In a reveal video below, Markiplier shares that Iron Lung is now available for purchase on YouTube, days ahead of its initial May 31 home release.

Mark “Markiplier” Fischbach stars in Iron Lung, which he also wrote and directed. The video game adaptation was self-distributed and scared up $50 million in theaters earlier this year.

Here’s the official synopsis: “The stars are gone. The planets have disappeared. Only individuals aboard space stations or starships were left to give the end a name — The Quiet Rapture.

“After decades of decay and crumbling infrastructure, the Consolidation of Iron has made a discovery on a barren moon designated AT-5. An ocean of blood.
Hoping to discover desperately needed resources, they immediately launch an expedition. A submarine is crafted, and a convict is welded inside. Due to the pressure and depth of the ocean, the forward viewport has been encased in metal. If successful, they will earn their freedom.

“If not, another will follow. This will be the 13th expedition.”

Caroline Rose Kaplan, Troy Baker, and Elsie Lovelock will also star in the movie.

Iron Lung adapts the indie horror game created by David Szymanski, named by Bloody Disgusting as one of the Best Indie Horror Video Games You Might’ve Missed in 2022.

The announcement comes as Kane Parsons’ Backrooms releases in theaters, where it’s already shattering box office records alongside Curry Barker’s Obsession. It’s shaping up to be a massive year in horror for YouTubers-turned-filmmakers.

As for the physical media release of Iron Lung, stay tuned, as that’s also in the works. 

The post Surprise! Markiplier’s ‘Iron Lung’ Gets Early Home Release on YouTube appeared first on Bloody Disgusting!.

Here’s all the new horror that released on Friday, May 29, 2026.

Described as Friday the 13th meets 127 Hours, the survival slasher Pitfall is now playing in select theaters ahead of a Digital release at home from Cineverse on June 30, 2026.

In Pitfall, a young man becomes separated from his friends in the woods and plunges into a ten-foot pit lined with spikes, impaling his leg and leaving him helpless. As reality sinks in and his situation grows dire, he realizes the fall wasn’t an accident.

Check local listings and get your tickets now on Pitfall-Movie.com!

Based on a story by director James Kondelik (Behind The Walls) and a screenplay by Canadian writer Victor Rose, Pitfall made its debut at Los Angeles’ Screamfest Film Festival in October 2025, earning praise from critics, who said it was “one of the major highlights” of the festival’s 25th year. The film was produced by Wai Sun Cheng and Alex Bogolomov for Vancouver-based production Pandapix Pictures in partnership with Dragon Bear Pictures.

The film stars Richard Harmon (Final Destination: Bloodlines), Alexandra Essoe (The Pope’s Exorcist), and UFC champion Randy Couture (The Expendables) as the ruthless killer who stalks his prey in the woods. Marshall Williams (The Ice Road), Jordan Claire Robbins (The Umbrella Academy), and Matt Hamilton (Murder for Sale) also star.

From distributor A24, producer James Wan, and director Kane Parsons, the hotly anticipated liminal horror nightmare Backrooms is now playing in movie theaters nationwide.

Read our review and don’t miss this one in theaters this weekend.

Chiwetel Ejiofor stars in Backrooms as the owner of Cap’n Clark’s Ottoman Empire, who discovers a strange doorway in the basement of the furniture showroom. He sets out to explore the mysterious, liminal space, walking headfirst into a creepypasta nightmare.

Renate Reinsve (A Different Man) also stars in Backrooms.

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

A haunting postpartum psychological thriller from director Chloé Cinq-Mars, the French-Canadian film Nesting has been released on Digital by Breaking Glass Pictures.

The psychological horror movie follows “Pénélope (Rose-Marie Perreault), a new mother struggling with postpartum depression and the lingering trauma of her sister’s death. As sleep deprivation takes hold, the boundary between dream and reality begins to collapse, pulling her into a paranoid and increasingly dangerous spiral.”

Simon Landry-Desy, Saladin Dellers, and Marie Bélanger also star.

Horror movie Nesting made its World Premiere at the Fantasia Film Festival, where Chloé Cinq-Mars won the Best Director Award (2025), launching a successful festival run.

Indonesian master of horror Joko Anwar (Satan’s Slaves, Impetigore) produces and presents new Indonesian horror movie sMOTHERed, now streaming only on Shudder.

sMOTHERed is a modern take on the Indonesian folktale Malin Kundang.

“After surviving a terrible accident, renowned micro painter Alif returns home with fractured memories. When an elderly woman appears claiming to be his mother, Alif embarks on a search for the truth uncovering a haunting legacy inspired by the legend of Malin Kundang.”

Kevin Rahardjo & Rafki Hidayat make their feature directorial debut on the folk horror thriller from a script by Hidayat, Joko Anwar, and Aline Djayasukmana.

Rio Dewanto, Faradina Mufti, Vonny Anggraini, Jordan Omar, Sulthan Hamonangan, Gambit Saifullah, Nova Eliza, and Tony Merle star.

The post Friday, May 29 – These 4 New Horror Movies Released Today appeared first on Bloody Disgusting!.

While Backrooms embarks on its debut weekend this weekend, Curry Barker’s Obsession is headed into its third weekend at the box office, and the film has only been growing stronger with each passing week. After a debut weekend of $17 million, Obsession made a whopping $23 million in its second weekend, a practically unheard of week-to-week growth.

We can now report that Obsession has passed the $100 million mark as the film heads into its third weekend, only the second horror movie this year – behind Scream 7 – to smash through that milestone. It’s all but guaranteed at this point that Backrooms will very quickly hit the $100 million mark as well, which signals that the future of horror truly is upon us.

As Discussing Film notes, Obsession has made “over 125X its production budget of $750K.” Focus Features acquired the low-budget movie for a reported $15 million and spent a good amount marketing the film on top of that, but it’s already a massive financial win.

Backrooms, on the other hand, was made on a reported production budget of just $10 million, which the film already made back in its very first night of release. Horror is HOT right now, and with Kane Parsons and Curry Barker both getting their start on YouTube, it seems pretty clear that a new generation of self-taught young filmmakers is descending upon Hollywood.

For the horror genre in particular, that’s proving to be a very exciting prospect. The best part? Backrooms and Obsession aren’t just profitable horror movies, they are GOOD horror movies.

Stay tuned for more box office reporting throughout the weekend.

[Related] When Will ‘Obsession’ Be Available on Digital at Home?

In Curry Barker’s theatrical debut Obsession, after breaking the mysterious One Wish Willow to win his crush’s heart, a hopeless romantic finds himself getting exactly what he asked for but soon discovers that some desires come at a dark, sinister price.

Inde Navarrette (“Superman & Lois”) and Michael Johnston (“Teen Wolf”) star.

The post ‘Obsession’ Passes $100 Million as ‘Backrooms’ Begins a Massive Opening Weekend appeared first on Bloody Disgusting!.

Creepy Duck Design pays tribute to that classic art with his own take on an alternate poster for brand new movie Evil Dead Burn, which you can check out down below!

This is not an official poster for the movie, mind you, but we thought you’d get a kick out of it. You can see more from Creepy Duck Design by following him on Twitter and Instagram.

From director Sébastien Vaniček, Evil Dead Burn releases July 10.

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

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

The film is written by Florent Bernard & Sébastien Vaniček. Produced by Rob Tapert and Sam Raimi. Executive producers are Romel Adam, Bruce Campbell, Lee Cronin and Jose Canas.

Sebastien Vaniček is joined behind the camera by director of photography Philip Lozano, production designer Nick Connor, editor Maxime Caro and costume designer Sarah Voon.

Luciane Buchanan (“The Night Agent”)  Souheila Yacoub (Dune: Part Two), Hunter Doohan (“Wednesday”), Tandi Wright (Pearl), and George Pullar (It Only Takes a Night) star.

Evil Dead Burn will be followed by Evil Dead Wrath, in theaters April 7, 2028!

The post Creepy Duck Design Pays Tribute to ‘Evil Dead 2’ With Killer Unofficial Poster for ‘Evil Dead Burn’ appeared first on Bloody Disgusting!.

Homages, mimicry, and good-natured borrowing (or cheap rip-offs) will forever be a part of the filmmaking process, while concepts can easily overlap. I say that, specifically, because Paul Matthews’ Breeders (1997) (aka Deadly Instincts) goes a step above all that, to the point where its remake ties are unignorable—whether intentional or not.

As of today, the film is regarded as a loose remake of ex-pornography director Tim Kincaid’s 1986 sleaze-o-rama flick of the same name. But only a few pre-Internet interviews with Matthews made it online, and the writer-director does not claim any such intention (to my knowledge). He doesn’t deny them, either. Yet, anyone who’s seen either Breeders might have trouble believing Matthews pivoted off penning a sequel to his darling Grim to make what he dubs “a different type of alien” … that happens to reflect much of what Kincaid’s Breeders puts forth.

It’s a strange predicament. Can a movie be a remake by accident?

For this analysis, I reckon, “yes.” If only because Kincaid’s Breeders sure is begging for an upgrade in all areas … not that Matthews succeeds.

The Approach

Breeders 1986

Let’s stick with the “loose remake” mindset for the rest of this article, for argument’s sake. Kincaid’s production is authentically New York City, even filming in the same Brooklyn Bridge catacombs seen in C.H.U.D., another Big Apple sci-fi freakshow. But it’s not very accomplished. We’re talking about a movie Charles Band ultimately distanced himself from, citing Breeders as the type of “poor pickup” that killed Empire International Pictures. Matthews wouldn’t have to try hard to produce something more engaging, visually appealing, and coherently paced. And yet!

In Matthews’ Breeders, a meteorite crashes near a Boston all-girls school, unleashing not only a hulking extraterrestrial killer, but also a PVC-clad “Space Girl” (Kadamba Simmons) under the beast’s imprisonment. Art teacher Ashley Rowe (Todd Jensen) investigates the strange scene with the help of his teaching assistant-turned ill-advised fling, Louise (Samantha Womack). The monster prowls beneath the campus, using cavernous tunnels to stay out of sight, while sky-bluish crystal shards from above become a popular yet dangerous accessory that reveals the invader’s real plan: copulation.

Kincaid’s “original” is a loose concept of a sexploitation creature feature. There’s a serial rapist—an alien shapeshifter—who traps and impregnates vulnerable virgins … with plenty of gratuitous nudity (Kincaid assures proper monetary compensation for any naked persons). Actresses are asked to flail around naked on camera as the bug-eyed entity approaches, which we see up close as we would Norman Bates’ victims in Psycho.

That’s essentially the entire premise until a doctor and a detective find hypnotized women splashing spunk in an underground reptilian semen pool. (Not the grossest thing you can stumble upon in New York City, I guess?) It’s all perverse and leery in a get-your-rocks-off way, as Kincaid attempts a half-cocked examination of rape-revenge without catharsis, but does so acting as egregiously as the filth he’s trying to condemn. That, at least, is never replicated by Matthews … despite Ashley’s predatory hot-for-teacher schtick.

Does It Work?

Breeders 1997

Frankly, Breeders is one of the better use cases for a remake’s existence. Once, during an interview with Elijah Wood for the Screenlife thriller Open Windows, I asked, “What would your dream remake project be?” His response is one I think of often: “1985’s Explorers,” because, in his words, the best justification for a remake is to find something lesser known and share it with new audiences. That’s what Matthews’ Breeders feels like to me. An update on a loudly imperfect midnighter that tries to refine certain ideas and produce something more marketable and cohesive.

In that regard, Matthews does accomplish … well, part of that mission. Breeders (1997) is hardly a skin flick, despite moments of heightened arousal. Simmons might be playing a cosmic damsel in tight-fitting clothing, but she’s hardly stripped down like Kincaid might demand, given his proclivity for toplessness (and bottomlessness) as often as possible. Matthews attempts a semblance of a story that involves this Rawhead Rex-y, massive ogre of a lifeform, and the innocents who try to solve the mystery of the missing girls. Sure, it’s not very competent beyond “space rock crash, baddie stalks, shotguns save the day,” but at its most basic, it doesn’t have to be. What’s sold on the tin is delivered.

It’s a revitalization of spotlight themes, still as overt, but without the debasing of performers for the audience’s delight. Kincaid’s working title was Rapists from Outer Space, if that paints a clearer picture. Matthews tackles the same idea of women imprisoned for pregnancy purposes, this time caught in salty or snowy powdered coccoons, and does so with a harder line on action-horror elements. There are some explosive shootout sequences between gunned-up task forces and the space creature, with cheesy late-night beats replacing lewd peep-show material.

Dare I say Matthews is more about making a complete movie versus Kincaid’s fetishistic fantasy?

The Result

Breeders 1997

In no stretch is Matthews’ Breeders an awards-worthy endeavor, but it’s a step up! The British shock-salesman exhumes the bones of a tasteless and terrible affair to make something more watchable, if only because Matthews understands how to insert plot milestones into a script or hire halfway decent actors.

Don’t get me wrong, there’s a reason why RiffTrax has a downloadable audio track for this one. The Irish Sea’s Isle of Man doubles as Massachusetts, dialogue is cringy as hell, and Matthews operates on an excitement-first model that doesn’t always make sense. However, it’s got that flabbergasting MST3K quality to everything, which, brutally, Kincaid’s lacks.

Thankfully, the creature costume in Breeders (1997) is Fangoria cover-worthy. Decorated BAFTA award winner Neill Gorton and fellow Image Animation alum Steve Painter create a snarling, head-to-toe baddie that recalls seeing Stan Winston’s Pumpkinhead for the first time. Amphibian qualities bring this tactile terrorizer to life with outstanding results, far more menacing than Kincaid’s hilarious attempt to use what looks like a black leather jacket fitted with microfiber cleaning nubs and a spray-painted helmet—at least when hidden in the shadows. Matthews decimates Kincaid in the practical effects category, no matter how comically weird the latter’s scaly kiddie pool incubator looks.

Here’s the difference. Matthews’ Breeders is a bad movie, but you can have a decent time with it in the right mindset. Kincaid’s Breeders is one-note exploitation garbage that rightfully lets any rape be implied, not shown, yet fails to understand how mixed its messages become. Breeders (1997) is undeniably hammy in its own right, falling into its own strange pattern of gendered behaviors, although, in comparison, it’s a remake darling. Some might argue there’s nothing a whole lot better between Matthews’ and Kincaid’s hormonally-driven Alien riffs—I’m not one of ‘em. I’m with Mr. Band on this one, over here trying to reclaim the memory space Kincaid’s Breeders is currently wasting in my brain.

The Lesson

Breeders 1986

As a filmmaker, if you honestly believe you can turn a dumpster fire into modern art, that’s a valuable starting point. Breeders (1986) doesn’t boast a dedicated cult fanbase. It’s one of those oddities that collectors and VHS traders might cherish, but there’s no cultural imprint. For Matthews to (allegedly) take a crack at refurbishing a dusty ol’ bottom-shelf dud shows why remakes have a place in cinematic history. Breeders #1 and Breeders #2 are unavoidably tethered, yet distanced enough where Matthews could try (and fail) to make a case claiming no remake intentions.

But nah. You (eventually) named it Breeders. You know exactly what’s up.

So what did we learn?

• Remakes based on little-known titles offer the best chance of scoring a win (at the very least spreading awareness of the original).
• A heaping helping of practical effects goes a long way (especially when they’re a standout addition compared to the source material).
• Sex might sell, but it has its time and place in horror movies.
• The only downgrade here is swapping New York City for Boston. Fuggedaboudit.

The whole situation is fascinating. How many people know a single Breeders release exists, let alone two? I wish there were more archival conversations available with Matthews on Breeders, because there’s such an interesting conversation to be had about the merits of repurposing B-movies on the same level, but with suitable tweaks. It’s not like Blumhouse got a hold of Breeders’ rights and unleashed it in 3,000 theaters. Indie lunatics remaking each other’s movies puts a smile on my face … raises too many damn questions.

The post ‘Breeders’ vs. ‘Breeders’: The Strange Case of an Unofficial Horror Remake appeared first on Bloody Disgusting!.

As if cleverly timed releases like Puppet Combo’s The Backrooms game weren’t enough (not to mention that Scary Movie poster poking fun at Parsons’ flick), McDonald’s official social media accounts have now released an analog horror video of their own celebrating the liminal terrors of the McRooms – complete with a familiar purple surprise at the end of the footage.

While it’s funny enough to see the world’s most recognizable Fast Food giant engage with internet-borne Found Footage thrills seemingly out of the blue, the video is actually referencing a long-running gag among the Backrooms fandom where creators jokingly talk about there being a fully functional McDonald’s restaurant hidden somewhere in level 0 of the infamous liminal labyrinth.

Now, would it be too much to hope for a moist-carpet-flavored McShake to tie in with the film?

Backrooms is now playing only in theaters from A24.

The post McDonald’s No-Clips Out of Reality with Unexpected ‘Backrooms’ Short Movie appeared first on Bloody Disgusting!.

The Hollywood Reporter lets us know this afternoon that Damien Leone will write, direct, and produce Tortures of the Damned for Lionsgate, with the upcoming original horror feature being produced by Sam Raimi’s company Ghost House Pictures.

The outlet notes that Leone will turn his attention to Tortures of the Damned AFTER Terrifier 4, which is being positioned as the final installment in the Art the Clown saga.

THR details, ” Plot details are unknown, but sources say it is different in tone from Terrifier and will sport a heftier budget than the low-budget Terrifier franchise.”

Scott O’Brien and Pavan Kalidindi will oversee Tortures of the Damned for Lionsgate, with Romel Adam and Jose Cañas overseeing and executive producing for Ghost House.

“We’re incredibly proud and excited to be partnering with Damien Leone on his first original film after the beloved Terrifier series. I join the huge contingency of horror fans — and Damien fans — inside Lionsgate who have been following his work and cheering him on,” said Erin Westerman, president, Lionsgate Motion Picture Group. “Damien is a true genre auteur with a singular vision, and we’re thrilled to help bring this bold new project to the screen while continuing to build on the incredible connection he has with fans around the world.”

Tortures of the Damned will notably be Damien Leone’s first movie made with a studio. All three Terrifier films were independently made with very low-budgets, with Leone, his partner Phil Falcone, and their in-house filmmaking team handling the bulk of the workload.

Damien Leone’s Terrifier 4 is currently in pre-production.

Terrifier 4 will be set on New Year’s Eve, we recently learned. Leone says the script is “shaping up to be the most epic, horrifying, thrilling, emotional and satisfying conclusion.”

The post ‘Tortures of the Damned’ – Damien Leone Directing Original Horror Movie for Lionsgate & Ghost House! appeared first on Bloody Disgusting!.

While Sony did confirm that the trilogy’s capper is moving forward, details since have been scarce. The trilogy’s young lead, Alfie Williams, stirred up speculation two weeks ago on Instagram, where he appeared to be gearing up for production. Thanks to a new chat with our pals at JoBlo, we finally have an update on when to expect the third installment.

Boyle revealed to JoBlo that it’s the availability of filming locations that is causing the quiet delay. More importantly, the returning director provides a little insight on when we might expect it:

“We ran out of time. Because it’s set in an area of Britain [where] you can only film at certain times of the year. We ran out of time this year – we literally ran out of time… So it’ll be, hopefully, fingers crossed, next year. But there’s the enthusiasm there, and Alex (Garland) has done a wonderful script for it.”

The screenplay is ready to go, and Boyle hopes to launch production in 2027, so it’ll be a way off yet before we catch up with Cillian Murphy’s Jim.

In The Bone Temple, now streaming, Dr. Kelson (Ralph Fiennes) finds himself in a shocking new relationship — with consequences that could change the world as they know it — and Spike’s (Williams) encounter with Jimmy Crystal becomes a nightmare he can’t escape.

The infected are no longer the greatest threat to survival — the inhumanity of the survivors can be stranger and more terrifying.

I wrote in my 4-skull review, “Director Nia DaCosta takes the reins with fearless gusto, making this entry wholly her own while pushing the overarching story and its richly layered themes into darker, grislier, funnier, and more poignant territory.”

Cillian Murphy in Danny Boyle’s 28 Days Later

The post Danny Boyle Hopes to Film ’28 Years Later’ Trilogy Capper Next Year appeared first on Bloody Disgusting!.

The chilling reimagining of the familiar fable unfolds inside an elite London prep school. Created by Geppetto and influenced by a sinister Cricket, Pinocchio launches a violent crusade to carve himself into a real boy like his brother, one piece at a time…

Check out the official poster for Pinocchio Unstrung below, where you’ll also find the previously released official trailer for the latest installment in the twisted “Poohniverse.”

The team will be on hand at Monsterpalooza this Saturday, May 30 for a panel that will feature FX artist Todd Masters, who reveals how the practical animatronics came to life.

Richard Brake (Barbarian) stars in Pinocchio Unstrung as the obsessive Geppetto, with horror icon Robert Englund (Nightmare on Elm Street) as the voice of Cricket.

Pinocchio is voiced by Jude Evan Lloyd and brought to life via a practical animatronic created by Todd Masters (“Tales from the Crypt,” Slither). Cameron Bell, Jessica Balmer, Jack Art Gray, and Peter De Souza-Feighoney round out the horror movie’s cast.

Rhys Frake-Waterfield (Winnie-the-Pooh: Blood and Honey) writes and directs the British slasher, in addition to producing alongside Scott Jeffrey via their Jagged Edge Productions.

This is fifth entry in the Twisted Childhood Universe, following Winnie-the-Pooh: Blood and Honey and its sequel, Peter Pan’s Neverland Nightmare, and Bambi: The Reckoning.

The Poohniverse continues with Winnie-the-Pooh: Blood and Honey 3, currently in production, and the crossover film Poohniverse: Monsters Assemble, slated to shoot this summer.

The post ‘Pinocchio Unstrung’ Exclusive Poster – Poohniverse Slasher Starring Robert Englund Hits Theaters in July appeared first on Bloody Disgusting!.

“You may be done with the DVD, but it’s not done with you,” the film’s poster below cheekily warns.

Dead Media arrives in theaters on July 16 before heading to TVOD on July 28.

In the horror comedy, “When a troubled young woman wants to relax by streaming an old horror movie, her Gen X uncle demands they watch it on DVD instead. But: the disc is haunted, plunging them into a movie night that won’t die.“

It’s described as “A thrilling celebration of 80’s adventure horror, Dead Media blends heart, horror, and hijinks into a tale of family and learning how to move forward.“

Dead Media was written, directed, edited, and produced by Joseph Scrimshaw. The filmmaker has previously written for Adult Swim’s Tigtone and RiffTrax’s Samurai Cop.

The cast includes:

• Sammi-Jack Martincak as “Maggie”
• Sam Landman as “Uncle Heppy Sloke”
• James Urbaniak as “Dr. Sven Rendall/Guy Leopold”
• Jessica Fenton as “Brenda”
• Anna Sundberg as “Rita Nast”

Suitable Flesh director Joe Lynch (Buzzkill) executive produces. Matthias Schubert (Satanic Hispanics) handles cinematography.

Check out new images below and get ready to dust off your DVD players this July.

The post Horror Comedy ‘Dead Media’ Traps A Family In A Haunted DVD This July appeared first on Bloody Disgusting!.

Sidibe will play the title character, Rose, “a lonely North Carolina probation officer whose affair with a parolee spirals into obsession, placing her career at risk.” It marks her first major dramatic feature lead role since her Oscar-nominated breakout role in 2009’s Precious.

The film is said to explore “loneliness, desire, power, faith, and identity through the lens of a middle-aged Black woman experiencing a late-life sexual awakening.”

Variety notes that Sidibe has been collaborating closely with director Daniel Peddle on the screenplay and development of her character, which is based on a true story.

“Every time there’s a news story about a female corrections officer having a romantic entanglement with an inmate, I always wonder about the woman and what led her to those choices,” Sidibe said in a statement. “Without judgment, I wonder why she would risk her livelihood, her safety, and more than anything, her own freedom. When Daniel told me this story, I immediately understood. It’s not love or even excitement that drives someone toward a dangerous decision like this. It’s loneliness. Soul-crushing, unbearable loneliness.”

While Sidibe is currently keeping busy while production is underway on “American Horror Story,” production on Rose Moon is slated to begin later this year in Georgia.

Rose Moon will be produced by Tyler Stephenson for Coffee Robot, alongside Anton Palmér, Brian Pendleton for Drama Kween Productions, and Wellington Love for w/Love Productions. 

The post Gabourey Sidibe to Star in Southern Gothic Psychodrama ‘Rose Moon’ appeared first on Bloody Disgusting!.

Anne Hathaway and Ewan McGregor come face-to-face with a monstrous threat in the sci-fi thriller from producer J.J. Abrams, and in case it wasn’t already clear based on the trailer that was recently released, The End of Oak Street is absolutely a DINOSAUR MOVIE.

A handful of new sneak peek images were debuted by Entertainment Weekly this morning, and one of them in particular clearly shows a dinosaur rampaging through suburbia.

“A few years ago, I was walking through our neighborhood in Michigan, just walking down the street, and I was passing by this garage [with a] chain link fence and garbage cans,” director David Robert Mitchell tells Entertainment Weekly. “And I was struck by the image of, like, ‘It’d be really interesting if there was a dinosaur right there.'”

“Just like anybody, the first Jurassic Park movie, I absolutely love,” David Robert Mitchell goes on to explain to Entertainment Weekly. “But for me, my language of dinosaur movies goes back much further. I’d be lying if I say that [Jurassic Park] isn’t a movie that I absolutely love because I do. But I wanted to do something different.”

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.”

The End of Oak Street is set in the early 1980s, we’ve also learned this week.

J.J. Abrams and Hannah Minghella produce the upcoming film via Bad Robot.

The post ‘The End of Oak Street’ – New Images Unleash Unique Dinosaur Movie from ‘It Follows’ Director appeared first on Bloody Disgusting!.

Queer supernatural horror film Leviticus hits theaters June 19 from NEON. Written and directed by Adrian Chiarella, the film centers around two teen boys evading a violent entity that takes the form of the person they desire most: each other.

On Tuesday, June 9th and Wednesday, June 10th, BloodyFM’s Horror Queers is teaming up with Neon to present free sneak screenings nationwide of the buzzy festival favorite.

• 6/9 – Austin, TX @ Alamo South Lamar
• 6/9 – Atlanta, GA @ Tara Theatre
• 6/9 – Dallas, TX @ Texas Theatre *
• 6/9 – Miami, FL @ AMC Tamiami
• 6/9 – New York, NY @ Regal Essex Crossing
• 6/9 – Philadelphia, PA @ AMC Dine-In Fashion District
• 6/9 – Seattle, WA @ Regal Meridian
• 6/10 – Columbus, OH @ Gateway Film Center
• 6/10 – Houston, TX @ Regal Edwards Houston Marq’e
• 6/10 – Nashville, TN @ The Belcourt

* All screenings start at 7PM local time, except for Dallas, which begins at 6:30 PM.

RSVP NOW! Entry is first come, first served. Each attendee must RSVP separately.

—

Leviticus is rated R for “Bloody violent content, language, some sexual content and teen drug use.” The film comes from writer-director Adrian Chiarella.

Joe Bird (Talk to Me) and Stacy Clausen play star-crossed teenage boys alongside a cast that includes Mia Wasikowska (Crimson Peak), Jeremy Blewitt, Ewen Leslie (The Nightingale), and Davida McKenzie (Silent Night).

“Leviticus is a strong debut with an incisive voice at the helm,” Meagan Navarro wrote in her review out of Sundance. “We care deeply about Naim and Ryan’s survival, making Leviticus a tense, atmospheric, and claustrophobic vision of young love in a hateful world.”

“Leviticus is the perfect title for writer-director Adrian Chiarella‘s powerful feature debut,” Meagan’s review explains, “a searing anthem against the corrosive nature of fear and bigotry.”

The film’s Rotten Tomatoes score is currently 96% with 26 reviews.

The post ‘Leviticus’ – Horror Queers Presents FREE Sneak Screenings of Neon’s Twisted Horror Romance appeared first on Bloody Disgusting!.

Anything But Ghosts has already wrapped production, in fact, and the film will reunite Curry Barker with Blumhouse and Focus Features. And since Obsession and Anything But Ghosts are being released by the same companies, do they also exist in the same universe?!

Yes, actually, they do!

Curry Barker has revealed this week that the upcoming Anything But Ghosts features an Easter Egg reference/connection to the world of his hit horror movie Obsession.

Deadline notes in an article today that Curry Barker made the following statement during a Q&A session with the audience that took place after a screening of Obsession…

“There’s like a news article thing on the next movie where you hear a news anchor talking about a triple homicide [by] a woman.”

Barker is of course referring to the events of Obsession, teasing that Anything But Ghosts will give us some idea of what happens to Nikki after the movie. She wasn’t in control of her own body at the time of murdering multiple people, of course, but you can imagine that Nikki isn’t going to have an easy time explaining that one. Now that she’s been freed from the One Wish Willow curse, it’s probably a given that Nikki is going to end up in prison for the rest of her life. But perhaps we’ll learn a little bit more about Nikki’s ultimate fate in Anything But Ghosts.

“Ultimately, it’s up to [Curry] where that goes, but he did drop a little Easter egg in his next film,” Obsession star Inde Navarrette teases in her own words. “In the background on the news, there’s a girl being charged with three counts of homicide, so that’s kind of the direction.”

What else do we know about Anything But Ghosts?

“It’s about these two con artist ghost hunters that just con old women and single dads, but they’re really good at it,” Curry Barker tells CBR. “They can make the table shake, they can make the lights flicker. They’ve got all this special equipment.” He continues, “They put on a show… until they run into a very real, very dangerous dark entity.”

Barker directs from a script he co-wrote with longtime creative partner Cooper Tomlinson (Milk & Serial). Both Barker and Tomlinson will also star as the film’s ghost hunters.

“It’s so different than Obsession, because the idea itself just lends itself better to comedy, because it’s literally about two ghost hunter con artists,” Barker told Bloody Disgusting.

“It’s Cooper and me doing our thing, so it lends itself better to comedy, but it’s still set in this super grounded world. It’s ghosts being real in a world where ghosts are not real,” he added.

Aaron Paul (“Breaking Bad”), Bryce Dallas Howard (Jurassic World), and Violet McGraw (M3GAN) also star in Anything But Ghosts. Stay tuned for more info as we learn it.

Curry Barker in ‘Milk & Serial’

The post Nikki’s Fate? Curry Barker’s ‘Anything But Ghosts’ Takes Place in the Same Universe as ‘Obsession’! appeared first on Bloody Disgusting!.

Watch the trailer below that sees Taye Diggs (House on Haunted Hill) as a doting stepdad harboring one nasty secret: he might be a killer.

In Stepfather, “After years of eradicating any family that falls short of perfection, Darnell (Diggs) believes his new wife Asia (Tamar Braxton) and her daughters might finally be the real deal. That is, until tensions rise and they uncover his deadly pattern. Now, getting rid of them won’t be as easy as he planned.”

It’s a thriller that’s not billed as a remake of 1987’s The Stepfather, but it definitely sounds like a modern update. With a larger, blended family this time, all signs are pointing to a higher body count.

Chris Stokes (I Didn’t Do It) directs Stepfather, which is set to debut exclusively on Tubi on June 19.

Kalani Jules (Find Me in the Void), Jessica Jarrell (Hijacked), Janeline Hayes (Girl’s Trip), Dante Brown (Dash and Lily), Troy Brookins (Stargirl), TJ Shaw (Babysplitters), Koda Kalani Beschen (Chemical Sundown), and Elizabeth Dantus (The Sweetest Heir) also star.

The post Taye Diggs Stars as a Killer ‘Stepfather’ in Trailer for New Tubi Original Thriller appeared first on Bloody Disgusting!.

Backrooms debuted in theaters last night for Thursday night previews, and Deadline reports that the liminal horror nightmare scared up an incredible $10.4 million in a single night!

Deadline explains, “The previews here for Backrooms are ahead of Scream 7‘s $7.8M, as well as John Wick: Chapter 4 ($8.9M) and [higher than] Eternals ($9.5M) and Five Nights at Freddy’s ($10.3M); the latter another fervent fan-driven property. The opening range for those movies are between $63.6M and $80M, and many distribution sources are now giddy that this R-rated genre movie will easily blow past its most recent forecast of $40M-$45M.”

The production budget for Backrooms was a reported $10 million, so it’s already guaranteed to start turning a profit in its debut weekend. While initially projected to debut on the scene with somewhere in the ballpark of $20 million, that number was later adjusted into the $40 million range, but now it’s looking like the Backrooms opening weekend could be MUCH higher.

Stay tuned for box office updates these next few days…

You can also read our Backrooms movie review now!

Chiwetel Ejiofor stars in Backrooms as the owner of Cap’n Clark’s Ottoman Empire, who discovers a strange doorway in the basement of the furniture showroom. He sets out to explore the mysterious, liminal space, walking headfirst into a creepypasta nightmare.

Renate Reinsve (A Different Man) also stars in Backrooms.

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

The origins of the Backrooms, however, date back even further…

The post ‘Backrooms’ Already a Box Office Hit With Massive $10 Million Opening Night appeared first on Bloody Disgusting!.

The duo behind The Guest, director Adam Wingard and writer Simon Barrett, are re-teaming for the upcoming Onslaught, which is being released in theaters by A24.

We saw the trailer last night and we can share that it definitely feels like Wingard and Barrett are returning to the vibes of The Guest with this one. But while that fan favorite movie felt like Halloween as an action movie, Onslaught feels more like a Jason Voorhees action movie. The mask worn by the villain even looks like a pitch black hockey mask at first glance.

Adria Arjona stars in the lead role as a character tasked with taking down an unstoppable force that has escaped from a secret military base, and that villain is presented in the Onslaught trailer as a Jason Voorhees-like monster. Onslaught had been described in the past as “a gonzo action horror thriller,” which seems like an appropriate label based on the first trailer.

Basically… picture Sarah Connor versus Jason Voorhees. That’s Onslaught.

When the project was originally announced, it was noted that it would bring Adam Wingard back to his horror roots, making it more in line with films including A Horrible Way to Die, You’re Next and The Guest than his recent big budget studio pictures including the last two installments in the MonsterVerse, Godzilla vs. Kong and Godzilla x Kong: The New Empire.

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

Stay tuned for the Onslaught trailer, which should be coming online soon.

In addition to The Guest, Simon Barrett wrote You’re Next for Wingard to direct, with Barrett more recently scripting the recent action-horror movie Azrael starring Samara Weaving.

‘The Guest’

The post ‘The Guest’ Director Adam Wingard’s ‘Onslaught’ Gets a September Theatrical Release Date appeared first on Bloody Disgusting!.

I, for one, had been waiting for this announcement ever since experiencing that Psycho Killer needle-drop during the closing credits of the original film back when I was a teenager, but now that the dust has settled and we eagerly await further news about the follow-up that felt like it would never come, I’d argue that this is the perfect time to think about what a sequel to Behind The Mask actually means. The original movie was a love-letter to the Slasher genre and its complicated position in the mid-2000s media landscape, so it’s fair to assume that Behind the Mask II: The Return of Leslie Vernon will have a lot to say after two decades of cinematic silence.

After all, the 2006 production released during a divisive period in film history where it was generally accepted that the industry had become oversaturated with Americanized J-Horror, so-called “Torture Porn” and excessive remakes. This situation led to many fans becoming nostalgic for the horror titans of yesteryear. While the truth is that the 2000s actually had plenty of original genre filmmaking going on, the lack of easily accessible online distribution meant that genuinely memorable flicks like Laid to Rest and The Hills Run Red would only find their audiences years down the line.

Leslie Vernon was created as both an homage to our favorite Slashers and this new wave of underappreciated killers created by indie filmmakers attempting to carve out their own niche during a period when the best they could hope for was a straight-to-video release. By the end of Behind the Mask, however, Vernon had more or less ascended to legendary status, carrying out his first massacre and earning a spot among his murderous heroes (including Eugene, the mentor figure played by Scott Wilson who is heavily implied to be Billy from the 1974’s Black Christmas).

Back when a sequel was first announced, Glosserman and co-writer David J. Stieve explained that they wanted to continue analyzing recurring trends in 2000s genre productions. The follow-up was initially planned to poke fun at the Found Footage technique itself while also exploring the appeal of Torture Porn among then-modern audiences. Unfortunately, as time went on and the team failed to secure funding for their idea, this script became more and more dated. And with the filmmakers’ first attempt at crowdfunding ultimately turning into a flop (which makes their latest success that much more impressive), they ultimately decided to release this story as a comic-book.

Feeling like a comic adaptation of a movie from an alternate universe, Before the Mask: The Return of Leslie Vernon was conceived as a “Spreemake” – a simultaneous sequel, prequel and remake explaining how Leslie planned his initial massacre while also following up on the aftermath of his crimes when a movie studio attempts to adapt his bloody moment of glory to the big screen.

While this comic is an undeniably fun time and a must-read for fans of the original movie, it’s already been confirmed that the new sequel is completely ignoring this story in favor of a new script more in line with current horror trends. With indie Slashers having a much more prominent role in modern-day Hollywood (just look at the Terrifier franchise or even the absurd Poohniverse films), it would make sense for a sequel to reevaluate Leslie’s position as an icon.

Glosserman and Stieve have already explained that they imagine Behind the Mask II: The Return of Leslie Vernon taking place in a tongue-in-cheek reflection of the real world where Leslie is respected by fans after the orchard killings despite not being quite as feared as more popular criminals like Michael Myers. The idea here wouldn’t be to merely comment on the current state of Slashers, however, (though I imagine we’ll be seeing plenty of references to modern titans like Art the Clown), but also to explore how familiar archetypes have evolved into new forms that say more about how society views who is and isn’t expendable.

It’s easy to imagine the upcoming flick discussing the rise of the hardened Final Girl (like Jamie Lee Curtis in the recent Halloween trilogy) or even the complicated victim selection process now that hard labels like “jock,” “virgin” and “stoner” are no longer as useful as they once were. Of course, what I’m most excited to see is more screen-time by Robert Englund as our vengeful “Ahab,” Doc Hallorann – an underutilized part of the original movie that makes Leslie’s mythos that much more fascinating.

Of course, only time will tell exactly what kind of story the filmmakers have in store for us when The Return of Leslie Vernon finally comes out (hopefully in the next year or so). But, regardless of any meta genre analysis or potential cameos, I think the main takeaway here is that Glosserman and company have managed to create characters so memorable that we’re still dying to see them again two decades later. And if you ask me, that’s what really makes Leslie unkillable.

The post ‘Behind the Mask II: The Return of Leslie Vernon’ Wraps Up a Wildly Successful Fundraising Campaign appeared first on Bloody Disgusting!.

John Rambo will release in theaters on June 4, 2027.

Noah Centineo (the upcoming Street Fighter) will star as the one-man fighting force, under the direction of the acclaimed filmmaker Jalmari Helander (Rare Exports, Sisu).

David Harbour (“Stranger Things”) plays Rambo’s commanding officer Major Trautman.

John Rambo takes audiences back, years before First Blood, diving deep into the roots and experiences that forged one of the big screen’s most enduring and complex characters.

The film’s screenplay is by Rory Haines and Sohrab Noshirvani (Black Adam, The Mauritanian), and the film will be distributed in theaters by Lionsgate.

Centineo will be joined by an exciting ensemble cast including Yao (Sinners), Jason Tobin (“A Thousand Blows”), Quincy Isaiah (“Winning Time: The Rise of the Lakers Dynasty”), Jefferson White (“Yellowstone”), and Tayme Thapthimthong (“The White Lotus”).

Director Jalmari Helander said in a statement earlier this year, “When I was eleven, I saw First Blood for the first time, and it changed my life. Rambo wasn’t just a film to me—it stayed with me growing up and was a defining influence on why I wanted to become a filmmaker. As we begin production on the origin of John Rambo, we’re going back to the beginning.

“This is Rambo stripped down, raw, and real—a survival story about endurance, persistence, and lost innocence. It’s an honor to shape this next chapter with deep respect for the character and the legacy, and to bring audiences the start of John Rambo’s journey.”

The post ‘John Rambo’ – Prequel Starring Noah Centineo Gets June 2027 Release appeared first on Bloody Disgusting!.

The show was originally set to run through November, but Deadline reports that The Lost Boys: A New Musical “has released a block of tickets through Sunday, March 7, 2027.”

The news comes in the wake of The Lost Boys: A New Musical becoming the most Tony-nominated musical of the season with twelve nominations including Best Musical.

Additionally, “The Lost Boys will launch a North American National Tour in Spring 2028, at Playhouse Square in Cleveland. Additional cities and tour dates will be announced later.”

The Lost Boys: A New Musical is of course an adaptation of the 1987 horror classic from director Joel Schumacher, with the cast including Ali Louis Bourzgui as lead vampire David (originally played by Kiefer Sutherland), Maria Wirries as Star (originally played by Jami Gertz), and LJ Benet as the soon-to-be-turned Michael (originally played by Jason Patric).

The horror musical’s cast also includes Shoshana Bean as Lucy Emerson, Benjamin Pajak as Sam Emerson, Paul Alexander Nolan as Max, Jennifer Duka as Alan Frog, Miguel Gil as Edgar Frog, Brian Flores as Marko, Sean Grandillo as Dwayne, and Dean Maupin as Paul.

The Lost Boys: A New Musical is Directed by Michael Arden, featuring Music and Lyrics by The Rescues, Book by David Hornsby & Chris Hoch, Story by James Jeremias & Janice Fischer, and Produced by James Carpinello, Marcus Chait & Patrick Wilson (The Conjuring) by special arrangement with Warner Bros. Theatre Ventures.

When a mother and her two teenage sons move to Santa Carla in desperate need of a fresh start, they soon uncover the darker side of this sunny coastal community. While Lucy tries to piece her family’s life back together, Michael keeps pulling away in search of belonging.

As he finds connection with a local rock band and its charismatic leader, his younger brother Sam comes face-to-face with a terrifying reality: When night falls, Michael’s new friends are even more dangerous than they first appeared.

Joel Schumacher directed the original The Lost Boys vampire movie in 1987, wherein two brothers move to a new town and discover that the area is a haven for vampires.

The post ‘The Lost Boys’ Musical Extends Broadway Run With North American Tour Set for Spring 2028 appeared first on Bloody Disgusting!.

S.J. Creazzo (Dark Reckoning) is directing the psychological horror movie.

Deadline details, “The psychological horror unfolds inside an isolated historic carriage house estate where fame, trauma, manipulation, and buried violence collide.

“Robertson plays a beautiful rising but troubled Hollywood starlet who accepts what appears to be the perfect secluded retreat, only to uncover a terrifying web of secrets connected to the property’s mysterious caretaker and the haunting legacy hidden deep within its walls.

“Nichols co-stars as Faith E. Williams, a glamorous former Hollywood icon whose Golden Age stardom was abruptly cut short by her shocking murder decades earlier. Though long dead, Faith’s presence continues to haunt the estate, where dark secrets tied to her tragic past remain deeply embedded within the carriage house walls.”

“Both actresses bring an undeniable emotional intensity and sophistication to the screen that perfectly matches the tone of this film,” said producer Patricia A. Beninati. “SJ has created a suspenseful, psychologically layered story that feels both commercially compelling and deeply character driven. This is elevated horror with real emotional stakes.”

“Night At The Carriage House is exactly the kind of elevated psychological thriller I’m drawn to as a filmmaker,” said Creazzo. “It’s intimate, emotionally raw, grounded, and relentlessly suspenseful. Britt and Rachel bring extraordinary vulnerability, intelligence, and unpredictability to these characters, creating a dynamic that feels deeply human while becoming increasingly terrifying. The film slowly tightens like a psychological vise until the very end.”

Britt Robertson in ‘Scream 4’

The post ‘Night at the Carriage House’ – Rachel Nichols & Britt Robertson Starring in Psychological Horror Movie appeared first on Bloody Disgusting!.

Damian Maffei (The Strangers: Prey At Night, Wrong Turn, Haunt) stars in the upcoming horror movie The Space Between, and we’ve got some exclusive first look images today.

Maffei stars as Rick, an overnight security guard working inside a once-bustling shopping mall after closing. While quietly carrying the grief of losing his daughter, Rick clings to the structure of his nightly routine as a form of stability. Over the course of a single shift, that routine begins to fracture as something unseen retraces his every step.

Kate Kiddo (Black Eyed Susan, The Events Surrounding a Peeping Tom) co-stars in the liminal horror movie as Dispatch, Rick’s only point of contact during the night. She is a calm and steady voice guiding him through his rounds as the system he relies on begins to break down.

Production took place inside an operational Midwestern mall, utilizing real locations after hours to ground the film’s surveillance-driven psychological horror and liminal atmosphere. Built through a lean independent model, the production focused on performance, practical environments, and atmosphere.

Filmmakers were granted unlimited access to more than 96,000 square feet of retail, corridor, and back-of-house space for critical sequences, allowing the production to capture the scale, emptiness, and unsettling realism of a functioning mall after dark.

Writer/director Joshua Garity tells Bloody Disgusting, “The original image that helped define the internet’s idea of liminal horror was traced back to Wisconsin, and that matters because those are the kinds of spaces I grew up in. They were once the heartbeat of a community, but many of them have slowly eroded into something more unnerving. Half-empty malls that still echo with laughter, if you listen closely and strip away the fresh coats of paint. The Space Between comes from that same Midwestern familiarity. It’s not about recreating Backrooms, but about exploring why these spaces stay with you: the absence, the repetition, and the feeling that a place you know is somehow watching you back.”

The Space Between is targeting a Fall 2026 release. Stay tuned for updates.

The post ‘The Space Between’ First Look – Liminal Horror Movie Wraps Production Inside a Midwestern Mall [Exclusive] appeared first on Bloody Disgusting!.

“If you see anything that looks like me… don’t go near it.”

Leviticus is rated R for “Bloody violent content, language, some sexual content and teen drug use.” The film comes from writer-director Adrian Chiarella.

Joe Bird (Talk to Me) and Stacy Clausen play star-crossed teenage boys who must escape a violent entity that takes the form of the person they desire most — each other.

Mia Wasikowska (Crimson Peak), Jeremy Blewitt, Ewen Leslie (The Nightingale), and Davida McKenzie (Silent Night) round out the cast of horror movie Leviticus.

“Leviticus is a strong debut with an incisive voice at the helm,” Meagan Navarro wrote in her review out of Sundance. “We care deeply about Naim and Ryan’s survival, making Leviticus a tense, atmospheric, and claustrophobic vision of young love in a hateful world.”

“Leviticus is the perfect title for writer-director Adrian Chiarella‘s powerful feature debut,” Meagan’s review explains, “a searing anthem against the corrosive nature of fear and bigotry.”

The film’s Rotten Tomatoes score is currently 97% with 32 reviews.

The post ‘Leviticus’ – New Poster for NEON’s “Haunting” & “Heartbreaking” Horror Movie appeared first on Bloody Disgusting!.

Deadline reports this afternoon that Zac Efron will star in the upcoming Angel Heart, a series adaptation of the same source novel that was turned into the aforementioned ’87 film.

The Angel Heart television series is being developed by A24 and HBO.

Deadline details, “Based on William Hjortsberg’s 1978 novel Falling Angel and the sequel Angel’s Inferno, the series will follow a down-and-out NYC paparazzi, who makes his living finding and photographing people who don’t want to be found. He is hired by a mysterious man to find a missing woman.

“But the deeper he digs to find her, the more it looks like a group of powerful elites, and maybe something supernatural, are covering up the disappearance.”

Zach Baylin (“Black Rabbit”) is writing and executive producing, while Zac Efron will also executive produce the Angel Heart series. Jonathan van Tulleken (“Shogun”) is directing.

The original Angel Heart movie in 1987 was written and directed by Alan Parker, with Robert De Niro starring alongside Mickey Rourke, Lisa Bonet, and Charlotte Rampling.

Here’s the plot synopsis for the ’80s movie: “In 1955 New Orleans, small-time private investigator Harry Angel is hired by a man who calls himself Louis Cypher to track down a singer named Johnny Favorite, but the investigation takes an unexpected and somber turn.”

Meagan Navarro wrote of Angel Heart here on Bloody Disgusting, “Alan Parker explores the noir detective film by way of Satanic occult, keeping the horror scares to a minimum while focusing on the creepy journey of Harry Angel. It’s an effective tactic that builds to a twist that would make Shyamalan proud. Atmospheric, well-acted, and full of graphic violence.”

Zac Efron in ‘Firestarter’

The post ‘Angel Heart’ – Zac Efron Starring in New A24 Series Adaptation of Supernatural Novel appeared first on Bloody Disgusting!.

The creature feature survival thriller will be released in select theaters June 3, 2026.

Check your local listings and grab your tickets now!

Hungry will be available on VOD at home on June 23.

While you wait, check out the brand new official poster below.

A wildly unofficial adaptation of Hungry Hungry Hippos, horror movie Hungry follows thrill-seeking tourists on a riverboat tour through the treacherous Louisiana swamplands. Lured off the beaten path by the promise of an exclusive adventure, they soon find themselves fighting for survival against a ravenous hippopotamus lurking beneath the bayou’s murky waters.

Madison Davenport (It’s What’s Inside), Tracey Bonner (Greenland), Michel Curiel (“She-Hulk: Attorney at Law”), Jim Meskimen (“Parks and Recreation”), Samantha Coughlan (Arcadian), Olivia Bernstone (Fighting with My Family), River Codack (“Happy Face”), and Joaquim de Almeida (Desperado) star.

James Nunn (Shark Bait, One Shot) writes and directs the UK production.

Ben Jacques (The Strangers: Prey at Night) of Signature Entertainment produces. Executive producers include Marc Goldberg, Sarah Gabriel, David Sullivan, Gareth Williams, and Ella Field.

Upcoming hippo horror movie Hungry features makeup effects designed by Dan Martin (Infinity Pool, Color Out of Space) with special effects supervised by Kenneth Cassar of Extreme Effects (The Last Voyage of the Demeter, Jurassic World: Dominion) and visual effects from Magic Dust VFX (“True Detective: Night Country,” “One Piece”).

The post ‘Hungry’ Exclusive Poster – Killer Hippo Horror Movie Is Hungry, Hungry for Humans appeared first on Bloody Disgusting!.

Watch the stunning official trailer for I Am Frankelda below.

The history-making stop-motion film is a dark fantasy set in a world of monsters, and it’s being released in select theaters as well as streaming only on Netflix on June 12, 2026.

Here’s the synopsis: “In 19th-century Mexico, Frankelda is a gifted writer whose dark tales are ignored and dismissed. Forced to suppress her voice, she refuses to give up, even as many try to silence her. But when she is thrust into her subconscious, the very monsters she created come to life.

“Guided by Herneval, a tormented prince trapped between dreams and nightmares, she must restore balance between fiction and reality before both realms collapse. Meanwhile, the sinister writer Procustes and his conspirators plot to seize control. As Frankelda and Herneval grow closer, their bond becomes both a strength and a curse.

“To rewrite their fate, she must confront a love that defies existence and reclaim her power as a storyteller—before dark forces consume her imagination and reveal horrors beyond her creation.”

The directors said in a joint statement, “As brothers, we grew up inventing worlds together, drawing, playing, imagining. Over time we understood that fictional characters were not only companions but guides. Sometimes they felt closer than the people around us. They provided us courage, wisdom, and solace. We believe fiction is not an escape from reality but a way of understanding it. A way of converting truth into palatable chunks. I Am Frankelda comes from a lifelong love of storytelling.

“At the heart of the film is the relationship between Frankelda and Herneval: creator and creation, voice and echo. We are drawn to the mystery of ideas. We do not know if we invent them or if they find us. We only know that when they arrive, they ask to be brought into the world.

“This film is a dream for us. It holds everything we have loved since childhood: monsters, drama, music, color, intensity, culture and worldbuilding. We are moved by characters who feel deeply, who struggle, who transform. Frankelda is about a creator who insists on being heard, even when everything around her says no.”

Mireya Mendoza, Arturo Mercado Jr., and Luis Leonardo Suarez lead the voice cast.

Meagan Navarro writes in her review for Bloody Disgusting, “Mexico’s first stop-motion animated feature is a macabre beauty.” Meagan also notes in her review, “I Am Frankelda is a gothic fantasy feature whose boundless creativity is matched by its ambition.”

The post ‘I Am Frankelda’ Trailer – Mexico’s First Ever Stop Motion Movie Is the Handmade Cure for AI Slop appeared first on Bloody Disgusting!.

Originally released in 1980, Ruggero Deodato’s controversial horror classic remains one of the most infamous and influential films in the genre. Grindhouse premiered the new version of Cannibal Holocaust at Beyond Fest in Los Angeles and is now booking exclusive theatrical dates in advance of the eagerly awaited 4K Ultra HD Blu-ray release.

Cannibal Holocaust presents the “found footage” of four young documentary filmmakers who experience brutal death at the hands of a savage South American tribe of flesh-eaters. That footage will now be shown for the first time fully uncensored and restored in its native 16mm aspect ratio, as audiences have never seen it before.

Grindhouse Releasing warns, “Cannibal Holocaust is now more disturbing than ever. This is the ultimate version of Deodato’s controversial masterpiece – the one that goes all the way.”

“It’s a whole new and perhaps even more powerful experience watching the movie this way, with the alternating aspect ratios,” said Grindhouse Releasing owner Bob Murawski, an Academy Award-winning film editor (Send Help). “This is essentially the same way we constructed Orson Welles’ long-unfinished masterpiece The Other Side of the Wind.”

Tickets are on sale now to see Cannibal Holocaust at Alamo Drafthouse theaters, starting this Friday, May 29 at the Alamo Drafthouse City Foundry in St. Louis.

Keep tabs on theater listings over on Grindhouse Releasing’s official website.

In 1979 four documentary filmmakers disappeared in the jungles of South America while shooting a film about cannibalism. Six months later, their footage was found…

Unleashed upon the world in 1980, the Italian cult classic Cannibal Holocaust served as the precursor to the American found footage movement spawned by The Blair Witch Project.

The post ‘Cannibal Holocaust’ Heads to Theaters With ‘Version You’ve Never Seen’ from Grindhouse Releasing appeared first on Bloody Disgusting!.

The new poster for the live action Masters of the Universe movie has Skeletor tearing his way through the previously released official poster, a sinister grin on his skeletal face.

Check out the new poster art below and grab your tickets now.

Based on Mattel’s classic toy line, the sci-fi action-adventure film opens in theaters — including Dolby Cinema, 4DX, and D-BOX — on June 5 via Amazon MGM Studios.

In the film, “After being separated for 15 years, the Sword of Power leads Prince Adam back to Eternia, where he discovers his home shattered under the fiendish rule of Skeletor. To save his family and his world, Adam must join forces with his closest allies, Teela and Man-At-Arms, and embrace his true destiny as He-Man — the most powerful man in the universe.”

Nicholas Galitzine stars as He-Man, with Camila Mendes as Teela, Idris Elba as Man-At-Arms, Alison Brie as Evil-Lyn, Morena Baccarin as the Sorceress, Jóhannes Haukur Jóhannesson as Fisto, James Purefoy as King Randor, Charlotte Riley as Queen Marlena, Kristen Wiig as the voice of Roboto, and Jared Leto as Skeletor.

Travis Knight (Bumblebee) directs from a script by Chris Butler (ParaNorman), Aaron & Adam Nee (The Lost City), and David Callaham (Shang-Chi and the Legend of the Ten Rings).

Mattel launched Masters of the Universe with a toy line in 1982 followed by the “He-Man and the Masters of the Universe” cartoon from 1983-1985. The franchise now includes multiple animated series, toy lines, comics, video games, and books, along with a 1987 live-action film.

The post Jared Leto’s Skeletor Tears Through the New ‘Masters of the Universe’ Movie Poster appeared first on Bloody Disgusting!.

That’s a line from the upcoming slasher movie Teenage Sex and Death at Camp Miasma from visionary filmmaker Jane Schoenbrun (I Saw the TV Glow), coming to theaters from MUBI on August 7, 2026. The film stars Hannah Einbinder as a young filmmaker hired to reboot the in-universe Camp Miasma slasher franchise, which sends her on a journey to meet up with the actress who played the original slasher classic’s final girl (Gillian Anderson).

From there, “the two women fall into a blood-soaked world of desire, fear, and delirium.”

The official plot description for Teenage Sex and Death describes the Camp Miasma franchise as one that’s suffered from “years of slapdash sequels and waning fandom,” and it’s pretty clear that Schoenbrun is drawing inspiration from the real-life Friday the 13th franchise.

In fact, Teenage Sex and Death at Camp Miasma was described by the filmmaker as “Portrait of a Lady on Fire set in a Friday the 13th sequel,” an intriguing hook if there ever was one.

So what’s the story with the fictional in-universe Camp Miasma franchise? The trailer for Teenage Sex and Death gives us a few glimpses of things like movie reviews and stacks of VHS boxes that paint a pretty clear picture of the Friday the 13th-inspired movie franchise.

The Camp Miasma saga centers on a masked killer known as “Little Death,” for starters, and much like the real Friday the 13th franchise, it spawned a video game back in the 1980s.

How many installments did the Camp Miasma franchise reach back in the day? As far as we can tell, this is the complete list of all Camp Miasma movies released in this universe…

1) Camp Miasma

2) Camp Miasma Part II: The Next Summer

3) Camp Miasma 3D

4) Camp Miasma Part IV: The Curse of Little Death

5) Camp Miasma Part V: The Final Chapter

6) Camp Miasma Part VI: A New Beginning

7) Camp Miasma Part VII: Psychic Warriors

8) Camp Miasma Part VIII: Little Death Takes Manhattan

9) Camp Miasma Part IX: Slay Bells

10) Medieval Miasma

11) Camp Miasma (???)

12) Miasma 3000

13) Camp Miasma (???)

14) Camp Miasma: Little Death vs. Sleep Man

It’s hard to make out the titles for the eleventh and thirteenth installments in the franchise based only on the trailer screen-grabs at our disposal at the moment, so this will have to do for now. But it’s crystal clear based on these titles that the Camp Miasma franchise is indeed a loving Friday the 13th homage from Schoenbrun, with Little Death following in Jason’s footsteps and heading to both Manhattan and outer space. The ninth installment brings a Christmas theme to the franchise, however, something Friday the 13th never got around to!

As for Medieval Miasma, well, that seems to be more inspired by Army of Darkness than anything else. And then there’s Little Death vs. Sleep Man, an homage to Freddy vs. Jason!

With fourteen total installments, the Camp Miasma franchise actually ran even longer than the Friday the 13th franchise did in our real world, and the critical reception tanked somewhere around the time of Camp Miasma Part VII: Psychic Warriors. That film actually won the Golden Razzie for WORST MOVIE OF THE YEAR in the year it was released. YIKES!

Who directed the original Camp Miasma movie that started it all, you ask? That’d be Ray Blanchard! The film’s tagline? “They drowned him. They had to. But he’s not done.”

We’ll learn more about the world of Camp Miasma when Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma revives the classic slasher franchise in theaters August 7, 2026.

After all, Little Death ALWAYS comes back…

The post Teenage Sex and Death: A Closer Look at the 14-Movie ‘Camp Miasma’ Slasher Franchise appeared first on Bloody Disgusting!.

This is basically universally true of any halfway competent horror movie, but unfortunately for many, potential energy is most, if not all, of the energy they can muster. There is loads of potential energy in sMOTHERed, the new Shudder original from directors Kevin Rahardjo and Rafki Hidayat, and it translates to something compelling early on. Sadly, all that potential never quite manifests into anything more, leaving us with a half-baked film that, decent squares aside, squanders all the goodwill it builds in the setup. 

And the setup really is quite compelling. Alif (Rio Dewanto) is a Jakarta-based artist who, after a serious car accident, is struggling with partial amnesia brought on by head trauma. His wife Nadine (Faradina Mufti) and son Emir (Jordan Omar) are supportive when he comes home from the hospital, even as he reveals he doesn’t necessarily remember the issues rumbling beneath his marriage before the accident. Before he has time to truly reacclimate, though, Alif gets a long-awaited visit from his mother, Aminah (Vonny Anggraini). Mother and son haven’t seen each other since Alife left home to seek his fortune as a teenager, and she’s never met her daughter-in-law or her grandson.

So, when she arrives, Aminah dives into her grandmotherly duties, brightening the family home even as Alif is plagued by nosebleeds, strange visions, and bits of his pre-accident life he still can’t explain. Perhaps it’s the memory loss, or perhaps it’s Aminah herself, but the more he digs in search of the truth, the more Alif starts to wonder if the woman in his house is actually his mother. 

There’s a lot of talent here, including Indonesian horror legend Joko Anwar (Impetigore, Satan’s Slaves) co-writing and producing. Throw in the film’s roots in an Indonesian folk tale, and it feels like we’re on the way to some stirring psychological drama with a little folk-horror mixed in. For the first half of the film, that’s exactly what we get. Rahardjo and Hidayat prove adept at composing shots (though the lighting often looks a bit flat) and, more importantly, at working with their cast, exacting tremendous emotional detail out of early scenes.

This is the story of a man whose entire recent life, and chunks of his distant past, has become a mystery to him, and so it’s a detective story even as it’s a surprisingly emotional tale of a man trying to reconnect, trying to be better than his former self as a husband, father, and son. Dewanto brings a ton of depth to this side of the story, as Alif’s visions and complaints of strange voices intensify, he never fails to keep us caring about this wounded man desperate to heal. 

It’s what happens next, after setting this remarkable emotional baseline, that starts to fragment the film, spinning it out into certain directions that are promising, and others that feel like duds. The more convinced he becomes that something in his life is not quite right, and the deeper he digs, the more the film threatens to topple its delicate human balance. For a brief handful of scenes, the film seems to forget its original tone entirely, branching off into a small-time crime film, which would feel more like an organic evolution if it didn’t then wildly swing in a different direction again.

Characters in the ensemble fade out, and the emotional tension they bring fades with them, until by the time the film builds to its big reveal about the secrets Alif has kept, it feels both underdeveloped and overdue. At 99 minutes, sMOTHERed still feels like multiple movies smashed together in the edit, leaving its back half littered with dead ends and stalls, which diminish its emotional returns. That said, there are some creepy little moments still lingering in there, so the film doesn’t entirely lose its sense of atmosphere.

This is made all the more frustrating in the case of sMOTHERed because, in the build-up to this derailment, we saw just how well everything was working. The cast has great chemistry, the dynamic between characters is complex and believable, and the emotional hooks of the film are firmly embedded.

Then it all just breaks down, piece by piece, leaving us with a classic case of potential energy squandered in a film’s back half. Still, that potential is pretty impressive, and I’ll be very interested to see what these filmmakers come up with next. 

sMOTHERed premieres May 29 on Shudder.  

The post ‘sMOTHERed’ Review – This Shudder Original Delivers Atmospheric Chills But Not Much Else appeared first on Bloody Disgusting!.

To that end, Scary Movie has just launched the “Subservient Ghostface” website, which gives you the opportunity to make Ghostface do whatever your twisted little heart desires!

All you need to do is enter a prompt, and for the most part, Ghostface will respond on screen by performing some variation of the action you requested. You can make him fart, you can make him dance, or you can make him cry… Ghostface is entirely under your control.

Check out the Subservient Ghostface website and start directing GhostFake now!

The best part? Even though this sounds on paper like something that would require the use of generative AI, it actually appears to be an entirely human-created bit of marketing!

Pro Tip: Enter the prompt “Bloody Disgusting” for a bloody treat…

Arriving in theaters June 5, 2026, Scary Movie has been Rated ‘R’ for “crude sexual content, graphic nudity, strong violence, and drug content and language throughout.”

Marlon Wayans (“Shorty”), Shawn Wayans (“Ray”), Anna Faris (“Cindy”), and Regina Hall (“Brenda”) reunite for the new Scary Movie, with the cast also including Dave Sheridan, Lochlyn Munro, Cheri Oteri, Chris Elliott, Jon Abrahams, Damon Wayans Jr., Gregg Wayans, Kim Wayans, Benny Zielke, Cameron Scott Roberts, Heidi Gardner, Olivia Rose Keegan, Ruby Snowber, Savannah Lee Nassif, Sydney Park, and Felissa Rose.

Scary Movie will slash through reboots, remakes, requels, prequels, sequels, spin-offs, elevated horror, origin stories, anything with the word legacy in it, and every “final chapter” that absolutely isn’t. A whole lot has changed in the horror genre since the Wayans Brothers were in charge of the franchise; their involvement ended with Scary Movie 2 back in 2001!

Michael Tiddes (A Haunted House) directs Scary Movie 6 from a script written by Marlon Wayans, Shawn Wayans, original Scary Movie director Keenen Ivory Wayans, Craig Wayans (Scary Movie 2), and Rick Alvarez (A Haunted House).

ghostface is taking orders, son! what won’t he do? try subservient ghostface: https://t.co/zcUrTY3W0g pic.twitter.com/fg5vg1vtYO

— Scary Movie (@ScaryMovie) May 27, 2026

The post ‘Scary Movie’ Launches Website Where You Can Make GhostFake Do Whatever You Want appeared first on Bloody Disgusting!.

The official Disclosure Day Stag Popcorn Bucket is now available for pre-order online only from the Regal Store, with delivery to customers beginning October 28, 2026.

Regal notes, “This limited-edition collectible will have only one production run.”

“Available only online in this special pre-order and not in theaters, the Disclosure Day Stag Popcorn Bucket channels the suspense, paranoia, and alien intrigue of Steven Spielberg’s epic UFO thriller into one unforgettable collectible,” Regal details. “Featuring a striking stag-inspired creature design, this popcorn bucket is essential merch for sci-fi fans and blockbuster collectors alike! Customers may purchase a maximum of three units of this limited collectible.”

The Stag Popcorn Bucket measures 16.75″ tall.

Grab your Disclosure Day Popcorn Bucket for $49.95 from the Regal Store now!

All will become clear when Disclosure Day invades theaters and IMAX June 12.

If you found out we weren’t alone, if someone showed you, proved it to you, would that frighten you? This summer, the truth belongs to seven billion people. This is Disclosure Day.

The film stars SAG winner and Oscar® nominee Emily Blunt (Oppenheimer, A Quiet Place), Emmy and Golden Globe winner Josh O’Connor (Challengers, The Crown), Oscar® winner Colin Firth (The King’s Speech, Kingsman franchise), Eve Hewson (Bad Sisters, The Perfect Couple) and two-time Oscar® nominee Colman Domingo (Sing Sing, Rustin).

The post Spielberg’s ‘Disclosure Day’ Gets an Official Stag Popcorn Bucket appeared first on Bloody Disgusting!.

In Pitfall, a young man becomes separated from his friends in the woods and plunges into a ten-foot pit lined with spikes, impaling his leg and leaving him helpless. As reality sinks in and his situation grows dire, he realizes the fall wasn’t an accident.

Theaters playing Pitfall beginning this Friday include…

• Atlanta, GA – Camp Creek 14
• Atlanta, GA – Southlake Pavilion 24
• Birmingham, AL – Patton Creek 15
• Charlotte, NC – Carolina Pavilion 22
• Chattanooga, TN – Chattanooga 18
• Chattanooga, TN – Northgate 14
• Chicago, IL – River East 21
• Chicago, IL – South Barrington 24
• Cincinnati, OH – Newport On The Levee 20
• Denver, CO – Highlands Ranch 24
• Denver, CO – Westminster Promenade 24
• Detroit, MI – Forum 30
• Detroit, MI – John R 15
• Greenville, SC – Regal Cherrydale
• Hartford, CT – Plainville 20
• Houston, TX – Deerbrook 18
• Houston, TX – First Colony 24
• Houston, TX – Gulf Pointe 30
• Houston, TX – Katy Mills 20
• Houston, TX – Willowbrook 24
• Jacksonville, FL – Orange Park 24
• Jacksonville, FL – Regency 24
• Kansas City, MO – Barrywoods 24
• Kansas City, MO – Studio 28
• Las Vegas, NV – Town Square 18
• Burbank, CA – Burbank Town Center 8
• Covina, CA – Covina 17
• Norwalk, CA – Norwalk 20
• Ontario, CA – Ontario Mills 30
• Orange, CA – Orange 30
• City of Industry, CA – Puente Hills 20
• Torrance, CA – Rolling Hills 20
• Riverside, CA – Tyler 16
• Miami, FL – Aventura Mall 24
• Miami, FL – Sunset Place 24
• New Orleans, LA – Elmwood Palace 20
• New York, NY – Palisades 21
• Manhattan, NY – Empire 25
• Oklahoma City, OK – Quail Springs Mall 24
• Orlando, FL – Disney Springs 24
• Philadelphia, PA – Cherry Hill 24
• Philadelphia, PA – Neshaminy 24
• Phoenix, AZ – Ahwatukee 24
• Phoenix, AZ – Deer Valley 17
• Phoenix, AZ – Desert Ridge 18
• Pittsburgh, PA – Waterfront 22
• Salt Lake City, UT – West Jordan 12
• San Diego, CA – Fashion Valley 18
• San Diego, CA – Mission Valley 20
• Tulsa, OK – Southroads 20
• Waco, TX – Galaxy 16
• Washington D.C. – Hoffman 22

Check more listings and get your tickets now on Pitfall-Movie.com!

Based on a story by director James Kondelik (Behind The Walls) and a screenplay by Canadian writer Victor Rose, Pitfall made its debut at Los Angeles’ Screamfest Film Festival in October 2025, earning praise from critics, who said it was “one of the major highlights” of the festival’s 25th year. The film was produced by Wai Sun Cheng and Alex Bogolomov for Vancouver-based production Pandapix Pictures in partnership with Dragon Bear Pictures.

The film stars Richard Harmon (Final Destination: Bloodlines), Alexandra Essoe (The Pope’s Exorcist), and UFC champion Randy Couture (The Expendables) as the ruthless killer who stalks his prey in the woods. Marshall Williams (The Ice Road), Jordan Claire Robbins (The Umbrella Academy), and Matt Hamilton (Murder for Sale) also star.

The post Survival Slasher Movie ‘Pitfall’ Releasing in Select Theaters This Friday appeared first on Bloody Disgusting!.

A chilling new chapter in supernatural horror is preparing to consume audiences as director, and co-writer Ryan Kelly unleashes the occult thriller Five Must Die.

Five Must Die is said to be a high-concept supernatural thriller that fuses the tension of Ready or Not and the meta-horror energy of The Cabin in the Woods with the conspiracy edge of Men in Black and the supernatural flair of Ghostbusters.

Co-written by David Landau, the film stars Beth Broderick (“Sabrina the Teenage Witch”) alongside Jared P-Smith (“The Equalizer”) and an ensemble cast.

In Five Must Die, six strangers awaken trapped inside a sprawling mansion. None of them know each other, and none understand why they are there — until an agent from the Federal Bureau of Paranormal Containment informs them that a violent spirit has marked them as its targets.

As paranoia, fear, and supernatural attacks tear the group apart, the mansion becomes a crucible where hidden pasts are revealed, and moral choices turn deadly. The line between possession, free will, and vengeance begins to blur, and only those willing to confront their guilt may have a chance to survive.

“I’ve always loved films that are contained to a single location, and I’m a big fan of ensemble casts,” says Ryan Kelly. “This project brings those elements together and filters them through horror, comedy, and a bit of an Agatha Christie-style mystery. That combination — tight, character-driven, but still fun, unpredictable, and surprising — is exactly the kind of movie I love to watch.”

Kelly continues, “I wanted to create something in the spirit of the films I grew up with — high-concept stories with strong characters, big audience moments, and real emotion beneath the spectacle. That’s the feeling I’m chasing with Five Must Die, and if we can capture even a piece of it, I’ll be thrilled.”

Helping to bring his vision to life is veteran Broadway and film producer Michael Alden (Kissing Jessica Stein, Unzipped, The Zookeeper, Batboy: The Musical, Grey Gardens, The King’s Speech).

“I’ve always been drawn to stories centered around the unknown and the unexplainable,” says Alden. “There’s something deeply compelling about narratives in which unseen forces and unanswered mysteries create real danger — where what we don’t understand has the power to destroy us. I’m especially fascinated by the human element within those stories: who is intelligent enough, quick enough, or patient enough to survive, uncover the truth, and find a way out before it’s too late.”

“I was drawn to the project for several reasons. First and foremost, it’s an exceptionally strong script, and the characters — including my role as Margaret — are very well developed,” says star Beth Broderick, making her horror film debut. “Margaret is a retired FBI special ops agent. She’s tough, experienced, and sincere. I’ve always wanted the opportunity to play that kind of ‘old cop’ role in film and television, so it was a really fun character to tackle.”

“Human nature drives us to explore and explain the unknown,” says co-star and executive producer Jared P-Smith, “but things like possessions, hauntings, ghosts, and aliens still resist clear answers. That mystery is what keeps people captivated. We understand something like gravity, so it no longer amazes us in the same way — but the paranormal remains unexplained, and that makes it endlessly compelling.”

Sarah Baskin (Gossip Girl: Next Gen), Vandit Bhatt (“New Amsterdam,” “Quantico”), Gabrielle DuBrul, Briana Femia, Chris Maher, Carmen Salta, Taylor Selé (“Godfather of Harlem,” “Survival of the Thickest”), and Andrew Ximenes also star.

Alden produces alongside Steve Barton (Terrifier 2, George A. Romero’s Survival of the Dead, E! True Hollywood Story), Kelly Hall, Ryan Kelly, Michael Kuciak (Death Metal, From the Shadows, Killer Party), Christopher Massimine (“The Inventor,” Off Broadway’s “Fiddler on the Roof” in Yiddish), and Ryan Savini. Paul Filanowski, Nancy Nagel Gibbs, Ryan Koppelman, Jared P-Smith, Jane Petrov, Bev Ragovoy, Cheri Reeve, Kat Schon, Penny Stephenson, Barry Wolfe, Laurrelle Wolfe, and Andrew Ximenes executive-produce.

Academy Award Winner Cecelia Hall (The Hunt for Red October, Top Gun) serves as the film’s Creative Consultant.

Check out the official poster below and look for more on Five Must Die soon.

The post ‘Five Must Die’ – ‘Ghostbusters’ Meets ‘Ready or Not’ in Upcoming Supernatural Thriller [Exclusive] appeared first on Bloody Disgusting!.

Steve Howey (Off Campus) will also star in the upcoming horror movie Fiona.

The film from Capstone Studios (Obsession, Don’t Move) “follows a lonely, divorced doctor who falls in love with a mysterious woman in rural America, only to discover she is channeling the raw forces of Mother Nature toward an apocalyptic purpose.” Deadline details, “He must then decide whether to save the woman he loves or the world she intends to destroy.”

Nicholas McCarthy (The Pact, At the Devil’s Door, The Prodigy) will be directing Fiona, based on an original story by Knifepoint‘s writer, creator, and narrator Soren Narnia.

Justin Yoffe and Evan Hart wrote the movie’s screenplay.

“There’s something in Fiona that speaks to a collective exhaustion with each other, with the state of the world, with the damage humanity continues to inflict on itself and the environment. The film channels that anxiety into horror that feels primal, emotional, and strangely cathartic,” said Peak Pictures producer Kearie Peak.

Director Nicholas McCarthy said in his own statement, “As a lifelong fan of horror movies, I’ve always wanted to make a movie about a witch — and with Fiona, I finally found the perfect project. I love Soren Narnia’s Knifepoint Horror universe and can’t wait to bring it to life.”

Fiona is planning a theatrical release followed by a streaming premiere on MGM+.

The post ‘Fiona’ – Maggie Grace Starring in Witch Movie Based on ‘Knifepoint Horror’ Podcast appeared first on Bloody Disgusting!.

According to a report from Variety this afternoon, the Backrooms movie is currently tracking to scare up $40 – $50 million in the United States across this coming weekend!

Variety notes in their report, “This would mark A24’s biggest debut to date, passing Civil War ($25.5M). With a production budget of $10M, Backrooms is poised to be a major financial win for YouTube creator-turned-director Kane Parsons and A24.”

The highest opening weekend for a horror movie so far this year was Scream 7 with $63.6 million back in February, with every other horror movie this year nowhere close to that number. If Backrooms can open this weekend with between $40 and $50 million, it will needless to say be a massive win for Kane Parsons, A24, and the horror genre at large at the box office.

Backrooms began as a series of viral videos from Kane Parsons on YouTube, the same platform that Obsession director Curry Barker got his start on. The one-two punch of Obsession and Backrooms as box office success stories looks to mark a brand new chapter in the history of horror, with a new group of filmmakers charting a new course for the genre. They both come in the wake of Markiplier’s horror movie Iron Lung making an incredible $50 million in theaters from an independent self-release, which would’ve been unheard of at any point in the past.

It’s an exciting time to be a horror fan, to say the very least.

A24 will open Backrooms in 3,400 theaters in the United States this weekend, where it will be competing with horror hit Obsession and Paramount’s new horror film Passenger.

[Related] ‘Backrooms’ Popcorn Bucket Is Available to 3D Print at Home

Chiwetel Ejiofor stars in Backrooms as an employee of Cap’n Clark’s Ottoman Empire, who discovers a strange doorway in the basement of the furniture showroom. He sets out to explore the mysterious, liminal space, walking headfirst into a creepypasta nightmare.

Renate Reinsve (A Different Man) also stars in Backrooms.

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

The origins of the Backrooms, however, date back even further…

The post ‘Backrooms’ Movie Tracking for Massive $40 to $50 Million Opening Weekend appeared first on Bloody Disgusting!.

But what kind of Rated ‘R’ content can we expect from the new Scary Movie?

Arriving in theaters June 5, 2026, Scary Movie has been Rated ‘R’ for “crude sexual content, graphic nudity, strong violence, and drug content and language throughout.”

Marlon Wayans (“Shorty”), Shawn Wayans (“Ray”), Anna Faris (“Cindy”), and Regina Hall (“Brenda”) reunite for the new Scary Movie, with the cast also including Dave Sheridan, Lochlyn Munro, Cheri Oteri, Chris Elliott, Jon Abrahams, Damon Wayans Jr., Gregg Wayans, Kim Wayans, Benny Zielke, Cameron Scott Roberts, Heidi Gardner, Olivia Rose Keegan, Ruby Snowber, Savannah Lee Nassif, Sydney Park, and Felissa Rose.

Scary Movie will slash through reboots, remakes, requels, prequels, sequels, spin-offs, elevated horror, origin stories, anything with the word legacy in it, and every “final chapter” that absolutely isn’t. A whole lot has changed in the horror genre since the Wayans Brothers were in charge of the franchise; their involvement ended with Scary Movie 2 back in 2001!

Michael Tiddes (A Haunted House) directs Scary Movie 6 from a script written by Marlon Wayans, Shawn Wayans, original Scary Movie director Keenen Ivory Wayans, Craig Wayans (Scary Movie 2), and Rick Alvarez (A Haunted House).

The post ‘Scary Movie’ Gets an ‘R’ Rating for Graphic Nudity and Strong Violence appeared first on Bloody Disgusting!.

Check out a first look in Prime Video’s sizzle reel below and expect the trailer soon.

Kathryn Newton and Lana Condor (Pretty Lethal) star in The Devil’s Mouth as college friends who, on a trip en route to Thailand, get trapped in an underwater cave system with a bull shark. Old tensions and power struggles resurface as they fight to survive.

Jeff Wadlow (Truth or Dare, Kick-Ass 2) directs the shark attack movie from a script he revised from Aja Gabel (“Sunny”) and Myung Joh Wesner (“Star Wars: Skeleton Crew”).

Amazon MGM Studios and Lionsgate are co-producing the horror project. Wadlow produces alongside Basil Iwanyk & Erica Lee of Thunder Road Films (John Wick, Sicario).

The upcoming survival thriller The Devil’s Mouth has been rated PG-13 by the MPA for “violent content, bloody images, some language, and suggestive material.”

No word yet on an exact premiere date. Stay tuned for updates.

The post First Look at Kathryn Newton in Shark Movie ‘The Devil’s Mouth’; Premiering on Prime Video in July appeared first on Bloody Disgusting!.

Watch the Final Trailer for Steven Spielberg’s Disclosure Day below, which features our very first look at one of the extraterrestrial beings you’ll be meeting in the sci-fi blockbuster.

“I used to say to myself, wouldn’t it be wonderful if all of this turned out to be true,” Spielberg explains. “I’m now thinking, wouldn’t it be wonderful for people to know… all of this IS true.”

All will become clear when Disclosure Day invades theaters and IMAX June 12.

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

The film stars SAG winner and Oscar® nominee Emily Blunt (Oppenheimer, A Quiet Place), Emmy and Golden Globe winner Josh O’Connor (Challengers, The Crown), Oscar® winner Colin Firth (The King’s Speech, Kingsman franchise), Eve Hewson (Bad Sisters, The Perfect Couple) and two-time Oscar® nominee Colman Domingo (Sing Sing, Rustin).

Based on a story by Spielberg, the screenplay is by David Koepp, whose previous work with Spielberg includes the scripts for Jurassic Park, The Lost World: Jurassic Park, War of the Worlds and Indiana Jones and the Kingdom of the Crystal Skull. Combined, those films earned more than $3 billion worldwide. Koepp also wrote the script for Jurassic World Rebirth.

Steven Spielberg is of course no stranger to extraterrestrial encounters, directing two of the greatest alien movies of all time: Close Encounters of the Third Kind in 1977 and E.T. in 1982. It’s an arena he returned to in 2005, directing an adaptation of H.G. Wells’ War of the Worlds.

Here in 2026, Steven Spielberg sees hope in the existence of aliens. He notes in the final trailer for Disclosure Day, “How will disclosure change us? I believe for the better.”

The post ‘Disclosure Day’ Final Trailer – Steven Spielberg Will Make You Believe Aliens Are Real appeared first on Bloody Disgusting!.

Watch the official trailer for WereShark below and look for it August 25, 2026.

A savage hybrid of shark and werewolf begins hunting the terrified residents of a quiet resort town, turning a summer getaway into a blood-soaked nightmare. As more mutilated bodies wash ashore, panic grips the coastline and no one is safe on land or in the water. A handful of locals must fight back together to stop the Wereshark before the entire town is devoured.

Wild Eye Releasing previews, “From Donald Farmer comes a ferocious slice of no-budget madness, packed with energy, outrageous kills, and DIY effects. A driving force in the shot-on-video underground, Farmer has spent decades crafting unapologetically wild horror and with WereShark, he doubles down on the sharksploitation insanity he started in Shark Exorcist.”

Brian Berrens, Joe Cumberland, Kellen Deruy, Amee Harris, and Mel Heflin star.

WereShark is directed by Curtis Everitt and Robbie Lopez.

The post ‘WereShark’ Official Trailer – This Shark Has Legs and Barks at the Moon appeared first on Bloody Disgusting!.

Watch the gory new teaser below.

In the film, “Under traumatic circumstances, Gül gives birth to her first child: an inhuman creature. What’s a single mother to do? Protect her newborn, albeit alien-like, offspring by any means necessary, of course.”

Mutter: The Diary of a Mother is written and directed by Alphan Eşeli, who told Bloody Disgusting of the teaser, “I wanted to make a film where beauty, love, and horror could exist in the same frame.” 

The filmmaker is drawing from his personal experience with Mutter; the film was written while his mother was dying.

Eşeli notes in his director’s statement for the film, “Mutter is not about monsters, but about the strange transformations that occur when creation and loss share the same space. The creature became a mirror for everything we try to hide, the beauty, the guilt, the hunger to be seen, and the fear of letting go.”

As for mom’s terrifying new baby, the creature is designed by Australian artist Matt Hatton (Alien: Covenant, Furiosa: A Mad Max Saga).

Hazar Ergüçlü leads the cast as Gül. Hazar Ergüçlü, Erdeniz Kurucan, Ulvi Kahyaoğlu, Cansu Fırıncı, Cem Baza, and Bertan Dirikolu also star.

Tribeca’s description of Mutter intrigues: “With horror as singular and disorienting as the best of Andrzej Żuławski and the emotional impact of a sledgehammer, writer-directorAlphan Eseli’s exceptional Mutter is a unique marvel. ”

Mutter: The Diary of a Mother is set to make its world premiere on June 6. Stay tuned for our coverage out of Tribeca.

The post ‘Mutter: The Diary of a Mother’ Exclusive Teaser Gives Birth to a Gnarly New Creature Feature appeared first on Bloody Disgusting!.

It’s not actually a remake of an existing movie, of course, but rather a brand new original vision that kicks off when a filmmaker is hired to direct a remake of a classic slasher movie. Hannah Einbinder (“Hacks”) and Gillian Anderson (“The X-Files”) star. Watch the brand new official trailer for Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma below.

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.

When does Teenage Sex and Death at Camp Miasma release?

Mubi releases the slasher movie in theaters starting August 7, 2026 in the US, Canada, UK, Latin America, Germany, Italy, Netherlands, Ireland, Spain, Australia and more.

Who stars in Teenage Sex and Death at Camp Miasma?

In addition to Hannah Einbinder and Gillian Anderson, the film also stars:

• Jack Haven (I Saw the TV Glow)
• Amanda Fix (Lowlifes)
• Arthur Conti (Beetlejuice Beetlejuice)
• Eva Victor (Sorry Baby)
• Zach Cherry (“Severance”)
• Sarah Sherman (“Saturday Night Live”)
• Patrick Fischler (“Twin Peaks”)
• Dylan Baker (Trick ‘r Treat)
• Jasmin Savoy Brown (Scream)
• Kevin McDonald (“The Kids in the Hall”)
• Quintessa Swindell (Black Adam)

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

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

The post ‘Teenage Sex and Death at Camp Miasma’ Official Trailer – A Whole New Kind of Horror Remake appeared first on Bloody Disgusting!.

Featuring never-before-seen archival footage and in-depth interviews with major players like Susan Sarandon (Janet Weiss) and Tim Curry (Dr. Frank-N-Furter) alongside hardcore fans like Jack Black and Trixie Mattel, Strange Journey: The Story of Rocky Horror will be available for rental and digital purchase on Apple TV, Prime Video, and Fandango at Home starting June 2.

Susan Sarandon in ‘Strange Journey: The Story of Rocky Horror’

While Richard O’Brien’s classic technically debuted in 1975, the documentary’s release is actually meant to coincide with the 50^th anniversary of the original film’s New York City Midnight-Movie relaunch that transformed a seemingly doomed flick into a cult phenomenon that still plays in select theaters to this very day.

That’s why Strange Journey might just be the perfect way to celebrate the time warp – again!

The post Documentary ‘Strange Journey: The Story of Rocky Horror’ Releasing This June! [Trailer] appeared first on Bloody Disgusting!.

It happens almost every week in the online horror community alone, where fake news spreads like wildfire no matter how unreliable or unknown the source may be. The latest bit of fake news circulating online? Kane Parsons didn’t actually direct A24’s Backrooms movie.

From what I understand, the conversations originally kicked off over the long holiday weekend with the same rumor spreading about Curry Barker and his hit horror movie Obsession, with the conversation then quickly pivoting to Kane Parsons and Backrooms. Both Obsession and Backrooms are the work of young filmmakers who got their start on YouTube, leading many naysayers to fire up rumors that their big screen features were “ghost directed” by others.

Kane Parsons was just 19 years old when he was hired to direct Backrooms for A24, a feature length expansion of his own viral YouTube videos, making him the youngest director in A24 history and one of the youngest filmmakers to ever direct a big time mainstream movie. Rather than celebrating that fact, well, some online trolls are instead choosing to call it into question.

Parsons was surrounded by established genre names including James Wan and Osgood Perkins when it came time to turn his viral videos into a theatrical feature, with Wan producing the film for Atomic Monster and Perkins serving as a mentor of sorts. “When we started production up in Vancouver, I was working very closely, literally in the same office with Osgood Perkins,” Parsons told DiscussingFilm. “So, he’s been a really great mentor figure in a number of ways, in that it’s very much the crew that he and Chris Ferguson put together over a number of years. There’s a lot of secondhand resources I’ve been able to lean on while working on this.”

The rumor here is that Wan and/or Perkins actually directed Backrooms rather than Parsons himself, but Backrooms star Mark Duplass has taken to social media to quickly shoot it down.

Duplass tweets, “When I was there, Kane was 100% in control. More so than many directors 3x his age.”

Duplass explains in a longer video post on Instagram, “So a lot of takes going on right now about whether Kane Parsons, at the tender age of 19, actually directed Backrooms. Or whether it was more ghost directed by one of his more experienced producers. Um, I was there. I suspect one of the reasons I was hired is because I mentor a lot of young filmmakers, and they may have thought it would be good to have someone there who’s sensitive to that. And I was prepared to help out, and what happened was, he didn’t need any of us.”

“He was intensely prepared,” Duplass adds. “He spent the last five years of his life building out one of the most detailed mythologies I’ve ever been a part of. Worked incredibly closely with his crew, particularly his DP and shot design. And was VERY sensitive and calm and smart in dealing with actors. So for those of you who have all these thoughts, were you there?”

Of course, this isn’t the first time rumors like this have been started about horror movies directed by young filmmakers who were working with more experienced producers. The most famous debate has to do with whether Tobe Hooper truly directed Poltergeist or it was actually the work of producer Steven Spielberg, but let’s not get lost in that rabbit hole again…

From DIRECTOR KANE PARSONS, Backrooms will be released in theaters May 29.

 

View this post on Instagram

 

A post shared by Mark Duplass (@markduplass)

The post Mark Duplass Shoots Down Dumb Rumor That Kane Parsons Didn’t Really Direct ‘Backrooms’ Movie appeared first on Bloody Disgusting!.

Director and co-writer Aidan Leary, co-writer C.R. Thompson, and producer Joe Swanberg will be in attendance, spilling behind-the-scenes secrets. You won’t want to miss it.

Join us Wednesday, May 27 at 8pm ET for the Monkey’s Magic Merry Go Round watch party on the official Bloody Disgusting Discord!

Become a member of the official Bloody Disgusting Discord now.

Monkey’s Magic Merry Go Round is currently the #1 most-streamed movie on Screambox!

While Monkey’s Magic Merry Go Round is exclusively streaming on Screambox, you can also rent or buy the film on traditional Digital outlets including Amazon Prime right now.

“After a mysterious bout of amnesia, a beloved children’s television host struggles to piece together his fractured memories, only to find his once-cheerful puppet co-stars behaving with sinister intent. As reality unravels, the line between performance and nightmare begins to blur.”

Michael Gilio, the screenwriter behind Dark Harvest and Dungeons & Dragons: Honor Among Thieves, stars in the movie from writer/director Aidan Leary, making his feature debut.

Leary co-wrote the screenplay with C.R. Thompson.

Monkey’s Magic Merry Go Round is the latest horror film on the Terror Town genre slate from producer Joe Swanberg (You’re Next, Offseason) and Yale Productions.

The post Join Us for a ‘Monkey’s Magic Merry Go Round’ Watch Party on the Bloody Disgusting Discord This Wednesday! appeared first on Bloody Disgusting!.

But it’s now been six years since that announcement, and we haven’t heard a single peep about the Ginger Snaps television series since that original announce. Is it still happening?

Dread Central caught up with Ginger Snaps director John Fawcett and got a fresh update on the project this week. Long story short, it sounds like it’s very much still in the works!

Fawcett explains to Dread Central, “That is still very much a hot topic right now. It’s a passion project of mine. It’s a work in progress, but it’s been a long and winding road.” He adds…

“There is some heat and some creative minds working on this as we speak.”

The original Ginger Snaps movie, released in 2000 and written by Karen Walton, starred Emily Perkins as Brigette and Katharine Isabelle as Ginger. It was followed by Ginger Snaps 2: Unleashed in 2004 and then prequel Ginger Snaps: The Beginning the very same year.

Ginger Snaps is the story of death-fixated teen sisters Ginger and Brigitte, who are attacked by a creature drawn to Ginger’s first menstrual period. Bitten by the creature, Ginger soon exhibits sudden aggression and bizarre transformations that convince Brigitte her sister is turning into a werewolf…and that Ginger’s embrace of her liberating new condition may be terminal.

The reason Ginger Snaps is back in the conversation at the moment is because the original movie just got a brand new 4K Ultra HD release from the Vestron Video Collector’s Series.

You can order your copy from Lionsgate Limited now!

The post ‘Ginger Snaps’ TV Series Project Receives a Fresh Update from the Movie’s Director appeared first on Bloody Disgusting!.

But when will Obsession be available on Digital at home? Rumors have been swirling that Focus Features will bring the movie home to Digital on June 2, which would be one week from today. These rumors are unconfirmed at this time, however, and it’s hard to imagine that Focus Features would want to cut into the film’s box office profits so early in its theatrical release.

With Obsession still generating tens of millions of dollars at the box office and the film on its way to hitting a landmark $100 million worldwide total, why the hell would Focus Features make it available at home in just one week?! It’s a debate that was raging on across social media all weekend, with many fans expressing their frustrations about the foolish decision.

But again, the rumor of Obsession coming home to Digital on June 2 is indeed a rumor, and it’s unconfirmed at this time. But it’s a question Variety posed to Jason Blum in a new chat.

“Blum doesn’t know how long Obsession will play in theaters before landing on digital platforms,” Variety reports. The Obsession producer tells Variety that it’s a “big topic of conversation at the moment,” and he’s a “big believer in a long, consistent theatrical window.”

“It’s great the audience is aware of it. You would think they would say, ‘I want to buy it at home.’ But they’re actually cheering for the movie to stay in theaters longer,” Blum tells Variety.

Jason Blum adds, “People cherish the theatrical experience, and they’re willing to give up the convenience of seeing something at home to keep their local theater alive.”

There have also been rumors of an Uncut version of Obsession being released on home video, which are also unconfirmed at this time. That said, Curry Barker has been open about the fact that one brutal scene in the movie was indeed trimmed back to avoid an NC-17 rating.

Barker explained ahead of the film’s release, “there was about six or seven more [head] smashes” in the scene where Freaky Nikki brutally murders Sarah in her car. “And we were getting an NC-17 rating,” Barker explains. “And so they were like, ‘You’ve got to take out some of the smashes.’ And I was like, ‘I’m not taking out a single bash.’ But I did.”

What else would be included in a so-called “Director’s Cut” of Obsession? Curry Barker recently told the website Popternative, “I would love to do a Director’s Cut of this just because there’s so many things that are not in the movie. That would be really fun. But it would literally be a project for me. I would have to set aside some time to really dive into the footage again.”

Stay tuned for more on the digital release of Obsession as we learn it. In the meantime, the only way to see the movie is to see it in theaters. We highly recommend you do just that.

Inde Navarrette stars as Nikki and Michael Johnston as Bear in OBSESSION, a Focus Features release.
Credit: Courtesy of Focus Features / © 2026 FOCUS FEATURES LLC

The post When Will ‘Obsession’ Be Available on Digital at Home? appeared first on Bloody Disgusting!.

Repo! The Genetic Opera is a futuristic dystopian musical in which society has regressed so much that the disenfranchised can have their organs repossessed by the malevolent and monolithic GeneCo. Repo! first found life in 2002 as a stage musical by Darren Smith and Terrance Zdunich, under the title The Necromerchant’s Debt. In 2006, a ten-minute short film was directed and financed by Darren Lynn Bousman as a proof of concept, before it became its own feature, hot on the heels of Bousman directing his celebrated Saw trilogy. 

Repo! The Genetic Opera gained a cult following and has continued to play in theaters for years, acquiring a reputation that’s akin to Rocky Horror, complete with “shadow cast” performances during shows. It’s a title that continues to come up in conversations nearly two decades later, despite no sequel or official follow-up.

However, the film will be returning to Regal theaters in a new 4K restoration on May 29, making this the perfect way to experience this underground sensation.

To celebrate Repo! The Genetic Opera’s upcoming 4K release, Darren Lynn Bousman, Terrance Zdunich, and Bill Moseley (Repo!’s Luigi Largo) open up regarding the horror musical’s enduring legacy two decades later, the hundreds of hours of footage that are being combed through for the new 4K physical media release, and if there’s any hope of a sequel.

BLOODY DISGUSTING: The history of this film has always been one of the most fascinating things to me, with its roots being in a stage musical, then a short film, and then the finished film. What’s it like looking back on the project’s trajectory, but also its legacy, nearly two decades later?

DARREN LYNN BOUSMAN: I tell this story a lot, and it’s one that just makes me happy. When Repo! came out — No one ever means to make a cult movie. That’s not what you set out to do. You mean to make a good movie, and then it may become cult. I think that when we made this movie, we thought it was going to be in 3000 screens, and it was going to be like Chicago or some of these other musicals. I remember sitting down with my wife and watching the first major review show that was going to review it — At the Movies, with Ben Lyons. So it finally gets to Repo! and I remember there was a trailer and he says, “We’re going to end the show with what I’m going to say may be the worst movie of all year. No, it’s actually maybe in the running for the worst movie of all time, Repo! The Genetic Opera. And then it went to commercials. 

I remember sitting there, and it was like getting punched in the ballsack. Then he comes back and for like four minutes just trashes Repo! Just trashes it. At the time, I was like, “Fuck. Oh no,” but in retrospect, that review makes me so goddamn happy because here we are, 17 years later, and it still has a fan base and still has people singing the songs in theaters. We’re re-releasing it digitally in new 4K and Dolby Atmos. Terrance was saying that all this is our “Middle Finger Tour.” It’s our “Fuck you Tour,” two decades later. 

TERRANCE ZDUNICH: I echo everything Darren says. It’s wild looking back at it now, both in the sense of, I think the parody of the future we were telling has come true in a very shameless way. So that’s wild to see. But I think what’s even wilder is the level of creativity that’s involved in it. Whether you love it or hate it, it’s so bold, and it’s so audacious. I think even now there are a lot more movies out there. There are many more things. Technology is better. Somehow Repo! still feels like the most creative thing in the room. As one of its primary creators, I’m very proud of that. 

I think on some level, whatever that essence is, it’s never disappeared. It’s been the battery of the whole thing. I think the fan base can feel that, has been changed by it, and has adopted it as their own. There’s always been this camp of people who don’t get it, and if I think of creativity as being the defining principle, then if they don’t get it, it’s kind of okay. It’s kind of their loss. 

DLB: In terms of the project’s origins and evolutions, I came on board on Chapter Two of it. It started off in coffee shops and clubs, and then it moved to become a black box theater show. Then Terrance ended up doing it off-off-Broadway. It was insane to see the progression of it, but the one thing that never changed — and the one thing that stayed consistent — is that you knew you were seeing something different. You knew you saw something undefinable. 

I remember even in our first production on the stage—we were supposed to be open just a few weekends, but we sold out, and we kept extending and extending and extending because people would talk to their friends and be like, “Dude, it’s fucking crazy.“ We always had this line of people outside waiting to see it. People either loved it or hated it. There was no in-between. I think that’s carried over for every incarnation of this thing. It’s either a movie you really get or really don’t get. I love both ends of that spectrum. 

Repo! The Genetic Opera is headed back to theaters with a 4K release, but Darren, I saw you sharing that hundreds of hours of behind-the-scenes footage were being looked at. Is a 4K physical media release also on the way?

DLB: Yeah! Just a few months after the theatrical run, the 4K will come out, and it’s got a ton of shit in it. I mean a ton. My wife filmed over one hundred hours of behind-the-scenes footage while we were filming. Every second. Every wart. It’s there. We have a ton of great stuff. Bill, we haven’t asked your permission yet, but I want to put out your initial audition, which I still have on my computer right now, on it. There are so many great things that I think fans would freak out over if and when they see it. So that’ll all be there for those who purchase the 4K disc.

On the topic of new footage and physical media releases, fans have always wanted to see Repo!’s original short film and the Director’s Cut. Will either of those finally be available on the 4K release?

DLB: I can’t answer on the short film. Maybe. Maybe it’s a hidden thing or an Easter Egg that if you find it… On the Director’s Cut, though, no, not yet. That is a very expensive thing because when you do a musical, it has to be mixed and color corrected, and there are visual effects to consider. So the Director’s Cut exists, but none of that’s done with it. So they would have to go back into the actual negatives and fix all that before it’d be released. But there is a ton of extra footage. So maybe if this thing does well, they might put out the Director’s Cut a few years later. Bill, how long was it between The Devil’s Rejects and 3 From Hell? 

BILL MOSELEY: The Devil’s Rejects was 2005, and then 3 From Hell was 2019, so 14 years. 

DLB: So we would still be longer. We would have 20 years if we ever got to do a sequel. 

Is a sequel a possibility? Has there been any renewed interest in your parts on some sort of continuation, especially now that places like Shudder exist? If the 4K theatrical release does well in theaters and the physical media sells, then is there a chance that it could lead to something new? Even if it was a limited series or something other than a movie.

TZ: We’ve always wanted to do that. This started on the stage. It’s an opera. We always loved the idea of an ongoing musical series. It’s why we did The Devil’s Carnival. But as Darren intimated, it’s very difficult to do a musical, let alone do it well. Darren and I have discussed more short-form musical pieces. Almost like a bunch of Thriller-style short stories, put to music. I think with everything going on, we’re hoping that someone shows interest because we certainly would love to do that. 

DLB: I mean, listen, I think the thing that’s fun here is we left Repo! with the Largos in charge. We have Pavi, Luigi, and Amber Sweet. I think that’s a fun way to pick back up and see how the world has changed. But Terrance is right, I think that we now live in a world where everyone is distracted with their doom-scrolling and their limited attention spans. So there’s an exciting opportunity for short-form verticals, even if we release a series of them. Maybe each vertical has three songs in it, and then you can put them together for a feature later. I think that the opportunities are there for us to do something dynamic if we’re given that ability from Lionsgate or whoever. That’s what we’re hoping for. Would you come back for a sequel, Bill?

BM: I’m down for it. I still take my singing lessons so I can still hit those notes. 

Bill, you were also a big part of The Devil’s Carnival. Is there a character that you preferred between Repo!’s Luigi and The Magician from The Devil’s Carnival? They’re both such rich roles.

BM: I certainly loved the Magician because I had a little buddy. Luigi, well, I think Luigi would have been a completely different character if he’d had a little buddy, like Mr. Bunny. Instead, all he had was his violence. I certainly love playing Luigi, but I actually really loved the Magician. I just had so much fun, even though we were freezing our asses off at four in the morning in a tent in Riverside, California. Just jumping around and being the Magician, who is kind of precious, but also very magical. And of course, I had Mr. Bunny. 

I was disappointed, though, because we did a sequel, Alleluia!, and nobody could find Mr. Bunny. Mr. Bunny had disappeared from the face of the Earth. So I was given a stuffed jackrabbit. It just wasn’t the same. Mr. Bunny, of course, was nicely glazed, but the jackrabbit was fully-haired. The only thing missing was the little jackalope horns, and that just wasn’t the same. 

DLB: Bill, you don’t understand that would have all been answered in The Devil’s Carnival Episode Three. We just never got to that point, sadly. 

BM: Exactly, because there was no Mr. Bunny. 

TZ: We cursed the whole production with that. We didn’t know at the time. 

DLB: I have a funny story that I’ve talked about, but I don’t think people actually believe it. I swear to you, this is a true story — it’s a Devil’s Carnival story — but it’s one of my favorite stories. We’re on the last night or second-to-last night of filming The Devil’s Carnival, and we were shooting in a not great part of Riverside, California. We’re shooting really late at night, and then all of a sudden, my assistant, who doesn’t speak great English, comes running and he goes, “Crime. Crime.” And he’s pointing, and there are these three meth heads running from the trailer, and they have a bag. Immediately, I knew what that bag was. That bag had the hard drives with all The Devil’s Carnival footage. 

We were such a low-budget film, and we didn’t back anything up. If they had gotten away with it, we would have been done. The movie would have never come out. The funniest thing, though, was that everyone was still in make-up. Terrance was still Lucifer. Everyone just takes off running after these guys. There are literally like 30 crew members and cast outside of this house, dressed in full hell regalia. The father comes outside and goes, “Get off our porch! What are you doing in our house?” At the same time, we’ve called 9-1-1. He’s denying that his sons have done any of this.

Long story short, the police showed up, and they were talking to us and said, “Did anyone see any weapons?“ We’re like, “No.” The police said, “Did anyone see any weapons?” Someone from our crew goes, “Oh yeah, we saw weapons.” They said, “Thank you,” and that gave them the ability to go into the house, and they got the hard drives back. If they had not retrieved those drives, then there would not be a Devil’s Carnival or a Magician. We almost lost it to the meth heads. 

BM: Wow. It’s almost like magic. 

DLB: Exactly! It is! We were able to preserve The Devil’s Carnival! 

I remember when Repo! The Genetic Opera first came out there was a lot of chatter around Paris Hilton’s inclusion as Amber Sweet. It’s a film that she seems to really be proud of and an experience that she speaks about fondly. Darren, she’s even in your next movie, right? Can you all talk a little bit about working with her and her role in everything? 

BM: I thought that Paris was great. I really enjoyed working with her. She was very prepared. I do remember going out with her one night. There was a group of us that went out to dinner and then to a discotheque in Toronto. We came in through the kitchen, and there was a dance floor at this discotheque that had an area that was closed off with couches. We were all led into the center of this discotheque dance floor, and all the screens were playing Paris Hilton videos. The music was Paris Hilton disco music, and we basically sat there and ate hors d’oeuvres as Paris vamped around the perimeter of this little island and took selfies with people. Darren, I’m sure you can expound on this a little, but part of what really seemed to gun down Repo! was the inclusion of Paris Hilton. I thought that was grossly unfair because she did a great job. She sang. She was a great character. 

DLB: What I love most about Repo! is just the “What the fuck” factor of it all. I think where Repo! succeeds is that it has a complete “What the fuck” factor where you look and see Sarah Brightman, world-renowned opera star, and Christine from Phantom of the Opera, singing with Paris Hilton, Ogre from Skinny Puppy, and Paul Sorvino. You have complete opposite ends of the spectrum from Sarah Brightman to Paris Hilton, but it works. 

One of the reviews that we got for the stage show, that I feel also translated over to the movie, is that it’s a “mishmash opera stew,” or something like that. It was basically saying that Repo! is every end of the spectrum, and I think that the casting accomplishes that as well. The fact that Paris was willing to come in and basically poke fun at an archetypal character that basically is her — this heiress with this princess mentality. I think it helped cement Repo! to be the cult classic that it is now. And yeah, Paris and I are working together right now on another project where, again, she’s kind of making fun of that archetypal reality show persona.

Repo! The Genetic Opera returns to Regal theaters on May 29 with a 4K restoration.

The post ‘Repo! The Genetic Opera’ Creators on New 4K Restoration and Wild Set Theft That Nearly Ended ‘The Devil’s Carnival’ appeared first on Bloody Disgusting!.

As a fan of these unapologetically absurd films with cheap effects and bizarre storylines, I was understandably excited when I first saw the trailer to Jon Keeyes’ supernatural thriller Speed Demon. After all, this more action-oriented take on the exorcism subgenre feels exactly like the sort of flick I’d pick out from the “weird” DVDs at the back of Rogers Video in the days before streaming. However, Keeyes’ movie isn’t exactly what you might expect judging from Speed Demon’s marketing.

In the film, we follow the troubled nun Sister Lu (Katie Cassidy) as she embarks on a high-speed train ride with her mentor and experienced exorcist Father Novak (William H. Macy). Unfortunately for the bickering duo, an archeologist also happens to be making the trip alongside a cursed statue of the demon king Asmodeus. What follows is a high-stakes test of faith as Asmodeus escapes his inanimate prison and takes control of the speeding train.

It’s ultimately up to Sister Lu to confront her past in order to save the lives of the desperate ensemble of terrified passengers surrounding her before they all reach a hellish final destination.

An unexpected combination of Speed and The Amityville Horror, Speed Demon’s premise conjures up imagery from nunsploitation classics and even the supernatural action-horror flicks of the 2000s (such as Francis Lawrence’s Constantine), but Keeyes’ movie is a lot less over-the-top than you might initially expect. While Sister Lu’s characterization and Asmodeus’ interactions are delightfully exaggerated, the film’s overall tone and atmosphere are disappointingly tame.

Don’t get me wrong, I appreciate the film’s polished photography and even some of the relatively impressive CGI (at least for a modest horror production), but it feels like the screenplay here fails to grasp the true entertainment value of its absurd setup. Despite a few brief moments of inspiration – like when Sister Lu is forced to confront her substance abuse problem or when one of the most annoying side characters decides to step up and become a hero – the narrative ultimately stumbles into familiar genre pitfalls and relies on the same old tropes we’ve seen a thousand times in other exorcism movies.

While there is an interesting ensemble of supporting characters here to both aid and hinder our intrepid nun, one of the biggest issues with the film is casting. William H. Macy is certainly a joy to watch as a jaded exorcist trying to keep his protégé on the right path, but he’s not in the film as much as I would have liked, and Cassidy feels like she was miscast in a role that requires equal measures of grit and traditional religious devotion. There are also a handful of stilted line deliveries from minor characters that really take you out of the experience during a couple of pivotal scenes.

That’s not to say that Speed Demon isn’t an enjoyable film, as there are a handful of effective scares and memorable character moments here. It’s just a shame that the filmmakers couldn’t quite come up with the appropriate vibe for the subject matter. I thoroughly enjoyed watching our lead nun face off against the demon and his zombified thralls (and the idea of a woman having to take on a traditionally masculine role in order to protect those around her has plenty of merit, especially in this religious context), but I feel like all of these ideas would have been more entertaining if they had shown up in a less solemn project.

In fact, the insistence on taking everything so seriously ends up highlighting some of the less intelligent aspects of the script. I may not have been a star pupil in Catholic School, but I paid enough attention to know that the film’s depiction of church doctrine is far from accurate. Not only that, but there are plenty of leaps in logic concerning the operation of the train itself and how Asmodeus is keeping everyone trapped. These things could have easily been hand-waved away in an unrepentant B-movie, but it’s a lot harder to justify lapses in narrative judgment when your film expects audiences to take things so seriously.

That’s not the entire story, however…

Speed Demon does a complete 180° when it comes to its action-packed finale, with the last fifteen minutes or so feeling so comparatively bonkers that they must be seen to be believed. I won’t get into details in order to avoid spoiling the best part of the movie, but suffice to say that the ending alone is worth the price of admission, even if it also serves as an example of why the flick would have been better had it committed to the absurdity throughout the entire runtime.

Your enjoyment of Speed Demon will likely depend on your tolerance for overly ambitious filmmaking, but I think there’s enough creativity on display here to warrant a watch despite some minor gripes with the flick’s tone. It may not be a groundbreaking genre experience, but I’d certainly be on board for a sequel expanding on that ridiculous ending.

Speed Demon arrives in theaters, On Demand, and Digital on May 31.

The post ‘Speed Demon’ Review – Exorcism-on-a-Train Horror Isn’t as Silly as it Sounds appeared first on Bloody Disgusting!.

In fact, Obsession made more in its second weekend than it did in its debut weekend!

Obsession found itself in the #2 position on the U.S. box office charts this past weekend, while Passenger came in at #6 with an opening haul of $8.7 million in the traditional weekend frame. When you add in Memorial Day Monday, Passenger debuted with $10.5 million.

Worldwide, Paramount’s Passenger has hitchhiked its way to $15.3 million thus far.

It’s not doing Passenger any favors that it’s been sandwiched in between box office sensation Obsession and likely sensation Backrooms, and it also doesn’t help matters that Øvredal’s latest is currently “rotten” on Rotten Tomatoes with a 45% score. Most horror fans seem to agree that it’s just too generic for its own good, especially at a time when young filmmakers are raising the bar so high with films like Obsession. Curry Barker’s film essentially drove a nail into the coffin of Passenger‘s opening weekend before it ever had a chance to hit the road.

The reported production budget for Passenger was $15 million, so it seems unlikely that it’ll be ending its box office run with a profit. With Obsession and Backrooms competing for box office dollars this coming weekend, we expect Passenger will face a steep second week decline.

In Passenger, “A few weeks into their van life adventure, a young couple witnesses a horrific accident that leaves the driver dead. Soon they’re being pursued by a demonic presence who’s impossible to outrun and follows them wherever they go.” Jacob Scipio (Bad Boys for Life), Lou Llobell (“Foundation”), and Melissa Leo (The Fighter) star.

Meagan Navarro writes in her review for Bloody Disgusting, “André Øvredal trades the claustrophobic chills of a small town morgue for the open road in his latest haunted house horror feature, Passenger. Despite the filmmaker’s considerable talents and a novel concept for a nomadic style haunting, though, Øvredal’s latest winds up falling asleep at the wheel.”

“Passenger doesn’t really offer much in the way of a journey or a destination,” Meagan’s 2.5 skull review continues. “Its setup is novel, but the lack of depth prevents this handsomely made haunted house road tale from ever becoming truly interesting, let alone scary.”

The post ‘Passenger’ Memorial Day Weekend Box Office Hits $10 Million appeared first on Bloody Disgusting!.