s more bizarrely vulgar moments. Be it characters spitting on the camera lens, intrusive extreme close-ups of actors’ faces, or overtly loud sounds of bodily functions, it’s these moments where the film is at its most successful. Some sight gags delight as well, including a soda fountain with a “Mountain Don’t” option.

Much of the film’s success rests on Cagan, himself a dead ringer for Please Don’t Destroy’s John Higgins. He brings a lot (and I mean a lot) of enthusiasm to the role, but even his commendable commitment can’t resuscitate the corpse that is Flapjax‘s empty-headed script. Similarly, Hage’s overbearing mother, reminiscent of Elizabeth Moody’s Vera in Peter Jackson’s Braindead, inspires a few laughs early on, but the role is so one-note that that well dries up fast.

Despite Flapjax‘s limited budget, it excels in the goopy practical effects department. The third act explodes in a Shunting-esque orgy of melting body parts and bodily fluids. It’s all great fun, albeit too little, too late.

The production design is equally impressive. Garish primary colors and cherry prints populate Eleanor’s gaudy home, and the Hamudders locale calls to mind the Mooby’s chain from Kevin Smith’s View Askewniverse. Flapjax‘s technical merits stand out in the best way, in spite of (or because of?) its lo-fi presentation.

Though Flapjax eventually delivers the ooey-gooey goods, it’s a long, humorless road to get there. The cast looks like they’re having a ton of fun; if only the audience could share in that fun.

Flapjax made its premiere at Fantastic Fest.

The post ‘Flapjax’ Review: Fast Food Body Horror Serves Plenty Of Slime But Few Laughs [Fantastic Fest 2026] appeared first on Bloody Disgusting!.

It’s not that the Adamses don’t care what we think, or that they don’t hope to please their audience. It’s that there’s a certain level of trust between audience and filmmakers, a sense that the family can get weird with things, and we’ll follow them. The result is The Glorious Dead, an intimate small-town horror story that goes cosmic while never losing touch with its quirks or the trust it has in us as viewers and horror fans. 

It’s a freezing cold Sunday, and Sheriff Deb (Toby Poser) is about to have a very bad day. It’s supposed to be her day off, but her deputy, Mikey (Zelda Adams), is at her door bright and early with a laundry list of problems. Strange disappearances have started around town, blood’s running from a neighbor’s faucet, someone comes into the sheriff’s office talking about a hole in their yard made of “meat,” and to make matters worse, the power’s out, so Deb can’t even have her morning coffee.

It all feels like too much to take, and the more Deb cruises around her small Northeastern hamlet, the more it seems like her own private hell. 

Tonally, the film first sets out to put a horror spin on the Cop Having a Bad Day genre, layered with echoes of Fargo and Mare of Easttown, and Poser’s clearly having a ball playing the Sheriff in way over her head. The script, by Poser and John Adams (both of whom pull double duty as directors), leaves lots of room for air, not just to build suspense over what exactly is going on, but to create a sense of familiarity surrounding Deb.

If you’ve ever spent time in a small town, you recognize this dynamic, where everyone knows everyone, and therefore it’s much harder to just blow off a concern. Instead, Deb must take them all on, a snowball rolling down, growing as she goes, gaining momentum on a collision course. 

Amid all the charming small-town quirks, the film also finds time to get delightfully, irrepressibly strange, sending monsters shuffling through the trees even as it leaves space for Deb to argue with her neighbors over where all the cows seem to have gone. The film juxtaposes not just the normal and the strange, but the odd and the horrific, creating an environment of unpredictability that sustains The Glorious Dead through the moments when it starts to drag.

You truly never know if you’re about to witness something gruesome, funny, or both whenever Deb pops out of her truck to investigate something. The film’s cinematography and often kinetic editing add to this sense of the unpredictable, building up a feeling that starts in your head as slight unease, then blossoms into a kind of comic dread.

It’s a very tricky tonal line to walk, but it works because when the Adamses and visual effects wizard Trey Lindsay go for the horror, they really go for it. There are visuals in this film that will persist in my head for quite some time. 

It’s all so much that, as the film wears on, Deb starts to wonder if she really is in some kind of private hell, an eternity of problems stacking up, people turning on each other, and weird shapes shuffling through the snow. The verisimilitude this creates – even when the low budget shows in some places, particularly when the film gets into gunplay – is remarkable, in part because the script is so good at conjuring little vignettes of small-town confusion, and in part because Poser is simply so relatable in the lead role.

But the film’s real achievement – stutter-stepping plot, choppy action and all – lies in its ability to reflect this particular American moment. We feel overwhelmed alongside Deb because the world is, well, overwhelming. We feel her sense of hell because we have our own. The Glorious Dead is about many things, and while it doesn’t have the thematic tightness of prior Adams Family successes like Mother of Flies or Hellbender, it works best when it’s about a woman simply trying to grapple with an increasingly nightmarish reality, not by denying it or explaining it, but by just trying to get on with the day.

It’s that feeling, that nagging sense that everything needs to slow down just a little bit so you have a moment to breathe, that sits at the core of the film, and it makes it another success for some of indie horror’s finest. 

The Glorious Dead screened at Fantastic Fest; release info TBA.

The post ‘The Glorious Dead’ Review: The Adams Family Gets Weird with Intimate Cosmic Horror [Fantastic Fest 2026] appeared first on Bloody Disgusting!.

Aja returns to direct a Crawl sequel, which Deadline has confirmed just scored a July 16, 2027 release date. This mirrors the release date of the original movie, which hit theaters on July 12, 2019. One of that biggest topics of the summer box-office season was the release of Avengers: Endgame, with The Lion King, Toy Story 4, Spider-Man: Far From Home, and Aladdin also being major hits that summer. There weren’t a lot of eyes on Crawl, but with it being produced on a reported budget of $15 million and going on to score $91 million worldwide, the movie was a surprising success. With 84% positive reviews on aggregator site Rotten Tomatoes, it’s also a rare creature feature that earned the support of critics.

Aja helms the sequel, which stars Mason Gooding and Emily Rudd. The original movie starred Kaya Scodelario, as her character returned to her family home during a major hurricane to check in on her father, played by Barry Pepper. The rising waters of the hurricane unexpectedly flooded their basement, which brought along with it some deadly gators. The pair was forced to find an escape and to evade the gators, all while the waters continued to rise.

Plot details about the Crawl sequel are largely under wraps, though we do know it will be a similar scenario, with the setting having been moved to New York City. Craig Flores, Sam Raimi, and Aja are producing. Levasseur and Zainab Azizi will executive produce.

With significant members of the creative team returning and the concept being a proven success, we won’t be surprise if the sequel surpasses the accomplishments of the original.

Are you looking forward to the sequel? Let us know in the comments!

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While it was originally set for theatrical release on February 11, 2028, however, Paramount has announced this week that Heart Eyes 2 will now release in theaters February 4, 2028.

Josh Ruben will co-write the script for Heart Eyes 2 with Darcy Fowler from a story by Christopher Landon and Michael Kennedy. Landon will produce the sequel.

Mason Gooding (Scream) and Olivia Holt (“Cruel Summer”) starred in the 2025 movie. No word yet on whether or not one or both actors will be returning for the sequel.

In Heart Eyes: “For several years, the Heart Eyes Killer has wreaked havoc on Valentine’s Day by stalking and murdering romantic couples. This Valentine’s Day, no couple is safe.”

Meagan Navarro wrote in her 4-skull review for Bloody Disgusting, “Heart Eyes walks the fine line between a ’90s slasher with a modern savage edge and a romcom with rare, white-hot chemistry without ever feeling novel or gimmicky. It’s simply a breathlessly entertaining ride that leaves you cheering for love and creative kills in equal measure.”

Stay tuned for more on Heart Eyes 2.

The post ‘Heart Eyes 2’ Gets New February 2028 Release Date appeared first on Bloody Disgusting!.

It’s hard to define Graham by only one role or only one project, given his many talents in a variety of genres. In Brian de Palma‘s Phantom of the Paradise, Graham was the larger-than-life glam-rock star Beef, who was handpicked by record executive Swan as being the only one talented enough to open up his new club. Even with his relatively minimal screen time, Graham managed to stand out as a beloved characters in an entire ensemble full of beloved characters.

In TerrorVision, Graham played Stan Putterman, father of the Putterman family who installed the satellite dish that accidentally brought aliens into the household. In Child’s Play 2, he played the foster father to Andy Barclay who doubted the child’s tales of a killer doll, only to meet his untimely demise at the hands of Chucky.

All of these roles are iconic enough in their own right, but this only scratches the surface of his talents, having also appeared in titles like Demon Seed, Chopping Mall, C.H.U.D. II: Bud the C.H.U.D., and the TV series Tales from the Crypt. Graham wasn’t just an on-screen talent, as he also served as a screenwriter on The Little Mermaid, Oliver & Company, episodes of The Twilight Zone, and Disney’s Prince and The Pauper.

Graham’s legacy extends even beyond movies and TV as a songwriter and lyricist, having collaborated with The Grateful Dead and its members on various projects.

Our thoughts go out to Graham’s family and friends in this difficult time.

The post Gerrit Graham, ‘Phantom of the Paradise’ and ‘TerrorVision’ Star, Passes Away at 77 appeared first on Bloody Disgusting!.

Now in its eighth year, HorrOrigins has screened more than 800 films and remains focused on horror, science fiction and thrillers, recognitions that include a spot on FilmFreeway’s Top 100 Best Reviewed Festivals list and a place on filmmaker and festival-submission expert Adrian Țofei’s Top 110 Genre Film Festivals list for 2026. Legendary Fest, entering its second year, expands the celebration to all genres. Running alongside one another, the festivals give filmmakers and audiences a wider range of cinema while maintaining two distinct identities.

This year’s program includes more than 80 independent films and shorts across 19 programming blocks, among them 13 world premieres, reflecting HorrOrigins and Legendary Fest’s continued focus on discovering and showcasing new voices in genre and independent filmmaking.

The festivals also recognize more than 100 official selections in screenwriting, spanning feature, short, pilot and short prose categories, extending the celebration beyond the screen to the writers shaping new stories. And a major festival highlight this year will be a special double screening of Ari Aster’s Midsommar and Kane Parsons’ Backrooms.

Patrik Andersson, producer of Midsommar, will attend alongside Martin Karlqvist, who worked with Andersson on the film’s early folk-horror concept before the project evolved with writer-director Ari Aster. The festival will also feature Backrooms, with Executive Producer Chris J. White participating. White played an important early role in recognizing Kane Parsons’ viral Backrooms work and helping connect Parsons with James Wan and Atomic Monster, contributing to the project’s path toward becoming an A24 feature.

The festival’s industry guests also include….

• Jed Shepherd — co-creator, writer and producer of Host and Dashcam
• Meredith Berg —director of last year’s award-winning short film Tether & producer of Jason Statham Stole My Bike
• Ethan Erwin — producer of Orphan: First Kill and Jason Statham Stole My Bike
• Arthur Sarkissian — producer of the Rush Hour franchise
• Johannes Roberts — director of 47 Meters Down and Resident Evil: Welcome to Raccoon City
• Emma Raimi — actress, Send Help

Programming throughout the week will include filmmaker networking, industry panels, pitch opportunities, industry conversations, filmmaker Q&As, festival screenings and opportunities for filmmakers to connect with one another.

Learn more and get your tickets now for HorrOrigins and Legendary Fest now.

The post HorrOrigins and Legendary Fest Return to Tucson With ‘Backrooms’ and ‘Midsommar’ This Month appeared first on Bloody Disgusting!.

Speaking with Radio Times, the writer explained, “I have run up against a series of obstacles that I refuse to allow to defeat me. That is the truth of that one. We’re pressing on. We’re trying. We’re doing everything we can to get it made.”

On the positive side, though, Goldsman did make one promise about the sequel: they won’t let any dogs die.

“I fear that I would not survive the backlash should we kill another dog,” the filmmaker joked. He went on to highlight the surprising emotional impact of one dog dying vs. the whole planet, noting, “I’d like to point out that between the opening shot and the next shot, we killed almost everybody on the planet. That was OK. You kill one dog – I’ve never had more walkouts during test screenings.”

Another point worth mentioning is that, for those who saw the movie in theaters, you remember Will Smith’s character died. An alternate, unused ending, however, allowed Smith’s Dr. Robert Neville to survive, which will be the basis of the new sequel.

“This will start a few decades later than the first,” Goldsman explained to Deadline in 2023. “I’m obsessed with The Last of Us, where we see the world just post-apocalypse but also after a 20-30-year lapse. You see how the earth reclaims the world, and there’s something beautiful in the question of, as man steps away from being the primary tenant, what happens? That will be especially visual in New York. I don’t know if they’ll climb up to the empire state building, but the possibilities are endless.”

He adds, “We trace back to the original Matheson book, and the alternate ending as opposed to the released ending in the original film. What Matheson was talking about was that man’s time on the planet as the dominant species had come to an end. That’s a really interesting thing we’re going to get to explore. There will be a little more fidelity to the original text.”

Stay tuned for updates on I Am Legend 2.

Are you looking forward to the sequel? Let us know in the comments below!

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This week, EIGHT brand new horror movies have arrived to keep us company.

Here are the new horror movies that released September 14 – September 20, 2026!

Director David Robert Mitchell (It Follows) is back this summer with dinosaurs-in-suburbia mystery box movie The End of Oak Street, and it’s now available on Digital at home.

Anne Hathaway and Ewan McGregor come face-to-face with a monstrous threat in The End of Oak Street, which feels like M. Night Shyamalan with retro-style Amblin vibes.

As Mitchell explained to Entertainment Weekly, inspirations for the film include Jurassic Park, The Twilight Zone, Poltergeist, The Valley of Gwangi, and M. Night Shyamalan’s Signs.

The End of Oak Street is set in the early 1980s…

In the film, “After a mysterious cosmic event rips Oak Street from suburbia and transports their neighborhood to someplace unknown, the Platt family soon discovers that their very survival depends on them sticking together as they navigate their now unrecognizable surroundings.”

Maisy Stella and Christian Convery also star.

The film is written and directed by David Robert Mitchell and produced by J.J. Abrams, Hannah Minghella, Jon Cohen, David Robert Mitchell, Matt Jackson and Tommy Harper. The executive producers are Chris Bender, Jake Weiner, Joanne Lee and Leeann Stonebreaker.

NEON ends the Summer with their existential road trip horror movie It Ends, which was released into theaters earlier this Summer. The film is now available on Digital at home.

It Ends marks the feature debut by writer-director Alexander Ullom.

“Four recent college grads on a night time drive find themselves stuck on a road that sprawls on forever, with seemingly no end in sight. They are occasionally attacked by stragglers and have to find a routine to plan their rest stops, but after a few thousand miles it all feels the same. Still, they keep on driving, only in the belief something better will come eventually.“

Akira Jackson, Phinehas Yoon, Mitchell Cole, and Noah Toth star.

From Epic Pictures’ horror label DREAD, alligator horror movie Gator Face hit Digital on Tuesday.

In the new creature feature Gator Face, “A Florida vacation becomes a blood-soaked fight for survival when a group of friends are hunted through the swamps by a savage cult that feeds its victims to ravenous alligators in the name of an ancient reptilian god.”

Amariah Dionne, Tabitha Brownstone, Scot Scurlock, and Nikolas Kolasinski star.

Padraig Reynolds directed Gator Face.

The team previews, “Blending creature horror, slasher thrills and Southern folklore, Gator Face takes an old-school approach to bringing its central threat to the screen. Reynolds and his filmmaking team shot with live alligators and relied on practical gore and in-camera effects rather than CGI or AI, grounding the film’s more extreme moments in the physical environment of the Florida swamps. The result embraces the tactile, unpredictable quality of classic creature features while creating a mythology of its own around the mysterious figure of Gator Face.”

Every so often, a new horror movie comes out of nowhere. That’s definitely the case with Blumhouse Atomic Monster’s The Last Kiss, which was released straight to Digital on Tuesday.

The premise? Mckenna Grace hunts a serial killer through prophetic kisses.

Mckenna Grace (Scream 7) stars as Laurel, a teen whose dream of a fairy-tale first kiss turns into a nightmare when she discovers she’s cursed with an ability to see the death of anyone she kisses. When a vision reveals her crush is targeted by a killer terrorizing her friend group, Laurel must unmask the murderer before her vision becomes reality.

The slasher film is directed and co-written by Yoko Okumura (Unseen).

“The Last Kiss is a colorful, fun teen slasher romance, meant to be the perfect spooky sleepover movie for the mystery lover of all ages. It takes the real anxiety and horror that surrounds a first kiss and escalates it to life-or-death stakes,” Okumura previews. “The mythology of what the kiss has meant to humans inspired the fairy tale homage woven through the film’s aesthetic, score, and visual language. In a world where many of us fear intimacy and romance, I hope Laurel’s winding journey can offer a respite and maybe even a little hope that all may not be lost.”

Jaden Michael (“Colin in Black & White”) and Arkira Chantaratananond (“Twinless”) also star.

This week’s biggest new release is of course Weapons and Barbarian director Zach Cregger’s video game adaptation Resident Evil, which is now playing in theaters nationwide.

The film is being billed as “a thrilling — and terrifying — reinvention of the Resident Evil franchise” from the mind of visionary filmmaker Zach Cregger (Barbarian, Weapons).

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 movie’s cast.

From director Tim Kasher, the indie horror movie Who’s Watching was first brought to our attention when a flash drive containing creepy footage was sent to the Bloody Disgusting offices back in 2024. We didn’t know it at the time, but it was the first wave of viral marketing for Who’s Watching, which was just released onto Digital outlets today from Dark Sky Films.

In Who’s Watching, “Eccentric musician and aspiring filmmaker Caleb becomes obsessed with his new coworker, Krista, secretly documenting every aspect of her life in an effort to make her the subject of his latest film. As Caleb’s fixation intensifies, the lines between observer and participant begin to blur, pulling him deeper into a dangerous spiral of surveillance, manipulation and obsession. As the cameras keep rolling, the question becomes increasingly unsettling: who is really watching who?”

Who’s Watching stars Zachary Ray Sherman (A Desert, Under the Banner of Heaven), alongside Gracie Gillam (Superhost, Fright Night, Teen Beach Movie), Olivia Luccardi (It Follows, Soft & Quiet, The Baltimorons), and Steve Berg (Don’t Worry Darling, Tag).

Greg Newman, Executive Vice President of Dark Sky Films, says, “Tim Kasher has spent his career exploring relationships and the darker corners of human behavior through his music, and Who’s Watching brings those same themes to the screen in a deeply unsettling way.”

Writer/Director Tim Kasher adds, “This film has been over a decade in the making, evolving through countless drafts before becoming the story it is today. I’m incredibly proud of what we created, and the performances from Zachary Ray Sherman, Gracie Gillam and Olivia Luccardi brought it to life in ways I could never have imagined. I’m thrilled to finally share this creepy story with audiences and to bring it on the road for these special screenings.”

A supernatural horror film exploring the terror of childbirth, Goody Goody is written and directed by Raymond Creamer in his feature debut, and it’s now streaming only on Shudder.

In Goody Goody, “Lulled into a necessary sense of comfort during a long home birth process, expecting parents and their midwife begin to realize something may be horribly wrong.

“A blizzard rages outside, trapping the family as increasingly sinister complications arise.“

Colleen Foy (There Will Be Blood), Samantha Robinson (Cam, The Love Witch), Zoe Renee (The Hunger Games: The Ballad of Songbirds & Snakes), and Colby Hollman star.

“I’m obsessed with ghost stories and folklore, so I wanted this project to have a campfire tale or storybook quality to it,” director Raymond Creamer said in a statement. “The cast is extraordinary, and working with Shudder has been a dream come true. I really hope horror fans get cozy and maybe light a couple candles when they give it a watch.”

The new horror movie from Jane Schoenbrun (I Saw the TV Glow), the fresh-out-of-theaters Teenage Sex and Death at Camp Miasma is now available on Digital at home.

Gillian Anderson stars alongside Hannah Einbinder.

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

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

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

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Inspired by the All-Out War storyline from AMC’s “The Walking Dead”, The Walking Dead: Streets of Survival aims to deliver an action-packed, no-holds-barred, single-player campaign pitting Rick and his allies against the merciless Saviors and relentless hordes of the undead. Play as iconic survivors Rick Grimes, Daryl Dixon, Michonne, or play as the vicious Negan as you battle foes living and dead across classic environments like the Sanctuary, Hilltop, Alexandria, and more.

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

You can spring for the Standard or Deluxe digital versions of The Walking Dead: Streets of Survival, with the Deluxe Edition including the Arcade Apocalypse Pack (which is also available separately), featuring additional weapon and character skins, the game’s digital soundtrack, The Walker Pit endless survival mode, and the exclusive Hell On Earth Difficulty mode with no checkpoints.

Meanwhile, the physical version of the Deluxe Edition will be available at major retailers on October 2 in EU regions, and October 16 in North America.

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The inherent premise of the concept lends itself well to more adventures, with Pitt and other creatives teasing such an opportunity for years. Word came earlier this year that a World War Z sequel was officially in the works, and Deadline confirms today that Pitt is returning for the zombie sequel. The new movie is set to be directed by Edward Berger, director of The Riders.

At this time, there are no plot details for the sequel. In the original book, Brooks explored a fictional world in which a zombie outbreak had actually happened. The narrative jumped to different parts of the world at different times during the outbreak, using real-world research to describe the different ways communities likely would have actually handled such an apocalyptic scenario.

To translate this idea to a movie, Pitt played Gerry, a former United Nations investigator who is separated from his family when the zombie outbreak ignites. While Gerry attempted to reunite with his family, he used his connections to governmental agencies to attempt to aid those in need while on a quest to locate his wife and daughter. This allowed the narrative to explore a variety of scenarios and various parts of the world, replicating the overall structure of the source material.

Currently, there are no plot details about the sequel. We can likely assume the follow-up will similarly explore a variety of scenarios related to a zombie outbreak, but with how much time has passed, we can only hope Gerry has already found his family and brings his talents to those in need.

This isn’t the first time we’ve gotten updates on a sequel, though, as David Fincher was set to direct the movie back in 2018, with the project ultimately being canceled in 2019. It’s unclear if this new movie will be a new take on whatever was initially planned for the sequel or if this will be an all-new story.

Stay tuned for updates on World War Z 2.

Are you excited to see Pitt return to the series? Let us know in the comments below!

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Co-founder of Section 9 Interactive Mattias Ottvall is back, and is joined by Environment Artist Gustav Bunse, Level Designer Robin Jansson and Game Programmer Isabella Norström as they dive into the gameplay and level design philosophies that shaped the player experience.

In the depths of a mysterious underground compound, a mission to investigate disturbances of unknown origin has descended into a harrowing descent through a broken and abandoned world. Players take on the role of a young combat technician, Cel, as she uncovers the truth behind the facility’s derelict areas and confronts the monstrous creatures that roam them.

Players descend into the halls of a sprawling complex, where broken machines whisper to you from the depths, and nothing you encounter is fully human. Outmatched by the twisted horrors you face, you must upgrade your gear and adapt, pushing your limits just to stay alive against the crushing pressure of the facility you’re trapped within.

Navigate branching paths and uncover hidden areas using your Scanner and the tools you unlock along the way. Pathways open as you grow stronger, allowing you to return to forgotten corridors and secrets once sealed away.

End of Abyss will launch October 1 on PlayStation 5, Xbox Series and PC via the Epic Games Store.

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The news was first reported by Variety this afternoon.

Red Snow will World Premiere at Fantastic Fest this weekend.

“Red Snow is exactly the kind of wild, original genre filmmaking that Shudder audiences embrace,” Shudder’s Emily Gotto said in a statement. “Ilja Rautsi has created a film that envisions a funny, bloody and genuinely surprising Christmas nightmare.”

“Red Snow comes from my lifetime of love for all things horror, so I’m beyond thrilled to have the film be so widely available on Shudder,” Ilja Rautsi said in a statement. “It’s a splattery Christmas present made by freaks for freaks. I couldn’t hope for a better home.”

In Red Snow, “A vampire posing as Santa Claus invades the home of a family whose rebellious teenage daughter wants only one thing: to become a vampire herself and escape her miserable life.”

Here’s the longer official synopsis:

“In Finland, sixteen-year-old emo teen Johanna dreams of a glittering Twilight vampire prince. What she gets instead is Martti — a balding, beer-bellied 49-year-old bloodsucker who slips into a Santa suit to gain entry to homes and devour entire families. When Johanna crosses paths with Martti on Christmas Eve, she thinks her dark fairy tale has come true. But instead of eternal romance, she finds herself trapped in a bloody and horrific nightmare of aging masculine toxicity, family trauma, and festive slaughter. By morning, the snow will turn red.”

Hannu-Pekka Björkman and Anni Iikkanen lead the cast of the horror-comedy.

Red Snow will release in Finland on November 20, 2026.

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Some have given us genuine camp classics like Paul Michael Glaser’s The Running Man (1987) while others, like Rob Reiner and Frank Darabont, have created some of history’s most beloved films. But since the turn of the 21st century, one director has taken the reins as the preeminent director of Stephen King’s work. Cut from similar creative cloth, Mike Flanagan has a knack for capturing the author’s powerful blend of emotion and fear. From Gerald’s Game (2017) to the upcoming Carrie (2026) miniseries, the earnest director has found a way to translate some of King’s trickiest texts for the big and small screen. 

King’s influence can be felt throughout the span of Flanagan’s career. A lifelong Constant Reader — the moniker King has bestowed upon his dedicated fans — Flanagan does not just set out to scare us to death, but to make us feel along the way. This talent for character-driven horror reflects King’s own narrative strategy. In Danse Macabre, his 1980 treatise on the genre, King notes, “I try to create sympathy for my characters, then turn the monsters loose.”  

Flanagan’s debut feature, Absentia, may center an insectile creature from another dimension who snatches runners off the street. But this tender story could also be read as a metaphor for the pain of addiction and the toll it takes on those we love. Later films like Before I Wake and the 2016 sequel Ouija: Origin of Evil— which is much better than it has any right to be — use horror as the framework for a larger exploration of grief in the wake of a loved one’s death.

Both creators understand that a story must have emotional stakes if we are to be frightened at all. 

Oculus

Flanagan’s second film, Oculus (2013), is a harrowing story of a family torn apart by a malevolent antique mirror. As children, siblings Kylie (Annalise Basso, Karen Gillan) and Tim (Garrett Ryan, Brenton Thwaites) watch this mirror, the Lasser Glass, slowly poison their suburban home. As adults, they reunite for an elaborate plot to prove its supernatural capabilities before destroying the object once and for all. An expanded version of Flanagan’s 2006 short Oculus: Chapter 3 – The Man with the Plan, Oculus (2013) parallels one of King’s most haunting stories.

Featured in the 1985 collection Skeleton Crew, “The Reaper’s Image” introduces the Delver Glass, an antique mirror with a sinister past. While most simply see their own vaguely distorted reflection, a fraction of those who look in this mirror see a cloaked figure standing behind them and invariably go missing shortly after. 

While these stories bear no outright connection, their similarities are unmistakable. Both “The Reaper’s Image” and Oculus include grisly histories of the mirrors and their many victims. But Flanagan’s Lasser Glass does not cause its prey to disappear. Extended time in the mirror’s presence sparks wildly distorted perceptions, eventually leading to extreme acts of violence. Caught in the mirror’s sinister deception, their father Alan (Rory Cochrane) begins neglecting his kids while torturing his wife in the upstairs bedroom. His transformation from a flawed, yet loving father into a callous family annihilator is not unlike the story of Jack Torrance, the human villain of King’s The Shining. It’s also impossible to hear young Kaylie and Tim vow to destroy the mirror as adults without remembering It’s beloved Losers’ Club. 

Hush and Gerald’s Game

In many ways, Flanagan’s third feature, Hush, feels like a spiritual adaptation of King’s 1992 novel Gerald’s Game. The intimate story follows Jessie, an unhappy housewife on a romantic getaway with her boorish husband Gerald. When an ill-advised sex game goes disastrously wrong, Jessie finds herself handcuffed to the bed while Gerald lies dead on the floor. With no way to call for help, Jessie must use the few objects within her limited reach to free herself before she dies of dehydration. A fan of the harrowing novel, Flanagan has admitted to carrying a paperback copy of Gerald’s Game to industry meetings, pitching an adaptation as his dream project.  

But before he would get the chance, Flanagan directed the slasher-home invasion hybrid Hush, co-written with his wife Kate Siegel, who also stars. The stylish film follows a deaf and mute writer named Maddie (Siegel) whose isolated house is invaded by a masked serial killer known only as The Man (John Gallagher Jr.). Filmed largely without dialogue, Maddie must dissect her situation as if it were the plot of her latest novel, meticulously working through survival scenarios. Like Gerald’s Game, Hush follows an isolated woman who must use her limited resources to fight for her life while sustaining unthinkable injuries. 

Following the success of Hush, Flanagan finally secured his dream project. Released on Netflix in 2017, Gerald’s Game manages to capture a story many considered unfilmable. Except for childhood flashbacks and a polarizing denouement, the 300-page book takes place almost entirely in Jessie’s bedroom as she’s shackled in place on the bed. Most of the story’s dialogue comes from manifestations of women from her past: Ruth Neary, Jessie’s headstrong college roommate, and the Goodwife, a symbol of domestic oppression. 

To streamline the story and bring out its themes, Flanagan makes a few narrative changes. With Bruce Greenwood playing a slightly more likeable version of Gerald, Flanagan recasts these interior voices as manifestations of Gerald and Jessie (Carla Gugino), explaining, “This is a movie about a marriage. I want to hear from a married couple.” Like an angel and devil perched on her shoulders, these two metaphysical characters spar with each other while helping Jessie piece together memories from her traumatic past.

Meanwhile, a stranger creeps into the darkened room while Jessie sleeps. She awakens to find the hideously gaunt Moonlight Man (Carel Struycken) silently watching her from the corner. Cloaked in shadows, Jessie cannot tell if this man — whom King calls the Space Cowboy — is an intruder meaning to do her harm or a specter of oncoming death. Flanagan cleverly plays with shadow and light to recreate one of King’s most frightening characters. 

But the adaptation’s crown jewel is a faithful reconstruction of what is arguably the Master of Horror’s most gruesome passage. Hopelessly trapped by the military-grade cuffs, Jessie must essentially strip the skin from her hand to fit it through the steel bracelet. With jaw-dropping special effects, Flanagan presents the infamous “degloving scene” in excruciating detail, forcing us to stay with Jessie through her pain. Combining terror, horror, and disgust — King’s own delineation of fear — Flanagan explores the depths of Jessie’s mind, bringing her intimate experience to the screen. 

Doctor Sleep

Flanagan’s next King adaptation is somehow even more ambitious. Thirty-six years after publishing his iconic novel The Shining, King reconnected with Danny Torrance in the 2013 sequel Doctor Sleep. After surviving the notorious Overlook Hotel, an adult Danny battles a group of psychic vampires to protect a little girl named Abra who possesses psychic gifts even more powerful than his own. 

Like Gerald’s Game, this novel also includes extensive metaphysical scenes. The beguiling villain, Rose the Hat, can project her consciousness while meditating hundreds of miles away. Danny also manages to use his telekinetic powers to “turn the world,” mentally trading places with Abra to see, speak, and fight by controlling her body. Once again, Flanagan manages to capture the unfilmable, showing Rose gracefully gliding through a representation of Abra’s mind. He’s also able to keep track of the complex narrative, much of which occurs in his characters’ heads.

However, a larger concern would be marrying disparate source material. While revered as one of history’s greatest films, Stanley Kubrick took so many narrative liberties with his 1980 adaptation of The Shining that King is notably not a fan. In addition to numerous plot details, one version of the story ends with the Overlook standing and the other sees it burned to the ground. Anticipating a cinematic Doctor Sleep (2019), Constant Readers didn’t know whether Flanagan’s film would be a sequel to King’s or Kubrick’s story. 

But Flanagan manages to pull off the impossible, blending both sides of this terrifying tale. In recreations of Kubrick’s iconic Overlook, the sensitive director weaves in pieces of King’s original novel that were excised from Kubrick’s adaptation. Themes of addiction, sobriety, and forgiveness finally break through as Flanagan transforms tender elements of King’s The Shining into new and original sequences. King has stated that the director’s additions, including a scene in which Danny (Ewan McGregor) comes face to face with his troubled father, helped him make peace with Kubrick’s celebrated film. 

Midnight Mass and The Life of Chuck

Alongside these two adaptations, Flanagan turned to other genre authors for a string of miniseries adaptations. The Haunting of Hill House is based on Shirley Jackson’s celebrated novel, while The Haunting of Bly Manor was inspired by Henry James’ The Turn of the Screw. His The Midnight Club is a semi-anthology series based on the young adult horror of Christopher Pike, while The Fall of the House of Usherweaves together several of Edgar Allen Poe’s most chilling tales.

But nestled in the middle of this successful run is a series that nods to Stephen King. 

Midnight Mass follows the residents of a small New England town who fall victim to an ancient vampire infiltrating their lives through the Catholic Church. What first appears to be a blessing from God soon becomes a soul-crushing disease. While the story is entirely original, several elements feel directly inspired by King’s sophomore novel Salem’s Lot. Released in 1975, the terrifying story sees a tiny Maine town crumble with the arrival of a charming vampire. King expertly makes the town itself a character, providing a salacious look at its many scandals and secrets. While Flanagan’s story is not nearly so salacious, Midnight Mass uses vampires as a springboard to tell a nuanced story about small-town life and the complex nature of community. Filled with poignant monologues and gorgeous symbolism, the series sees Flanagan take inspiration from King to create a masterpiece all his own. 

For his next feature film adaptation, Flanagan joined the ranks of Rob Reiner and Frank Darabont in adapting one of King’s non-horror tales. Collected in the 2020 release If It Bleeds, “The Life of Chuck” is a tear-jerker novella that sees King make peace with the mystery of death. Told in three distinct chapters, the story begins with an entire world on the brink of collapse. Next we meet Chuck Krantz (Tom Hiddleston) on a joyous day in which he delights a random crowd by dancing with a stranger to a busker’s drums. This mirrors the third, and final vignette in which a young Chuck (Benjamin Pajak) learns to dance in an afterschool club. We eventually learn that these stories are pieces of the man’s memory slowly fading away as he dies from cancer. 

Flanagan’s story is a relatively straightforward retelling of this nebulous novella, skillfully highlighting the story’s emotional core. Flanagan captures the heart of this poignant tale, offering a lovely meditation on the reality of death. Though they differ in every conceivable way — including their ties to King himself — The Life of Chuck and Midnight Mass allow the director to confront the horrors of disability and terminal illness, themes King has explored in his later career. 

Carrie and beyond

Though The Life of Chuck is a fairly deep cut, Flanagan’s upcoming project is as iconic as it gets. The seasoned director will next take a crack at his own interpretation of Carrie, King’s debut novel about a bullied girl. First adapted by Brian De Palma, 1976’s Carrie has become a genre staple and an early example of Good For Her horror.  We watch Carrie White (Sissy Spacek) seek bloody revenge for a lifetime of horrific abuse by telekinetically destroying her senior prom along with a gym filled with her tormentors. 

Flanagan’s version of the story promises to modernize the 1974 novel, infusing social media, cancel culture, and sexual predation while offering more nuanced depictions of King’s original characters. Flanagan also endeavors to connect his Carrie (Summer H. Howell) to King’s expansive legacy of psychic kids with a network of powerful young women who recognize her as one of their own. This ambitious reimagining cements a deal with Amazon Prime that will hopefully lead to more King adaptations. Flanagan has also announced plans to adapt The Mist, King’s 1985 novella about a grocery store overrun with interdimensional beasts. 

But perhaps even more exciting, Flanagan is currently working through pre-production on a long-awaited adaptation of the Dark Tower saga. King’s eight-part western fantasy — including the coda novel The Wind Through the Keyhole — follows the gunslinger Roland Deschain on a quest to protect the mythical tower said to support the very threads of reality. Blending time, space, genre, and history, this sprawling saga has daunted an impressive list of directors and spawned one disappointing adaptation, The Dark Tower (2017). But if anyone can bring this massive story to life, it’s the man who gave us Gerald’s Game and reconciled the legacy of Doctor Sleep.

In addition to filming King’s most nebulous work, Flanagan’s signature blend of emotional horror meshes well with King’s own narrative style. Considering his impressive track record and the lengthy list of King titles still on the shelf, it’s likely that Mike Flanagan’s best work is yet to come.

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A new teaser for the upcoming season highlights many of those exciting returns, with a special emphasis on the characters from Season 3’s Coven storyline. This isn’t the first we’ve seen of the new season, as a trailer was released earlier this month, but this specific footage puts an emphasis on fan-favorite returns. You can see the all-new teaser below.

FX describes the news season, “American Horror Story, the global phenomenon that has garnered more than 100 Emmy nominations since its launch in 2011, returns for an unrivaled 13th installment that will do justice to everyone’s most feared number. Bringing together an all-star cast, many of whom are reprising fan favorite roles, American Horror Story: 13 continues to build on the anthology’s decades-long legacy that has been streamed more than 700 million hours across the globe and spawned a legion of dedicated fans. Created and produced by Ryan Murphy and Brad Falchuk, American Horror Story has redefined the genre with various installments featuring a creepy murder house, a coven of witches, a traveling freak show, a haunted hotel, and the apocalypse itself. Which iconic horrors will return to haunt the hallowed halls of 13 and what new terrors await? Light your candles, draw your pentagrams, and prepare for a supreme surprise.”

Starring in the new season are Sarah Paulson, Evan Peters, Angela Bassett, Kathy Bates, Emma Roberts, Billie Lourd, Gabourey Sidibe, Leslie Grossman, Joey Pollari, and Jessica Lange. The cast also features Avantika, Jamie Brewer, Elle Chapman, Berto Colon, Alex Consani, Frances Conroy, Mat Fraser, Seth Gabel, Orlando Jones, Paul Anthony Kelly, John Carroll Lynch, Tig Notaro, Madelaine Petsch, Fedor Steer, Mena Suvari, Zach Villa, John Waters and more.

American Horror Story: 13 premieres on FX on September 24.

Are you looking forward to the new season? Let us know in the comments below!

The post ‘American Horror Story: 13’ Revives the Coven for All-New Teaser appeared first on Bloody Disgusting!.

Netflix’s lineup of horror releases, per What’s on Netflix, is as follows:

September 23

• LifeHack (2025)

September 24

• Balaraw: Blood Island (Season 1) – Years after her mother vanished, Sabina follows a mysterious clue to an uncharted island, where she confronts hidden dark secrets within her own family.
• Knock at the Cabin (2023)

September 27

• Slice (2018)

September 29

• Daniel Isn’t Real (2019)

September 30

• I’ll Always Know What You Did Last Summer (2006)
• Resident Evil: The Final Chapter (2016)

October 1

• Lake Placid (1999)
• The Sixth Sense (1999)
• Happy Death 2U (2019)
• Evil Dead (2013)
• Underworld: Blood Wars (2016)

October 2

• My Child Has My Doctor’s Face (2024)

October 6

• The Boogeyman (2023)
• Pride and Prejudice and Zombies (2016)

October 8

• Below (Limited Series) – When a mysterious sea creature terrorizes a small Newfoundland town, a hard-bitten fisherman must fight to protect his family, his community, and his vanishing way of life.

October 9

• Haunted Hotel (Season 2) – A single mother tries to run the world’s most haunted hotel with her ghost brother, two kids, a demon trapped in a little boy’s body, and an ever growing collection of ghosts, monsters, and supernatural disasters.
• Is It Cake? Halloween (Season 2) – Is It Cake? Halloween rises from the grave with Mikey Day and six wickedly talented hyper-realistic cake artists! These creeptacular bakers push their skills to the limit, creating the largest, spookiest cakes designed to trick celebrity judges. With a huge cash prize and the title of Is It Cake? Halloween Champion on the line, the stakes have never been higher. Who will survive this deliciously deadly showdown?

October 14

• Cocaine Bear (2023)

With a few more weeks to go before we’re officially in October, we won’t be surprised if Netflix reveals some surprises to really help subscribers to get into the Halloween spirit, so stay tuned for all updates on what’s coming to the streamer.

Which title are you most looking forward to checking out? Let us know in the comments below!

The post Netflix and Chills Celebrates Halloween With New Horror Movie Lineup in October appeared first on Bloody Disgusting!.

“Blade Runner 2099” premieres on Prime Video on November 25.

Check out a few brand new images from the series below.

The new Blade Runner television series is set 50 years after the events of Denis Villeneuve’s movie Blade Runner 2049 and stars Michelle Yeoh (Everything Everywhere All At Once) and Hunter Schafer (Cuckoo) as partners Olwen and Cora, respectively. 

Like Rutger Hauer’s Roy Batty in Ridley Scott’s Blade Runner, Olwen is a replicant at the end of her life cycle. Her partner, Cora, is a human passing herself off as a replicant.

“Blade Runner 2099” comes from Alcon Entertainment, Scott Free, and Amazon Studios. Silka Luisa (“Shining Girls”) is writing, show-running, and executive producing.

Jonathan van Tulleken (“Shōgun”) will direct and executive produce the first two episodes.

Dimitri Abold (The Hunger Games: The Ballad of Songbirds & Snakes), Lewis Gribben (Somewhere Boy), Katelyn Rose Downey (The Nun II), and Daniel Rigby (Renegade Nell) also star in the upcoming series, alongside Johnny Harris (A Gentleman in Moscow), Amy Lennox (Only Child), Sheila Atim (The Woman King), and Matthew Needham (House of the Dragon).

The post ‘Blade Runner 2099’ – New Images Spotlight Hunter Schafer and Michelle Yeoh in Prime Video Series appeared first on Bloody Disgusting!.

The Japanese horror movie, written and directed by Dave Boyle, releases in theaters on September 25, 2026.

Never After Dark stars Moeka Hoshi (“Shogun”) as “Airi, a wandering medium who spends her life guiding restless spirits out of the world of the living. Summoned to an isolated country house, she comes face to face with a grotesque apparition with powers that defy Airi’s experience.

“As she digs deeper into the house’s past, a secret comes to light — and Airi finds herself hunted by a far more unpredictable force. For the first time, her greatest adversary is not the supernatural, but the living.”

Airi is enjoying a beer or two with the hotel owner’s son in the clip below and is so accustomed to seeing spirits that not even a ghost missing its jaw startles her. 

Kento Kaku (“House of Ninjas”), Kurumi Inagaki (“House of Ninjas”), Mutsuo Yoshioka (Chime), Bokuzo Masana (“Tokyo Vice”), and Tae Kimura (“All Around Us”) also star.

It’s a cozy, creepy supernatural horror movie. I wrote in my SXSW review that it’s “a conventional atmospheric haunted house with a unique approach to the supernatural. It’s that new wrinkle, along with an unwaveringly cool heroine, that sets it apart.”

Boyle was recently tapped to take on a remake of Kiyoshi Kurosawa’s Pulse.

“We are so thrilled that Magnolia Pictures will bring ‘Never After Dark’ to audiences across North America,” said Boyle and Kaku in a joint statement. “Their passion for the film, their commitment to a theatrical release, and their long history as exceptional stewards of great cinema make this partnership a dream come true for our team. We made this film for the big screen, and we’re delighted that audiences in North America will have the chance to experience it that way.”

The post A Mangled Ghost Appears In ‘Never After Dark’ Exclusive Clip appeared first on Bloody Disgusting!.

2022’s Barbarian is easily one of the best horror feature debuts of the 2020s so far, and after being stuck solely on streaming for the past four years, it’s finally received a home media release from 20th Century Studios. The 4K UHD/Blu-ray combo steelbook also includes three special features – a behind-the-scenes featurette, deleted scenes, and a filmmaker commentary.

And you know what that means.

Now keep reading to see what I heard on the commentary for…

Barbarian (2022)

Commentator: Zach Cregger (writer/director), Roy Lee (producer)

1. Cregger is a fan of commentary tracks, and he loves “to hear all the little nitty gritty things that go wrong, so I’m gonna point out all the thousands of little details that I thought were death shots to this movie.”

2. He wrote the script on spec back in 2018 and sent it to everyone he knew. That list grew when he went on Wikipedia, found every production company that had produced a horror movie in the last 15 years, and sent it to them too. They all said no. He finally found a home for it at the end of 2020 with a small company called BoulderLight Pictures, and in addition to working with them again on his follow-up, Weapons, the company also produced films like Pledge, The Wrath of Becky, and Casper Kelly’s Buddy.

3. The opening shot comes “out of the ground” as a bit of foreshadowing.

4. Tess (Georgina Campbell) is getting calls from Marcus that she always declines. A deleted scene reveals that Marcus is her boss/boyfriend, who she’s basically fleeing. He considered removing the phone calls from the film, too, “but I actually thought they added a nice texture, just made it feel like this movie exists in a time and a place.” For me, it also works to add one more possible male “threat” into the mix of Tess’ life.

5. Cregger had considered selling his house to fund the film for a million bucks – “It would be a terrible version of this movie” – but happily he got a call from an unknown number at 9 am one morning while he was in bed, in his underwear, and playing video games “like every other depressed person in Los Angeles.” It was Lee saying he wanted to make the movie. Lee works for Vertigo Entertainment, one of the companies that had previously passed on the script, but he had only just gotten a hold of it himself the night before.

6. The film was shot in a big field in Bulgaria, and the entire street was built from scratch and realized through a combination of physical construction and CG.

7. Cregger first saw Campbell in an episode of Black Mirror and “was smitten with her,” but genre fans should also recognize her from fun little chillers like Cold Storage and Lovely, Dark, and Deep. It’s unclear if Bill Skarsgard has been in any other horror films.

8. The jump scare at 7:45 was “intentionally lame.” He made it obvious, expected, and with some “whack” sound effects, because he wanted viewers to think they were watching a clumsy movie so the true scares hit harder. “I throw a couple weak jabs so when I eventually punch you in the face you don’t see it coming.”

9. The inspiration for the entire first act came from a non-fiction book called The Gift of Fear about how women should trust and listen to their own internal intuitions. It’s something men don’t have to do in nearly the same way, and Cregger found that to be an interesting realization. It led to him writing the opening scene even before he had any inkling where it might lead.

10. “Here’s my little Fincher match cut,” he says, referring to the beat at 11:23 when a shot of the washing machine cuts to a cup of tea. “It’s debatable whether it’s a good move or not.”

11. We see Keith’s (Skarsgard) driver’s license at 12:15, and Cregger realizes for the first time that it lists his height as 5’10” when Skarsgard is actually 6’3”. “Well, that’s just a mistake.”

12. The bit with Tess getting ready for bed originally included a shower sequence that was framed with nods to the negative space in Alfred Hitchcock’s Psycho. Early screenings showed almost unanimous dismissal from female viewers, saying that she would never, ever take a shower in this situation.

13. He has a clear appreciation for filmmaking as evident by his comments on the stretch from 12:43 to 16:23. First, he talks about the camera move that pans across the wall to reveal Keith waiting at the table for Tess and references Stanley Kubrick’s The Shining and the scene where Danny turns left and the twins are there. “When someone is waiting for you, it instantly puts you in prey mode; they know something you don’t.” Tess sits down, and the two talk, and Cregger references an interrogation scene from Steven Spielberg’s Bridge of Spies as an inspiration for keeping the camera over their respective shoulders until there seems to be a connection of some kind. Once he confirms that he saw and enjoyed the same obscure documentary that she did, Tess lightens up, and the camera comes in closer.

14. Cregger says he’s the child of an alcoholic and gave Tess some of his own traits. “Children of alcoholics are wired to please other people; they’re wired to assume whatever shape in a relationship that the other person expects of them.” He thinks the crystallization of that behavior is ultimately infantilization, and that’s the idea that carries through to her encounter with The Mother (Matthew Patrick Davis), who literally treats Tess as a baby.

15. There’s apparently a rule of comedy that the “kuh” sound/syllable is the funniest. Lee wonders if that’s why Tess says it would be crazy to invite Keith in as opposed to saying it would be insane. I don’t know if it’s true or not that it’s the funniest, but people say that.”

16. Lee has tried Keith’s bed sheet trick at home, but it only made him dizzy. Cregger stands by it and says he’s been approached multiple times by people thanking him for the tip.

17. The street the house is on may be faked in Bulgaria, but it’s based on the Brightmoor neighborhood in Detroit. The scenes of Tess driving were shot on location in Brightmoor, and while Cregger is happy with how well their fake matches reality, he regrets using the actual name of the area. “Some people do still live there, and I don’t mean to disparage anyone’s neighborhood where they live.” He seems sincere in wishing he had changed it, saying, “What if some kid that lives in that neighborhood sees this movie and he’s bummed out by it.” Lee says that he’d be proud.

18. Cregger and his cinematographer, Zach Kuperstein, would photoboard their shots days in advance by going to the location/soundstages and using an app called Artemis. “We would pick the lens, pick the angle,” he says, adding that “it took all the pressure out of figuring out how to shoot the movie.” It gave them time to play around with options without having to take up the time of the cast and crew.

19. The film cost $4.5 million, and Lee adds that “I’ve had reshoots on other movies that are three days that cost more than $4.5 million.”

20. The music track that starts at 32:05 – just as Tess enters the tunnel – is called “Necro” and is by a female musician from the UK called A001. Cregger listened to it on repeat while writing the script. “I write in the garage,” he says, adding, “I turn these red lightbulbs on so it looks evil, and I just tap away into the night.”

21. “The themes are obvious,” says Cregger. “Men do not take women seriously.” He adds that while he believes and understands this, he also knows that “if somebody told me there was a room with a bed and a bucket” he would immediately go check it out.

22. They forgot to shoot a POV for Tess looking down the stairs, so they had to recycle the handful of frames they grabbed at 38:50 with the camera pushing by her feet. The faked POV looks a bit twitchy because they only had literally three frames to loop for the shot.

23. Mother smashing Keith’s head was inspired in part by the very brutal head trauma in Gaspar Noé’s Irreversible. Cregger wanted to chase it with Mother ripping off Keith’s jaw and stabbing him in the eye with it, but while they filmed it, the shot just looked too rubbery and fake.

24. The agents on the phone with AJ (Justin Long) in the car are voiced by Kate Bosworth and Cregger. Sara Paxton voices the assistant who connects the call alongside two more voices in the film.

25. AJ’s character arc is the opposite of Tess’ in some ways. She’s a hyper-vigilant woman who has to overanalyze things in the presence of possibly predatory men, and “Justin’s chapter is the inverse of that where it’s about an actual predator with no awareness.”

26. The Hollywood Reporter article that AJ looks at on his phone at 48:13 has a byline by Kim Masters, who is a real journalist known for her investigative reporting into dirty Hollywood players.

27. AJ wears a Grillo’s Pickles hat, and it’s a real company. Long is friends with the owners and asked them if he could wear the hat in the film. Grillo’s Pickles said yes, they filmed a few days, and then the pickle folks thought to ask, “Hey, you’re not playing a rapist or anything, right?” Cregger was worried they’d have to CG out the logo, but the company went with it.

28. The two Zachs argued as to whether or not audiences would notice the shot at 51:16 as AJ opens the door and we see the outside. Since the inside of the house is a soundstage, the outside is basically a warehouse. For this one second, you can see the floor of the stage out there instead of a yard or street. Kuperstein worried people would notice it, but Cregger was ultimately right that no one would care.

29. Cregger was pressured to remove both the club scene where AJ basically confesses while talking to his friend (played by the director) and the following bit where he comes home and calls the woman who accused him of the assault. Happily, he knew both helped inform the character, confirm his villainy, and deliver some laughs.

30. Joel Coen and Ethan Coen are Cregger’s favorite living filmmakers.

31. Lee has never worked with Long before, but he recalls the actor auditioning for the male lead in Bryan Bertino’s The Strangers. Can you imagine?

32. Composer Anna Drubich only had three weeks to write the film’s score.

33. New Regency really didn’t want them to film the colorful flashback section of Frank (Richard Brake) shopping and stalking a new victim, but Lee won that battle. The sequence is inspired by Gerald Kargl’s Angst, a “really grim, very violent, not for the faint of heart, but the visual vocabulary of that movie is excellent.”

34. That’s all CG grass starting at 1:11:01, and Cregger hates it.

35. Lots of people find the hair on the nipple of the baby bottle to be the most disturbing image in the film, and Cregger admits it was an accident. Hair from Davis’ wig got caught on it, and while Cregger initially went to remove it, he quickly realized it was a great visual.

36. The scene with the Mother trying to breastfeed AJ originally included a bit where she grabs a rat, chews it up, and tries to “baby bird” it into AJ’s mouth. “It’s a cool scene,” but you saw too much of the mother, and “it was very disgusting.” The scene is included in the disc’s special features.

37. Tess is pulled from the house by a homeless man named Andre (Jaymes Butler) who says that the Mother “ain’t even the worst thing in there.” Cregger says that he knows some people were disappointed by the seemingly empty promise of that, as they expected another more threatening “monster” and instead got an old man in a bed. He gets that but feels George’s statement is still accurate.

38. Cregger’s not a big fan of James Cameron’s Aliens, so fuck that guy.

39. Andre tells Tess and AJ about the Mother and describes the inbreeding process that led to her as “a copy of a copy of a copy.” The line was ADR’d in afterwards because early test screening audiences just couldn’t understand who she was or how she got there. Those complaints stopped after the line was added. “I’m a big fan of ambiguity in horror,” says Cregger, “I don’t think you need to know everything, but at a certain point the movie needs to make sense.”

40. Lee’s not thrilled with the shots of the Mother diving off the water tower after Tess. He sees it as a Spider-Man moment that feels apart from the rest of the movie. “But some people love it,” he says.

41. Cregger originally wanted to have the Sparks song “This Town Ain’t Big Enough for the Both of Us” over the end credits, but he felt Ronnie Spector’s “Be My Baby” was the better fit. The lyrics obviously play a part, but there’s also a subtext that Cregger appreciates – Spector was kept prisoner in her own home for a few years by her husband, Phil Spector, before finally finding her way to freedom.

Quotes Without Context

“I contend there are no genuinely terrifying horror movies that nobody knows about, because horror fans will find them and they will proselytize.”

“Our philosophy for the camerawork was Fincher upstairs, Raimi downstairs.”

“Passage of time, blah blah blah.”

“A little mumblecore scene in the middle of this horror movie.”

“Sometimes the things that you feel are going to make a movie worse end up being blessings.”

“I know what she’s doing, and it’s gonna be a shit.”

“I wish I’d made that bed messier.”

“Sam Raimi brought such a crazy energy to horror that I just think is the best.”

Keep up with more horror commentary breakdowns here.

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Freeform has released a new trailer for the upcoming supernatural drama series Coven Academy, which will premiere on October 1. You can check out the new trailer below.

In the haunted heart of New Orleans, Coven Academy follows three teenage witches and their dangerously charming warlock peers at an elite magic boarding school where power is currency, secrets are lethal and attraction is a liability. Caught between ancient supernatural wars and forbidden love interests, the coven must decide how far they’re willing to go to protect their city — and themselves.

The trailer reveals Briar’s (Malina Weissman) struggles to hone her newfound powers as a witch and the turbulent love triangle between her, Jake (Malachi Barton), and Ollie (Louis Thresher). Set to Olivia Rodrigo’s hit song “Brutal,” Briar’s enigmatic energy draws intrigue from her fellow young witches.

Coven Academy stars Malina Pauli Weissman (A Series of Unfortunate Events) as Briar, a fiercely independent New Yorker who discovers she’s a witch; Malachi Barton (Camp Rock 3, Zombies 4: Dawn of the Vampires) as Jake, a magnetic warlock with a dangerous edge; Jordan Leftwich (The Family Switch) as Sasha, a deeply empathic student who can read minds; Ora Duplass (Their Town) as Tegan, an irreverent time-bending witch; Louis Thresher (Boarders) as Ollie, a hungry, newly turned vampire; and Tiffani Thiessen (White Collar, 90210) as Miss Graves, the formidable and glamorous head of the school. The series also features special guest star Devon Sawa (Hacks) as Mr. Cole, a brilliant and charismatic warlock professor.

Tim Federle (High School Musical: The Musical: The Series, the upcoming Romy and Michele’s High School Reunion sequel) created Coven Academy and serves as executive producer alongside Darren Swimmer, Todd Slavkin, Amanda Row, and Bronwyn North-Reist. Coven Academy is produced by Federle’s Chorus Boy Productions in association with Disney Kids & Family.

Coven Academy debuts on October 1 on Freeform, with the full season available the next day on Disney+, Hulu, and Freeform On Demand.

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Pre-orders open October 15 for the Limited Edition Large Blu-ray Hardbox set, which features all 70 classic episodes of the television series along with three of The Munsters feature films.

Imprint Films previews, “The television studio backlots of ’60s California were alive with quirky families – a golden moment in American television where supernatural sitcoms ruled the airwaves, with Bewitched, I Dream of Jeannie, My Favourite Martian, and The Addams Family striking a chord with primetime viewers. But one family stood out as the quirkiest of them all.

“The Munsters live at 1313 Mockingbird Lane, certain that they are a perfectly ordinary American family, and cannot for the life of them understand why the neighbors keep running away screaming. Over 70 beloved episodes, we get to know Herman, a gentle giant who bears more than a passing resemblance to Frankenstein’s monster; his vampire wife Lily; her father Grandpa, an alchemist and sometimes Count Dracula; their werewolf son Eddie; and their niece Marilyn.

“Imprint Television is proud to have scanned and restored all 70 episodes from the original series, presented here in high-definition for the first time worldwide, alongside 17 brand NEW audio commentaries, hours of archival Special Features, the 1966 film Munster, Go Home, and the two television movies The Munsters’ Revenge (1981) (in a NEW 2026 restoration) and Here Come the Munsters (1995).”

Highlights of the jam-packed set include…

• two Hardcases featuring flip lenticular artwork, housing all 14 Blu-ray discs;
• a large-format Hardcover Episode Guide Book;
• a full-colour matte laminated 27″ x 40″ folded print of the original poster for Munster, Go Home (1966 film);
• eight Lobby Cards featuring original production character portrait photography

Starring Fred Gwynne as the lovable Herman, Yvonne De Carlo as Lily, and Al Lewis as the irrepressible Grandpa, The Munsters made an enormous impact on television and popular culture, and today remains as warm, funny, and endlessly charming as the day it first aired.

This strictly Limited Edition packaging features a large hardbox with a holographic finish, spot gloss embossing, and a removable PVC slipcover with partial printing.

Learn more over on the Imprint Films website now.

The post ‘The Munsters: The Complete Series’ Blu-ray Release Restores All 70 Classic Episodes Plus 3 Movies! appeared first on Bloody Disgusting!.

The filing, which is dated September 10, is simply the phrase ‘Wonders of O’. As for what ‘O’ could mean, fans have pointed to the ending for Lies of P (which, if you haven’t played it yet, spoiler alert) as evidence that it’s referring to Oz.

Lies of P ends with an alchemist called Paracelsus saying he plans to return to Krat to find someone named Dorothy. The game then cuts to someone walking on a rooftop in Krat, who clicks their heels three times a la Dorothy in “The Wizard of Oz”.

This is all pure speculation, as neither NEOWIZ or NOUGH Studio have elaborated on their next title outside of that it would be a Survival Horror game, and whether it would in fact be a sequel to Lies of P. However, as mentioned above, the devteams have been dancing around it, rather than outright saying.

Lies of P is currently available on PC via Steam, the PlayStation 5, the Xbox Series, and the Nintendo Switch 2.

The post NEOWIZ Files Trademark for Potential ‘Lies of P’ Sequel Involving “The Wizard of Oz” appeared first on Bloody Disgusting!.

Last night for the film’s Thursday night previews, Resident Evil scared up $8.8 million at the U.S. box office, which already gives it the highest Thursday night previews in series history.

Of note, this marks the 3rd biggest Thursday preview of all time for any video game movie!

Variety notes this morning, “It’s aiming to make $40 million to $50 million domestically this weekend, but some projections put it closer to $60 million due to positive reviews.”

Those positive reviews have given Resident Evil a 96% Fresh score on Rotten Tomatoes at this time, making it the best reviewed video game movie of all time on the platform.

Meagan Navarro writes in her rave review for Bloody Disgusting, “Zach Cregger captures the primal experience of playing the games, and it’s an absolute breathless blast.”

The production budget for Cregger’s Resident Evil was a reported $75 million, and it’s looking like the movie won’t have too much of a problem turning a profit in the coming weeks.

The Resident Evil film franchise is a billion dollar franchise at the box office, with the Milla Jovovich-led Resident Evil: The Final Chapter (2016) holding the franchise’s box office record with $312 million worldwide. The most recent installment in the franchise, 2021’s Resident Evil: Welcome to Raccoon City, finished its worldwide run with just $41.9 million in theaters.

Zach Cregger’s Resident Evil is now playing in 3,166 theaters nationwide.

Based on the iconic video game franchise, the film is “a thrilling — and terrifying — reinvention of the Resident Evil franchise” from the mind of visionary filmmaker Zach Cregger.

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.

The post Zach Cregger’s ‘Resident Evil’ Breaks Franchise Record With $8.8 Million at Thursday Night Box Office appeared first on Bloody Disgusting!.

When someone on X asked Kick if he thought that we would ever see Eternal Darkness again, Kick dropped this reply: “Eternal Darkness is one of my all-time favorites and it deserves the treatment I know Nightdive Studios is capable of.”

Kick added even more to his response, telling fans to “keep [their] eye on our Deep Dives.” For those not in the know, Nightdive has their in-depth discussion video series known as “Deep Dive” on YouTube.

Developed by Silicon Knights for the GameCube way back in 2002, Eternal Darkness unfortunately sold less than 500,000 units over its lifetime, but the game was praised by critics and fans. Of note was its “Sanity Effects”, which would cause subtle changes to the environment and random unusual events begin to occur, reflecting the player losing their grip on their sanity.

Eternal Darkness also recently popped up in a discussion with Bloober Team CEO Piotr Babieno, who said that he would “definitely take a close look” at the game if he even got the opportunity to work on a title without any restrictions.

Of course, the main sticking point for all of this is, and always has been, the rights issue. Nintendo still owns the rights to the game, and developer Silicon Knights is no longer around. Silicon Knights founder Dennis Dyack has tried to get a sequel off the ground, with no success. As always, fingers crossed. Stranger things have happened.

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Pan’s Labyrinth: The Complete Screenplay will be available November 17, 2026.

Insight Editions previews, “Filled with vivid imagery and behind-the-scenes insights, Pan’s Labyrinth: The Complete Screenplay features the full script of the acclaimed fantasy film, written and directed by Academy Award–winning filmmaker Guillermo del Toro, along with fascinating anecdotes for film fans, screenwriting enthusiasts, and collectors.”

In the years since its release, Pan’s Labyrinth has remained one of the most celebrated fantasy films of the modern era. Stephen King has called it, “The greatest fantasy film since The Wizard of Oz.” Set in post–Civil War Spain, it tells the story of Ofelia, a young girl who discovers a mysterious labyrinth and a hidden world of strange creatures. Pan’s Labyrinth: The Complete Screenplay allows readers to explore the story in depth, presenting the entire script by writer and director Guillermo del Toro.

Accompanying the screenplay, the book features a wide range of materials from the film’s production, including original concept art and storyboards. These materials offer a closer look at how the film’s haunting world was developed from page to screen. From early visual designs to moments captured during filming, they trace the development of the story’s characters, environments, and atmospheres, revealing how the film’s distinctive blend of fantasy and historical drama was brought to life.

Throughout the book, stories and reflections from Guillermo del Toro himself provide additional context to the creative process. These insights touch on the inspirations, challenges, and craftsmanship behind the film, from the design of its creatures to its thoughtful dialogue and memorable scenes.

Pan’s Labyrinth: The Complete Screenplay is the ultimate exploration of Guillermo del Toro’s vision.

Pre-order the 304-page hardcover book over on Amazon today.

The post Celebrate 20 Years of Guillermo del Toro’s ‘Pan’s Labyrinth’ With Deluxe Complete Screenplay Book appeared first on Bloody Disgusting!.

The world was so compelling that it became the cornerstone of Remedy’s brand. They incorporated it into their cult classic Alan Wake franchise, making it a key part of the long awaited sequel. They released FBC: Firebreak, a co-op shooter that casts you as an emergency response team dealing with continuing issues in the Oldest House. Most importantly, the full-fledged sequel Control Resonant is now upon us, and it’s anything but a comfortable retread of the first game’s successes. Remedy has changed location, protagonist, and even combat style for their follow-up, but from the trailers it was clear that it still retained the brand of quirky humor and surreal weirdness that made the original so memorable. What remained to be seen was the new melee focus, something that Remedy has never attempted in their long history, would help or hinder combat encounters.

For those unfamiliar with Control (there’s a recap video that can be watched from the main menu if this applies to you), the series is focused on a shadowy government agency called the Federal Bureau of Control that investigates paranatural events. They secure and research various objects of power, while also dealing with entities or people that have extraordinary abilities. In the first one, you played as Jesse Faden, who enters the Oldest House, the ever shifting headquarters of the FBC, who is searching for her brother Dylan who vanished after an anomalous incident when they were young. Audiences latched on to the SCP-style tone of the game’s world as well as its unique and striking brutalist architecture, making it their fastest-selling IP since Max Payne.

The story of Control Resonant picks up seven years after the events of the original Control. This time, you play as Dylan, who is awakened from his coma when his sister jams the Aberrant, a shapeshifting weapon he’ll use throughout the game, straight into his chest. As he stumbles out of his cell in the Oldest House, he finds that not only has the lockdown been breached, allowing the Hiss, the antagonistic force that’s menaced the Federal Bureau of Control since the first game, to escape containment, but the surrounding area of Manhattan has been affected by a new paranatural event known as the Pattern, which has warped the city streets into something out of Inception.

Dylan, who has been subjected to FBC experiments for most of his life, is reluctantly recruited by the agency to help out with the situation, but is kept under close watch due to his previous Hiss infection. While in the first game he was mostly a blank slate of a character, acting as both Jesse’s goal and antagonist, Resonant manages to give him a depth that even Jesse lacked.

Designated as a powerful paranatural from a young age, the bureau attempted to harness his power for their own purposes, making him volatile and dangerous. Control Resonant uses this to the story’s advantage, allowing him to quickly become such an interesting character, searching both for redemption and a sense of self that he never was allowed to develop as a child. Several sequences dive into his character and his past, allowing us to not only understand him, but also come to a deeper understanding of Jesse as well.

Since he’s working with the FBC on the Manhattan crisis, Dylan is paired with Zoe De Vera, an agent that acts as his primary radio contact. Much like Remedy itself, Zoe has a love of music that is a big part of her personality, which is used to add impact to some of the game’s most memorable moments. Their relationship evolves throughout the course of the campaign, and I found it to be a surprisingly emotional friendship that anchors the heart of the game. She’s contrasted by Simon Arish, a no-nonsense hardass who views Dylan as a disposable weapon to be pointed at whatever the FBC needs to destroy. While he starts out a bit one-note, the journey he goes on adds more compelling wrinkles to his personality.

For fans of the original, we have a few returning characters, including Emily Pope, who has risen in the ranks following Jesse’s disappearance at the beginning of the game. Her performance is great, with real humanity coming through as she tries to parse the strangeness surrounding her. Dr Casper Darling gets some great sequences, presented in live action video as Remedy loves to do, filling in not only his past but Dylan’s as well.

In a surprise move, you’re often given dialogue choices when responding to people, either in-person or over the radio. These don’t have big, Telltale-style branching narrative choices, but instead just allow you to figure out what type of character your Dylan is. All of the options sound in-line with how he’s written, but it gives you a chance to dictate where you feel he is on his path of redemption and how he would feel at the moment. It’s not a huge part of the game, and can make things slightly clunky when trying to respond during action or exploration, but it’s neat to see Remedy experimenting with ways to make their stories more personal to the player.

Bringing you outside of the Oldest House is not only a stylistic difference from the first game, but also a structural one. Manhattan is a dense open world for you to explore, with discrete zones that all have their own personality. You start the game with double jump, hover, and dash abilities that make getting around a blast, and it only gets more fun as your mobility suite expands throughout the course of the game.

Part of the fun of the game becomes treating navigation like a puzzle. Many times you’ll look at your map and see you’re close to your objective, but you need to read the environment to try to figure out exactly how to make your way there. In addition to having side quests scattered around the zones, you’ll also have more traditional levels that you’ll enter, like subway systems or buildings, that will break up the exploration and put your more on a linear path. The world never feels too expansive, and there’s a healthy spread of fast travel points, in the form of free standing doors, scattered around the map, making it so you never have to struggle to get from one side of the world to another.

There are three main things that you’re chasing down to progress the narrative: story missions, Resonants, and Faults. Story missions are self-explanatory; these are the bigger missions given to you by the FBC to help try to solve the Pattern and put an end to its stranglehold on Manhattan. Control Resonant’s narrative feels better paced than the first one, with a very clear emergency that felt like it had more forward momentum to keep you engaged. Many of the game’s most memorable moments come from these missions, such as a dramatic escape from a place known as “the Sinkhole” or following a research team through several fractured timelines.

The Resonants are bosses that are scattered around the map, usually behind quests or levels that lead you to locating them. They are not on the main path, but defeating them will allow you to choose between a pair of combat abilities to add to your set of powers. Resonants are all gorgeously designed, either as staggering monstrosities or warped humans, and provide some of the best fights in the game. My favorite was the Dancer, who not only had the most fun patterns and attacks to learn, but was also an audio-visual feast from start to finish. While some of them are optional, it’s definitely worth tracking them down, as they are valuable for both the powerful rewards and the gameplay experience.

Faults are cracks in the world that Jesse has been exploring in order to do a ritual that will hopefully fix the Pattern once and for all. Indicated by the same strange FMV overlay that was used for Director Trench in the last game, you’ll need to seek these out in order to help her on her quest, while also saving her from the disastrous consequences of it. These sections of the game are almost exclusively platforming-based and reward you with new traversal powers, making the most fun part of the game even more entertaining.

While I loved the feeling of moving through these sections, they were most important for the interactions between Jesse and Dylan that drove them forward. The two characters have such a strong dynamic that brings to light their shared family history with sharp details, deepening the emotional core of the game in ways that surprised me. There’s a great little bit with them reminiscing about a video game, “Severed Circle 2”, they used to play when they were young that just makes the relationship feel so much more lived in and believable than in the first game. Faults are a perfect synthesis of gameplay and narrative, highlighting Remedy’s greatest assets.

Aside from the open world structure, the biggest shift in gameplay is the combat, which is now focused on melee weapons instead of firearms. Your basic combat kit has three components, your standard weapon that does your light attack, a stronger form that’s for your heavy attack, and a combo finisher which will happen after a series of light attacks. Each of them has their own stats and utility, and they can be mixed and matched to your liking. For most of the game, I was rocking the sweeping scythe attack for my light, which had a wider swing, along with a huge, slow hammer for my heavy attack, and an uppercut finisher that popped enemies into the air, taking advantage of the generous amount of air juggling you’re able to do thanks to Dylan’s floating power.

In addition, you slowly accumulate a set of abilities that run on a power meter that’s recharged by your melee attacks. As I mentioned before, Resonants will supply you with new options for your arsenal, and the choices you make will greatly affect your build. Options include summonable minions, powerful projectiles, or fiery enhancements to your weapons. All of these abilities have their usefulness, making the choices feel significant to your playstyle. The mix of abilities and standard attacks also creates a nice rhythm for the combat, forcing you to engage with the standard attacks to build your meter for the powers.

Like many modern action games, enemies have both a health bar and a falter bar, and figuring out how to affect each of them is important to victory. Filling up their falter meter will make them vulnerable to an execution, which gives you a brief burst of power that can easily turn the tide of an encounter. Unlike most modern action games, you do not have a parry button, only allowing you to dash out of the way if you want to avoid damage.

The feel of the combat is solid and satisfying, but I once again think that the encounters don’t really live up to it. Any time you run into a fight, the enemies are broken down into two types. There are small drones that won’t be terribly tough to deal with but will continue to respawn, and there are heavy creatures that are much more challenging, and need to be defeated to bring the encounter to a close. This structure feels a bit like the modern DOOM games, especially given that health is only recovered by picking up power-ups that drop from defeated foes, but it doesn’t work quite as well in Control Resonant.

The main problem I have is that enemies feel like they have too many hitpoints. Enemies do have levels based on where or when you encounter them, but even when you are evenly matched they still feel like they take a bit too long to kill. Combined with the fact that there are so many enemies at any given time, shooting at you from all directions, it makes many encounters feel tedious. I found myself standing in one place, slashing a heavy enemy over and over again while doing my best to not be pelted to death by projectiles coming from everyone around me. This type of structure would work better in a shooter, where you can constantly be in motion while chipping away at their health, but given that I need to hit them in melee range, it becomes a lot of button tapping at a certain point. The feeling is compounded by the fact that encounters themselves are also a bit too long, making many of the later game fights feel like a chore.

Fortunately, Remedy has done an excellent job with the accessibility options it presents in the game, allowing you to tweak a plethora of settings to customize the difficulty in very specific ways. If you’re like me and find the enemies feeling too spongy, you can go in and adjust the amount of outgoing damage you do with your attacks. Feel like you’re constantly dying because you’re being hit from all sides? Go ahead and tune down the incoming damage you take. Falter build up, power regeneration, enemy aggression and more can all be changed to your liking, allowing you to customize your experience to ensure you’re still having fun.

Since there are multiple paranatural threats loose in Manhattan, there are various subsets of enemies that all have different strategies to deal with them. The Hiss are the most common enemy type, with mechanics like regenerating shields to deal with, while the Mold were my favorite, with a resistance to blunt damage but a weakness to fire. Unlike the first game, which mostly had possessed humans for enemies, the creature design in Control Resonant is more exaggerated, often featuring huge monsters that have no semblance of humanity left in them. Towering bipedal beasts with hammer-like heads and horrible winged monsters that shoot laser beams are mixed in with mutated humans, providing some great visual variety to the encounters. I wish there were a few more enemy types, as given how encounter-dense the game is they run out of new tricks long before the end of the game, but I found them all visually unique and easy to read in the heat of battle.

To keep up with the escalating power of the enemies, you have access to several skill trees to enhance Dylan’s combat abilities. Each part of your arsenal has its own upgrade path that can be enhanced alongside a more generalized skill tree that affects everything you do. Obviously, there are some standard “do X percent more damage” options that aren’t as interesting, but many of them do change up how you play a bit. I really enjoyed a skill that allowed me to do extra damage when attacking from behind, which coupled well with my summons that could draw enemy attention. You can also craft artifacts that can be equipped into one of three slots, which further modify your stats in specific ways.

While I did like slowly watching my skills grow, there’s a bit of fiddliness with the process, as just like in Control, there are a ton of currencies that you use to do this. I appreciate the flavor that comes with using things like Living Shards or Warped Resonance as upgrade materials, but it felt like I spent a lot of time at vendors buying specific resources with the generic currency, when it probably would have been better if it was more streamlined. That said, I love the Remedy touch of forcing you to go into a strange liminal space called the Gap to interact with various stone structures to perform said upgrades, rather than just having it all run straight through a menu.

It’s these Remedy touches that really make the game shine, even when getting frustrated with overlong combat encounters that don’t offer much variety. For every fight that I found myself grumbling at, it would be offset by stumbling on a clever puzzle that hid intriguing lore notes. If you liked the dream logic style of puzzles featured in the original game’s Oceanview Motel as much as I did, you’ll find yourself frequently rewarded for your exploration.

Aside from the side quests, which are always a surreal pleasure to chase down, there are plenty of collectibles scattered throughout that make exploring rewarding. On top of that, doing quests and discovering collectibles will help you level up a zone, providing you extra bonus for that particular area, giving you a sense that the world is being helped through your actions. This sense of improving the area helps thematically reinforce the idea of Dylan’s path of redemption, finally finding a way to use the powers to help rather than hurt.

Near the end of the game, I took some time to go back through areas and sweep for secrets, and it’s some of the best time that I had. With the full set of movement powers, it feels like getting around an open world superhero game, allowing you to appreciate the world that Remedy has crafted. The gravity shift in particular, which allows you to shift which direction you’re oriented, allowed the developers to create some mind-bending spaces that feel satisfying to explore. In later areas, I found myself constantly in awe of how they were able to not only fold space on itself to create complex layouts, but also of how effectively they were able to invisibly lead me through these areas, making navigation feel like a puzzle that I was being elegantly guided through.

When I think back on my nearly 30 hours with Control Resonant, it’s not the friction with the combat encounters that pops into my head. It’s sense of discovery and exploration provided by exhilarating traversal abilities. It’s the surreal visuals I’m being led through by an engaging narrative. It’s the compelling characters and relationships that breathe life into the delightfully strange world. It’s a testament to the strength of the game that no matter how much I was sighing at yet another encounter that I had to button mashing my way through, I still fell in love with everything the game was doing. Control Resonant’s narrative, characters, and worldbuilding are top of class and not to be missed, and if you find yourself like me, bristling at some of the combat repetition, it’s incredibly easy to use the accessibility tools to create an experience that makes the melee combat work for you.

Review code provided by publisher.

Control Resonant launches September 24 digitally for PlayStation 5, Xbox Series, PC via Steam and Epic Games Store, while physical editions for PlayStation 5 and Xbox Series will be available from October 15.

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Nelson, working from a script by Alan B. McElroy (Wrong Turn) from a story by McElroy and Tony Giglio, teases its legendary snake in an intense opener before putting the horror on the back burner to introduce the film’s wayward adventurers. That includes a group of medical missionaries providing aid to villages along the Amazon. At the forefront is Alli (Jessica Rothe), a bleeding-heart American discovering the dangers of the Amazon in real time, and Lena (Kiana Madeira), a local deckhand who’s returned home in search of her missing brother.

Alli barely evades a vicious caiman attack and learns of the Boiúna myth when a volatile encounter with a shady group of men leads to a series of escalations, one that sees Brennan (Logan Marshall-Green) hellbent on revenge. The violence awakens the giant mythic snake within the jungle.

Beware Boiúna smartly withholds its massive creature, nestling an intense thriller within the creature feature instead. It works incredibly well; you almost forget about Boiúna entirely as Alli makes impulsive decisions based on emotion that put the entire mission in harm’s way from human threats. Marshall-Green’s Brennan is volatile and dangerous, raising the stakes long before the horror commences in earnest. The cat-and-mouse game between the two opposing groups holds strong on its own, but also gives ample room for character development and deepened relationships that further instill rooting interest in both vulnerable yet out-of-her-depth Allie and the tough-as-nails Lena.

Of course, the giant snake makes her grand entrance just as tensions reach their boiling point, and McElroy and Nelson remove all sense of safety. Survival changes dynamics entirely, and it’s not guaranteed. While the snake itself is largely rendered through VFX, Nelson makes smart choices in its on-screen appearances. Like the best movie monsters, Boiúna’s carnage precedes her, and signs of her gargantuan size precede her full reveal. More importantly, Nelson keeps the carnage as practical as possible; death by Titanoboa is a nasty way to go. 

Mike P. Nelson’s latest is his most tactile yet polished effort yet. Boiúna might be comprised of movie magic and well-designed, but the cast and crew trekked into the actual jungle, and it reflects on screen. There’s a constant sheen of grime and sweat that somehow fuels the unease, that adds a layer of authenticity that makes the danger more immersive.

The most vital component of the film’s authenticity, of course, is Rothe, Madeira, and Marshall-Green. All three are so well-rounded in their performances that allegiances shift and evolve. Rothe, who also has genre films Pathetic Fallacy and River screening at Fantastic Fest, plays against type as a naive newcomer prone to making the wrong choice. Marshall-Green oozes menace, but it’s Madeira who stands out most for her prickly demeanor masking vulnerable fears and adaptable smarts. 

Beware Boiúna easily rises to the top of a limited subgenre for its well-staged thrills and breathless action, all anchored by well-developed characters. McElroy and Nelson smartly keep the focus on the dramatic conflicts and human sieges that Boiúna’s onslaught nearly catches you off guard. It makes for a highly entertaining, nail-biting creature feature that firmly holds you in its grip, even as it savagely rips apart nearly everything in its path. 

In a year full of killer sharks, hippos, and whales, Nelson’s giant snake horror movie emerges as king of the jungle. 

Beware Boiúna made its premiere at Fantastic Fest and will release in theaters October 2, 2026.

The post ‘Beware Boiúna’ Review: Snake Horror Slithers To The Top Of 2026’s Creature Feature Food Chain [Fantastic Fest 2026] appeared first on Bloody Disgusting!.

Graham’s next genre movie, What Happened to Doris?, will be premiering at Fantastic Fest in Austin, Texas on September 20th. Ahead of that premiere, the movie has released a first-look clip, which you can see below.

The movie is described, “In 1974, single mother Doris Bither reported being violently assaulted by an unseen force inside her Culver City home. As the attacks escalated, investigators from UCLA documented a series of terrifying events that would become one of the most infamous paranormal cases in American history. Based on the true story that inspired The Entity, What Happened to Doris? tells the story through the eyes of the family who lived it. Starring Heather Graham, What Happened to Doris? is a harrowing supernatural horror film about an unimaginable haunting—and the devastating cost of refusing to believe its victim.”

What Happened to Doris? was directed by Nick Simon from a script by Thomas Fenton. Also starring in the movie are Mimi Rogers, Marcus Coloma, Kevin Keppy, Daniel Reed Ferrell, and Margo Parker.

Based on the subject matter, this new take on the real-life incident should provoke plenty of conversation. Upon its initial release, The Entity sparked controversy as some audiences believed it to be exploitative, especially given the real-life trauma of sexual assault. Sadly, the movie’s themes feel all the more relevant today, given how much the narrative centers around those who doubt the claims made by the lead character. This first clip implies a more grounded take on the concept, potentially leading to an even more harrowing experience.

There is no official release date set for What Happened to Doris? after its Fantastic Fest premiere.

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Four years later, there’s still no sign of Gael García Bernal reprising his monstrous role in the MCU anytime soon. During a recent Reddit AMA, it sounds as though Bernal is just as disappointed by the lack of updates as audiences are, as he urged fans to demand Marvel make another installment happen.

“I urge you to do whatever you can, whatever is in your power, to push Marvel into some sense of responsibility and also of ambition,” the actor shared. “Because they need to do something with Jack and Ted and Werewolf By Night. It was for me a wonderful project to do, I loved doing it, I had so much fun experiencing that, and for me it was only a taste. I wish I could do more, we had many plans, I hope they materialize one day!”

Since the release of the special, Marvel Studios has experienced diminishing returns with their movie and TV projects, as a variety of releases have earned underwhelming critical and financial responses (outside of the record-shattering Spider-Man: Brand New Day), seemingly causing the studio to scale back various plans they previously had for the franchise. In retrospect, it seems hard to believe horror fans even got the violent, black-and-white special in the first place, where Bernal’s Werewolf by Night gruesomely killed a variety of characters and teamed up with the monstrous Man-Thing.

Bernal isn’t the only one hoping to make a sequel, as director Michael Giacchino shared earlier this year that there were rumblings of potentially doing a follow-up.

“We’re talking about it,” Giacchino explained to Screen Rant over the summer. “Everything takes forever to do. There’s a lot of planning that has to happen. Everything has to fit in a particular place at a particular time.”

He added, “So, nothing moves as fast as we’d like it to. But I hope one day that you will be sitting there watching another Werewolf by Night. That’s my hope.”

Stay tuned for updates on a possible Werewolf by Night sequel.

Would you like to get another installment? Let us know in the comments below!

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The next horror movie looking to lean into these techniques is Play House, which is premiering on September 19 at Fantastic Fest in Austin, Texas. The first clip from Play House has been released, which you can see below.

The movie is described, “While renovating a dilapidated house to win back his ex, a young man discovers VHS tapes of an unaired TV show in the basement. But as the show’s dark history surfaces, it seeps into his life, threatening his last chance at reconciliation.” Play House was directed by Nicolas Curcio, which he co-wrote with Kirby Gladstein. The film stars Will Harrison, Jessica Sula, Jordan Gonzalez, and James Urbaniak.

Premiering at Fantastic Fest is significant for the movie, as Curcio secured the funding for the movie at last year’s installment. The filmmaker participated in Fantastic Pitches in 2025, earning $100,000 to make the movie.

“A lot of filmmakers who grew up on weird kids TV shows of the ’90s are coming of age, and they instinctively want to make movies about that,” the director recently shared with Variety in regard to the rise of analog horror. “I’ve reexamined so many TV shows from my youth and they were incredibly bizarre. There were shows like Rocko’s Modern Life, where I look back and some of those Nickelodeon shows are weird and kind of disturbing. I think it’s just in the DNA.”

Play House doesn’t yet have a release date.

Are you looking forward to the movie? Let us know in the comments below!

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When word of this remake was first announced, there was immediate speculation about how Snyder would tackle the dystopian themes of the source material, especially in our current political climate, and we also couldn’t help but wonder who would play Snake Plissken.

After the project was announced earlier this year, Snyder himself is finally opening up about his approach to the material. In a wide-ranging conversation with the Happy Sad Confused podcast, the filmmaker explained his take on the story.

“The movie is going to be set in ’97, from the perspective of 1981,” Snyder confirmed. “I set the movie [in] the war between the United States Police Force and the elements, criminal elements. [It] takes place, I think, July 9th, 1981, which is the release date of the original movie … The rest is pretty much Escape from New York.”

He added, “Talk about a movie that’s the perfect combination of kitsch and camp. It’s all the things, that’s why I love it. But also, it’s [in] a way that’s satire and can get to us. We can make comments about government and all the overreach or whatever you want to call it, the People’s Liberation Front of America, all that stuff is very … That’s in the headlines. It’s quite current, in some ways.”

Given the inherent concept of Escape from New York and Escape from L.A., along with the countless other movies that take place in a dystopia that we’ve seen over the years, these comments from Zack Snyder don’t entirely surprise us. It comes as a relief, though, that it doesn’t seem like he will attempt to entirely reinvent the idea. Arguably much more important than any narrative details, though, is who will take the reins as Snake Plissken.

With a variety of filmmakers being attached to the project over the years, from Robert Rodriguez to Leigh Whannell to the folks of Radio Silence, everyone is most curious about an actor who could embody the role. Some have even pitched Kurt Russell’s son Wyatt Russell become the new Snake, but the actor himself has shot down that likelihood.

When asked if Snyder has an actor in mind for Snake, he confirmed, “I may,” and when pressed for more details on if it’s an actor he has worked with before, he rebuked, “I’m not going to say.”

Keeping in line with this being a straightforward remake, Snyder detailed, “He better look like Snake, or I’ll walk out.”

On the one hand, it’s a relief that Snyder isn’t attempting to do a reimagining of the idea that is a major departure from the source material, but on the other hand, being so faithful to the original begs the question of why he’s remaking it in the first place.

Are you looking forward to the remake? Let us know in the comments below!

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The Hollywood Reporter also lets us know this afternoon that Josh Cooley (Toy Story 4, Transformers One) will be writing the live action movie adaptation for 20th Century Studios.

THR details in their exclusive report, “While the rights were picked up clean and without attachments, the project now has horror legend Sam Raimi and frequent producing partner Rob Tapert on board as producers. The game’s developers — Alec Kieft, Matthew Hufton and Cameron Angland of Grandma’s New Zealand-based Favourite Games — are executive producing.”

Romel Adam (Evil Dead Rise) and Jose Cañas (Play Dead) will also exec produce.

In the action-survival game, players must build a camp in a haunted forest to rescue four missing children while fending off a monstrous deer, its cultists, and other killer beasts.

99 Nights in the Forest launched just last year but has already become the the seventh-most-played game of all time on Roblox, “boasting nearly 26 billion lifetime visits” (via THR).

Stay tuned for more on the 99 Nights in the Forest movie as we learn it.

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IGN details the upcoming Dragami Games release this afternoon, “Set to launch on PlayStation 5 at some point in 2027, this long-awaited sequel features more fast-paced undead slicing, and even more of its plucky heroine Juliet, who appears to be wearing an even shorter skirt.”

Here’s the official synopsis: “The pop and cute high school zombie hunter who took the world by storm is back! Juliet returns, in a brand-new outfit and with even more power, to a rebuilt San Romero, now transformed into ‘Jaredwood,’ a sprawling metropolis built around the film industry.

“When a mysterious director traps her inside his twisted zombie movie, Juliet must fight alongside her allies, uncover the conspiracy behind the chaos, and stop a new threat posed by the Corrupted Realm zombies.”

Lollipop Chainsaw was originally released for the PlayStation 3 and Xbox 360 back in 2012. Dragami Games then released the remaster, Lollipop Chainsaw: RePOP, back in 2024.

Of particular note, James Gunn (Superman) co-wrote the original game.

Watch the first gameplay footage from the Lollipop Chainsaw sequel below.

Lollipop Chainsaw 2 Back2Back has been announced for PS5 and a gameplay video has been released!

It will launch in 2027 pic.twitter.com/qXiwOhRW6V

— Game Unlocked (@gameunlocked26) September 17, 2026

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Deadline reports that Michael Learner wrote the script and Rehmeier will direct.

Seeker follows Grant, a man haunted by the unexplained disappearance of his fiancée five years earlier. Now an Uber driver, his life is upended when he picks up a passenger he becomes convinced was responsible for her disappearance. The film begins as a tense game of cat and mouse before spiraling into something far stranger, more disturbing, and deeply unhinged.

Alex Lebovici (Barbarian) and Learner of Hammerstone Studios will produce alongside Oscar winner Adam McKay (Don’t Look Up) and two-time Emmy nominee Todd Schulman (The Chair Company) at HyperObject Industries and Noah Centineo and Enzo Marc of Arkhum Productions.

Michael Learner said in a statement, “With Seeker, I wanted to write something as propulsive and unpredictable as possible, while grounded in a personal story about obsession and loss. Adam has such a singular voice as a filmmaker and an incredible ability to find humanity in his characters. I can’t imagine a better filmmaker to bring Seeker to life.”

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Deadline has confirmed that Scorsese has joined the Bahman Ghobadi movie ahead of its premiere on Friday. The pair have more than a decade of history of collaborations, with Scorsese having presented Ghobadi’s Rhino Season back in 2012, resulting in Ghobadi spending time on the sets of Scorsese’s The Wolf of Wall Street and The Irishman.

Eva Green (Penny Dreadful, Nocebo) stars as “Darya, a writer obsessed with the spiritual resonance of trees, returns to her hometown of Mardin with her deaf daughter and grows haunted by past memories of Spin and Nihal, twin sisters she knew as a child.

“Residing in their former family home — which is bordered by mass deforestation save for an ominous pair of trees planted for each sister — Darya’s unease is suddenly exacerbated by nightly visitations of a malignant entity that takes a seemingly benign form: a chair made from local timber. Soon ruminating on her checkered relationship with Spin and Nihal, the latter of whom claimed to be terrorized by a similarly fearsome fixture, specifically a maternal witch said to lurk in the home’s noisy toilet, Darya’s sanity begins to wane.”

Ghobadi detailed how his personal experiences inspired the project, which is “shaped in part by the nightmares that have followed his 18 years of exile and his reflections on the connection between humanity and the natural world.”

Eva Green has become a favorite in the genre world, as she has a long history of a variety of macabre projects. While she starred in Tim Burton’s Dark Shadows remake, she also starred in all three seasons of Penny Dreadful on Showtime. Genre-adjacent projects include Robert Rodriguez’s Sin City: A Dame to Kill For and 300: Rise of an Empire.

Stay tuned for details on the release of Trees Are Watching.

Are you looking forward to the new movie? Let us know in the comments below!

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In a blog post over on the game’s official website this afternoon, Illfonic explains that their “efforts to continue improving Halloween: The Game aren’t slowing down” any time soon.

“Our community has done an outstanding job sharing their gameplay highlights, reporting pesky bugs, and providing ample feedback,” the team explains. “We built Halloween: The Game with this passionate, engaged community in mind and greatly appreciate your thoughtful commentary. In an effort to better set expectations with our players, we wanted to spend some time acknowledging some of the issues players have been experiencing since launch, provide status updates on fixes, and briefly discuss what’s next.”

The blog post goes on to discuss performance/stability/crash fixes that are in the works, such as players crashing when Loomis enters the match and players crashing at the end of single-player chapters, as well as issues with challenges, achievements, and trophies.

Illfonic details, “Our team aimed to deliver a robust, satisfying progression system with a strong suite of challenges on day one. As fellow players, we understand how important those rewards are to the overall gameplay hook. We’ve made enormous strides since our Early Access launch to address many of the issues impacting Challenges, Achievements, and Trophies, but we are aware of lingering problems causing frustration with our players. Chasing down, correcting, and tuning these remaining challenge-related pain points is a priority for our team.”

They note that bug fixes will be “an ongoing priority” for Halloween: The Game, and they’re particularly focused on balance adjustments for near-future updates for the slasher game.

“As with any asymmetrical horror title, maintaining the satisfying game of cat and mouse is essential,” they explain. “We want to ensure both Michael and Civilian gameplay remains engaging and we provide players with ample counters to the strategic problems other players throw their way. Players can expect consistent, carefully considered balance adjustments with future updates, starting with the Bob-shaped elephant in the room. Our team is planning a series of changes designed to reduce the excessive effectiveness of select perks and provide the Boogeyman with horrifying options to combat would-be Bob Squads. We feel that it should be more difficult to stagger Michael, especially after successive downs.”

When can we expect some of these changes? Illfonic teases, “We know players are eager to hear about what comes next for Halloween: The Game. We are currently targeting an update early next week designed to tackle a host of these known issues, bug fixes, and balance adjustments. Improving the foundational experience is incredibly important for our team as we prepare for larger gameplay updates and future content plans. In addition to next week’s patch, we are planning a Quality of Life update in early October that will provide more fixes and improvements.

“And with Halloween right around the corner, we have exciting plans to celebrate Michael’s big month with all of you.”

Read the full update over on the official Halloween: The Game website.

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Of course, the internet is a pretty big place, and there are countless talented creators simultaneously competing for attention in a sea of algorithmically curated content. That’s why I’ve decided to come up with this list highlighting six viral horror shorts created by filmmakers that I think Hollywood should pay more attention to.

For the purposes of this list, we’ll only be considering shorts that have already earned their creators some form of notoriety and could possibly even be expanded into feature films. However, don’t let that keep you from sharing your own favorite viral horror videos with us in the comments below.

One more thing: while it definitely hasn’t gone viral and won’t be an official part of this list, I’d also like to plug my very own found footage short, Kelly, about a lonely man who builds himself a companion out of sticks and old clothing that’s now available to stream for free on HorrorHoundTV!

With that out of the way, onto the list!

5. Trench Dogs (2026) by Saint Greaver

Formatted like an old-timey documentary/propaganda piece about the unfortunate canine soldiers on the front lines of a fictional war, Trench Dogs is one of the most immersive shorts on this list despite (or perhaps because of) its bizarre animated visuals. The short’s disturbing imagery was actually inspired by a combination of Cronenbergian body horror and real World War I footage, and the end result feels a lot like a particularly gnarly fever dream.

While the film is technically a part of Saint Greaver’s ongoing Ersatz project, a crowd-funded series chronicling an endless war between immortal soldiers, this standalone video is proof that Greaver’s penchant for grimdark storytelling could easily be adapted to Hollywood in either animation or live-action, provided that there’s a big enough budget for practical body horror.

4. Better The Devil You Know (2025) by Daniel Silverman

There’s something inherently otherworldly about old sitcoms. Maybe it’s the antiquated recording technology, or perhaps it’s the voyeuristic thrill of observing people who are a little too idealized to act like real people, but there’s definitely a treasure trove of potential horror in this familiar medium that few genre filmmakers dare to explore.

Daniel Silverman is one such intrepid filmmaker, with his 2025 short Better The Devil You Know using the ’90s sitcom aesthetic to explore a metatextual hellscape that only gets freakier the longer you watch. With the short garnering nearly a million views as fans continue to dissect this televised descent into madness, it wouldn’t be too surprising if a studio showed up and gave Daniel the chance to expand his idea into a feature presentation.

3. The God Man (2024) by Andrew Foerster

Another animated indie project, Andrew Foerster’s The God Man is more unsettling than it is scary, but this ambitious piece of cosmic storytelling still manages to be much more effective than its simple visuals would initially have you believe. After all, the mockumentary presentation lures you into a fascinating alternate reality where first contact led to more questions than answers.

Foerster’s clever subversion of common genre tropes has convinced me that he may very well be the next Gooseworx (creator of The Amazing Digital Circus), as the filmmaker also has a penchant for using simple animation as a tool to explore complex subject matter. That’s also why I wouldn’t be surprised if Hollywood producers picked up The God Man (or any of Foerster’s other projects) for big screen development in the near future. Of course, any future God Man projects should also bring Trevor Henderson back as the lead creature designer!

2. Curve (2016) by Tim Egan

Curve has actually gone viral several times since its debut over a decade ago, with different generations of internet-goers stumbling onto its agony-inducing visuals and setting and wondering: “why haven’t these filmmakers made it big in Hollywood yet?”

The premise alone here is pure nightmare fuel, with our unfortunate protagonist waking up on a curved precipice that appears to have been mathematically calculated to produce the maximum amount of anxiety in viewers. Of course, it’s Laura Jane Turner’s compelling performance and Tim Egan’s masterful use of suspense that make this such a memorable short and a project that could easily be adapted into something much bigger in the hands of the right studio.

1. There Is No Antimemetics Division (2024) by Adria Lang

I already reviewed the revised edition of Qntm’s mind-bending cosmic horror novel There Is No Antimemetics Division, but the author’s serialized story has been influencing the internet ever since that first fateful post on the SCP Archive all the way back in 2015.

In fact, before the standalone version of the book was even released, we had already seen a short film adaptation of one of its most memorable chapters. Starring Jasika Nicole and directed by Adria Lang, this trippy thriller was a huge hit with SCP enthusiasts and Creepypasta fans in general, and that’s why I think this entire creative team deserves a chance at bringing the Antimemetics story to life as a major motion picture.

Of course, there’s always a chance that they already made the movie and we simply forgot about it!

The post 5 Viral Horror Shorts That Could Become the Next ‘Iron Lung’ or ‘Backrooms’ appeared first on Bloody Disgusting!.

From classics like Halloween, The Thing, and Pet Sematary to more contemporary titles like Midsommar, It Follows, and Drag Me to Hell, there’s something for everyone being celebrated at this year’s event. Additionally, each weekend will feature family-friendly horror to help jumpstart a horror fandom among younger audiences. Even better, Regal has listed ticket prices at $7.99 as opposed to traditional movie ticket prices.

Over at the Regal Unlimited subreddit, fans have compiled the current schedule of releases, which you can see below. Participating theaters and showtimes may vary by location.

October 1-7

• Thursday, October 1: The Blackcoat’s Daughter (2015)
• Friday, October 2: The Shining (1980)
• Saturday, October 3: Bram Stoker’s Dracula (1992)
• Sunday, October 4: The Conjuring (2013)
• Monday, October 5: Poltergeist (1982)
• Tuesday, October 6: The Haunting (1999)
• Wednesday, October 7: Crimson Peak (2015)

October 8-14

• Thursday, October 8: Tales from the Hood (1995)
• Friday, October 9: In the Mouth of Madness (1994)
• Saturday, October 10: Pet Sematary (1989)
• Sunday, October 11: Drag Me to Hell (2009)
• Monday, October 12: The Thing (1982)
• Tuesday, October 13: The Texas Chainsaw Massacre (2003)
• Wednesday, October 14: Henry: Portrait of a Serial Killer (1986)

October 15-21

• Thursday, October 15: Psycho II (1983)
• Friday, October 16: Candyman (1992) and Candyman (2021)
• Saturday, October 17: Scream 2 (1997)
• Sunday, October 18: A Nightmare on Elm Street (1984) and A Nightmare on Elm Street 3: Dream Warriors (1987)
• Monday, October 19: The Blob (1988)
• Tuesday, October 20: Evil Dead (2013)
• Wednesday, October 21: Dawn of the Dead (2004)

October 22-28

• Thursday, October 22: Cabin Fever director’s cut (2002)
• Friday, October 23: Midsommar director’s cut (2019)
• Saturday, October 24: Us (2019)
• Sunday, October 25: The Blair Witch Project (1999)
• Monday, October 26: Constantine (2005)
• Tuesday, October 27: The Cabin in the Woods (2011)
• Wednesday, October 28: It Follows (2014)

October 29-31

• Thursday, October 29: Christine (1983)
• Friday, October 30: Halloween (1978)
• Saturday, October 31: Trick ’r Treat (2007)

Family matinees are as follows:

• Weekend of Friday, October 2nd – Monster House (2006) and The Nightmare Before Christmas (1993)
• Weekend of Friday, October 9th – Goosebumps (2015) and The Nightmare Before Christmas (1993)
• Weekend of Friday, October 16th – The Monster Squad (1987) and The Nightmare Before Christmas (1993)
• Weekend of Friday, October 23rd – The Addams Family (1991) and The Nightmare Before Christmas (1993)
• Weekend of Friday, October 30th – The House with a Clock in Its Walls (2018) and The Nightmare Before Christmas (1993)

Which titles are you most looking forward to checking out? Let us know down in the comments!

The post Regal’s Full “31 Screams on Screen” Schedule Released for October appeared first on Bloody Disgusting!.

“Horror has long been a favorite among moviegoers, especially during the Halloween season, and we’re always looking for new ways to give fans more opportunities to enjoy these films on the big screen at AMC,” says Ryan Wood, Senior Vice President and Head Film Buyer, AMC. “These are movies people know and love, and it’s exciting to bring them back to theatres in a unique way.”

The “Welcome to Horrorwood” lineup includes:

• October 2 & October 6: Hostel (2005)

• October 9 & October 13: Friday the 13th (1980)

• October 16 & October 20: American Psycho (2000)

• October 23 & October 27: Pet Sematary (1989)

• October 30 & October 31: The Crow (1994)

Inspired by Ice Nine Kills’ The Silver Scream and The Silver Scream 2: Welcome to Horrorwood albums, the series pairs the band’s love of horror with five films that have helped define the genre. Each screening will also feature a custom introduction from Ice Nine Kills frontman Spencer Charnas before the film, followed by the band’s corresponding music video inspired by the feature.

“It’s a bloody honor to present this selection of modern horror classics with the mighty AMC Theatres and our friends at Bloody Disgusting. Metal music and marquee movie mayhem. What more could we ask for this October?” says Charnas.

“Scares should be shared. Simple as that,” says Michael Roffman, Business Development of Bloody Disgusting. “There are no stronger crossroads for Horror fans than the theater experience. It’s where we fell in love with the genre; it’s where most of our earliest memories dwell. I grew up at AMC Theatres, so there’s a lot of passion to this partnership.”

“Welcome to Horrorwood” takes over Friday and Tuesday nights at AMC throughout October, with all screenings beginning at 8 p.m. local time. For Halloween weekend, THE CROW will be featured as the Friday night title on October 30, and returns for a special Halloween night screening on Saturday, October 31.

Secure your passes now and we’ll see you at the movies next month!

The post AMC Theatres, Bloody Disgusting, and Ice Nine Kills Announce Thrills and Chills October Lineup appeared first on Bloody Disgusting!.

This year’s installment, V/H/S/MIXTAPE, will expand from the core idea of segments that were discovered on VHS tapes and will introduce a new type of media, as teased in the movie’s first poster. Each segment of the new movie will incorporate music and sound more heavily into their premises, while featuring musical artists in front of and behind the camera. An all-new poster for the movie has been released, which you can see below.

Shudder describes this new entry, “V/H/S/MIXTAPE cranks the franchise’s signature found-footage horror up to eleven with an electrifying new anthology where music and sound become the source of terror. United by a theme that explores the power of music, rhythm, and audio to haunt, possess, transform, and destroy, the film blends cosmic horror, psychological suspense, outrageous splatter, and groundbreaking practical effects into one unforgettable mixtape of nightmares.

“Featuring all-new segments from legendary filmmaker Ernest Dickerson, hip-hop icon RZA, visionary director David Moreau, and acclaimed filmmaker Renee Zhan, the latest installment pushes the boundaries of found footage with four wildly original stories that each put a unique spin on the terrifying relationship between sound and fear.”

The new segments are described as follows:

“DANCE, DANCE, DANCE, DANCE”

• Directed by Renee Zhan
• A studio attempts to reboot a long-cancelled puppet show with a mysterious past. Featuring work from Jim Henson’s Creature Shop.

“HEARTBEAT”

• Directed by David Moreau
• A pair of YouTube urbex influencers find themselves trapped in a decommissioned military facility used for sonic experimentations.

“THE MUSIC OF MR. SZE”

• Directed by Ernest Dickerson
• A college film student’s documentary project uncovers the reclusive life of a tormented musician.

“DEATH TONE”

• Directed by RZA
• A young sound engineer follows her late Dad’s instructions to create the ultimate track.

Wrap Segment

• GWAR hosts skits and music videos in an MTV-style show from hell.
• Featuring music videos directed by Tobias Forge and Flying Lotus.

V/H/S/MIXTAPE premieres on Shudder on October 9.

Are you looking forward to the new movie? Let us know down in the comments!

The post ‘V/H/S/MIXTAPE’ Debuts First Poster Ahead of Shudder Premiere appeared first on Bloody Disgusting!.

A key component of its success is that, rather than merely compiling every horror-adjacent title they can get, there’s a dedicated team behind the scenes who ensures only the best movies and TV series end up on the service, both with classic releases and indie titles.

The service has announced today that Angel Melanson has been named as its new Director of Programming. AMC Global Media announced by press release, “In this role, Melanson will help drive Shudder’s content strategy and programming and working cross-functionally to deliver compelling experiences for the service’s passionate and engaged horror fan community.”

“Angel is one of the most respected and well-connected voices in the horror community, with a deep understanding of the genre, its creators, and fans,” Courtney Thomasma, the company’s Executive Vice President of Linear and Streaming Products, shared in a statement. “Her passion, editorial instincts, and unique perspective will be critical as we continue to grow Shudder and strengthen its position as the premier destination for horror fans around the world.”

Melanson joins AMC Global Media from FANGORIA, where she served as Digital Editor of FANGORIA.com for more than five years, overseeing editorial strategy and daily content operations for one of horror’s most iconic brands. A respected voice within the horror community, she has interviewed leading filmmakers and talent, moderated industry panels and hosted fan-focused events. Melanson is also the founder of Horror Girl Problems, a horror-focused media platform and podcast, and has previously appeared in Shudder’s documentary series Queer for Fear and In Search of Darkness Part III, reflecting her longstanding connection to the brand and its audience.

Angel Melanson is in great company, as Shudder launched with Sam Zimmerman serving as a lead curator, who has since been named Senior Vice President, Development and Acquisitions at Blumhouse-Atomic Monster. The service’s history of enlisting passionate genre enthusiasts with years of history in the world of horror has helped establish Shudder as the go-to destination for all manner of horror fan.

The post Shudder Announces Angel Melanson as New Director of Programming appeared first on Bloody Disgusting!.

One veritable phenomenon on the streaming platforms has been The Boulet Brothers’ Dragula series, which is set to return with a Season 7 next month.

As confirmed today, the new season of The Boulet Brothers’ Dragula is officially set to premiere on October 27, making it just one of many thrilling new additions to the streaming services for the Halloween season.

Per the press release, “The forthcoming seventh season features some of the series’ most brilliantly unhinged and cutting-edge underground artists, a collection of beloved guest judges including Rose McGowan, Doug Jones, David Dastmalchian, Harvey Guillén, Rachel True, Darren Stein, Lloyd Kaufman, Brandon Rogers, James A. Janisse, Chelsea Rebecca, Yvie Oddly, Lauren LaVera, Bailey Sarian, Howard Berger, and previous The Boulet Brothers’ Dragula winners Landon Cider, Dahli, and Asia Consent, and the craziest elimination challenges in ten years of the show. The season will also pay homage to the grimy, tactile VHS horror of the 1980s and ‘90s through ambitious cinematic sequences that will celebrate some of the genre’s most iconic films.”

“Ten years ago, we opened the gates to our world without a roadmap, a television network or any idea of how far this strange underground experiment would take us. Today, Dragula has become an internationally recognized and Emmy-nominated franchise, but its heartbeat remains the same: fearless artists, disruptive ideas, and a refusal to play it safe,” said the Boulet Brothers in a statement. “For season 7, we wanted to celebrate everything that has always made Dragula dangerous and different while pushing the series into its next era. We cast raw, hungry artists who were completely unprepared for what was waiting for them, creating a season that feels unpredictable, cinematic, and alive in a way that takes us back to the beginning.”

Nick Lazo, SVP of Development and Production at Shudder, added, “Over the last decade, The Boulet Brothers’ Dragula has grown into a genre-defining franchise and a cornerstone of Shudder’s programming … We are honored to have been part of that journey with the Boulet Brothers, who have become influential voices in modern horror, and look forward to bringing fans another unforgettable and jaw-dropping season just in time for Halloween.”

Also coming to Shudder in October is V/H/S/MIXTAPE on October 9, Joe Bob’s Halloween House Party on October 23, and the FANGORIA Chainsaw Awards on October 25.

Are you looking forward to the new season? Let us know down in the comments!

The post ‘The Boulet Brothers’ Dragula’ Season 7 Gets Streaming Premiere Date appeared first on Bloody Disgusting!.

Barnett partners with Fangoria Studios for the short, which he wrote, directed, and stars in.

Set during that fleeting window between elementary and high school, Goodbye, Monster follows a child caught between wanting to grow up and holding tightly to the comforts of childhood, using the horror genre to explore memory, fear, and change.

Here’s the heartwarming plot synopsis for Luke Barnett’s Goodbye, Monster: “Wilson, a 12-year-old boy, receives one final visit from the creature under his bed.”

The upcoming horror short also stars Kue Lawrence (Beautiful Boy, Sketch) with voice performances from Patton Oswalt (Ratatouille, Young Adult) and Tina Majorino (Napolean Dynamite). Emmy Winner Bear McCreary (The Walking Dead) scored the short, while Dan Crawley (The Curious Case of Benjamin Button, Interstellar) did the SFX makeup.

Barnett tells Bloody Disgusting, “In a world dominated by conversations around AI, I wanted to make something completely practical. From the SFX makeup, applied over the course of 3 hours by Dan Crawley, to the location (the garage of an Eichler built in 1963), to the score from Bear McCreary — every aspect of this film was done by human hand. We shot it in one day with a skeleton crew of friends on a shoe string budget. Even our poster, by JoAnne McGrath, is hand painted, acrylic on canvas.”

Goodbye, Monster had its World Premiere at Fantasia, followed by its UK premiere at FrightFest, and the horror short will next have its US Premiere at Fantastic Fest this month.

Check out some sneak peek images below and expect to hear more about this one soon.

The post ‘Goodbye, Monster’ – Luke Barnett & Fangoria’s Monster Short Premieres at Fantastic Fest appeared first on Bloody Disgusting!.

The new graphic novel from Legendary Comics and Rocketship Entertainment is now set for release for everyone on October 13, 2026, and you can check out the cover and trailer below.

This marks the first all-original Trick ‘r Treat graphic novel in a decade, presented by Trick’ r Treat creator and director Michael Dougherty.

Trick ‘r Treat: Witching Hours features four brand-new, original stories centered around everyone’s favorite mischief-maker, Sam. The stories are brought to life by a talented group of creators, including writers Michael Dougherty (Godzilla: King of the Monsters, Trick’ r Treat: Days of the Dead), Zach Shields (Godzilla: King of the Monsters, Trick’ r Treat: Days of the Dead), Todd Casey (Trick’ r Treat: Days of the Dead), Breehn Burns (Trick’ r Treat movie, Trick’ r Treat: The Haunting), and Curtis Waugh (Stegosaurus, the Moistest), with artistic contributions from Ben Templesmith (30 Days of Night), Breehn Burns (Trick ‘r Treat movie original concept artist and comic illustrator), and Tristan Jones (Mad Max: Fury Road comics).

The lineup of new Sam stories includes…

ONE LAST HALLOWEEN

At a rundown nursing home, a group of lonely patients summons the spirit of Halloween in order to celebrate one last spooky holiday together, with unexpected and frightening results.

DID YOU MISS ME

When a man returns from the dead on Halloween, he’s given one night to find closure and reunite with his beloved wife, only to discover a horrifying and tragic secret.

HARVEST MOONS

Far across the galaxy and untethered from the now-defunct roots of Earth, a group of kids on a conservative space colony will discover that Halloween is more than a long-lost tradition.

HALLOWEEN COUNTRY

Deep in Wyoming corn country, three ranch hands break up a strange occult ritual and find themselves hunted by a half-formed creature straight out of Halloween folklore.

“I’m thrilled to return to the twisted world of Trick ‘r Treat for more of Sam’s mischievous adventures,” said writer/director Michael Dougherty. “This new graphic novel is a true labor of love, created by a top-notch team of writers and artists, and I can’t wait for fans to join us for the best Halloween party ever.”

Pre-order your copy of Trick ‘r Treat: Witching Hours today.

The post ‘Trick ‘r Treat: Witching Hours’ – Sam Is Back With New Graphic Novel Anthology This October appeared first on Bloody Disgusting!.