Movies
Red White & Blue (V)
“Red, White & Blue is duplicitous in its design. By placing its horrors against a wide blue yonder of the infinite Texas sky Rumley purposed the bright sun shiny day as the ultimate juxtaposition to the grim realities of his characters fate. It’s a masterful piece of storytelling from a filmmaker on the rise.”
British Director Simon Rumley’s last feature The Living and the Dead crafted a maddeningly bleak look at the disintegration of a family unit. Full of static atmosphere that film’s tension ratcheting ever tighter like a noose closing around the characters, threatening to choke the life out them at every second. In the same manner, Red, White & Blue is a slow-burn thriller that uses every available frame of film to further the filmmakers distinct vision and melancholy scripting.
Erica (Amanda Fuller) is a disaffected twenty-something woman living in Austin, Texas. She spends her days cleaning the boarding house where she lives rent-free and her nights in a skirt-hiked-up-to-there prowling the town bedding every man she meets. Always every night, always a different man, or men. She never spends the night and she never goes back for seconds. In truth, Erica never feels. Like alcohol or drugs, each new nighttime lover is just another substance she sticks in to the void that is in her soul. And each new morning, she scrubs off the sweat and cigarette smoke in the shower and starts it all over again. Until she meets Nate (Noah Taylor, Shine), an Iraqi War veteran with a ponytail and a Charlie Manson beard, gangly and captivating with an equally damaged conscience, Erica brushes him off with an “I don’t want friends and I ain’t gonna fuck you” attitude. But when Erica loses her job sweeping floors, Nate sets her up with a new one and slowly these two lost souls connect. But, Erica’s past is set to catch up to her as a local musician, Franki (Marc Senter, Cabin Fever 2) is hunting Erica down to exact some revenge.
For some audiences, Red, White & Blue will present two distinct hurdles to overcome. The film is three-quarters set up and although that set up is intriguing and absolutely necessary to establish the complex world of these characters, it is liable to leave genre fans looking for guts and gore, scratching their heads and wondering what’s up with the film. I’ll admit that even though I was enthralled with trying to determine what caused Erica to cut off the world and what Nate’s true motivations were in the film, I was equally concerned that the film might not be leading anywhere monumental at all. At times, the movie reminded me of another Austin-based film–Love and a .45— however, that film is anarchic in its schizophrenic love story. Rumley’s picture is more in the vein of David Cronenberg in that the set up is long and deep, but they cuts that come in the finale run ever deeper. Which brings us to the second hurdle.
Non-gene fans who get sucked in by the nuanced storytelling, and wrapped up in the emotional journey and strange connection between Erica and Nate are apt to loose their cookies at the brutality that is unleashed in the final quarter of the film. The film’s violent undertones are present early on though and nervous viewers can feel the brutality in the characters past lives putting a flame to the fuse of power keg of emotions. When an explosion rocks Nate’s world, Red, White & Blue without reservation turns into a devastating motion picture and the collateral damage is absolute.
Only a precious few films have drained me more physically than watching Red, White and Blue. The mounting tension, especially in the films final build up, had me pressing my fingers into my palms so fiercely that I’m shocked that I never drew blood. But on screen blood was drawn, and the characters lives were decimated.
I started to think back and it occurred to me that Simon Rumley’s last film was dark and desolate. But, set inside a decrepit mansion, covered in dust, shrouded a blue haze, that the film was much more clear in its intentions. Red, White & Blue is duplicitous in its design. By placing its horrors against a wide blue yonder of the infinite Texas sky Rumley purposed the bright sun shiny day as the ultimate juxtaposition to the grim realities of his characters fate. It’s a masterful piece of storytelling from a filmmaker on the rise.
This week’s new releases offer everything from giant monsters to Spielberg aliens to ass-kicking martial artists and even an ash-eating medical student. Do we have your interest?
Here’s all the new genre movies that released on Friday, June 12, 2026!
These aren’t all HORROR movies, but we want you to be aware of them all the same…
Norwegian creature feature Kraken is now available on Digital.
The film was also unleashed in select theaters. Check your local listings.
In the monster movie Kraken, “unnatural behavior in wild salmon, followed by inexplicable deaths in Norway’s deepest fjord, points to the mythical Kraken. The ancient, multi-armed monster has awakened, ready to crush everything that moves or makes a sound.”
Pål Øie (The Tunnel) directs Samuel Goldwyn Films’ Kraken from a script by Vilde Eide, Kjersti Jelen Rasmussen, and Natasha Arthur. Sara Khorami, Mikkel Bratt Silset, Øyvind Brandtzæg, Jenny Evensen, Ingvild Holthe Bygdnes, Jon Erik Myre, Hans Morten Hansen, Steinar Klouman Hallert, and Filip Bargee Ramberg star.
An all girls trip into the desert for escapism fun instead implodes in violence in the revenge thriller Find Your Friends, now streaming only on Shudder.
In the film, “Amber and her four best friends flee Los Angeles for a girls’ trip in Joshua Tree, only to find themselves unwelcome in a desert town simmering with quiet hostility. As isolation sets in and encounters with aggressive locals grow more threatening, festering resentments within the group begin to surface.
“What begins as fun and reckless escape spirals into a violent struggle for control and survival, as past wounds and present dangers collide in a night that turns their trip into a nightmare.”
Bella Thorne (The Babysitter), Chloe Cherry (“Euphoria”), Helena Howard (I Saw the TV Glow), Sophia Ali (Uncharted), Zion Moreno (“Gossip Girl”), and Chris Bauer (“True Blood”) star in the feature debut by writer/director Izabel Pakzad.
Steven Spielberg is more sure today than he was when he made Close Encounters and ET that aliens are very real, and with Disclosure Day, he aims to make you a believer too.
Okay so it’s not a horror movie, but the sci-fi blockbuster is now playing in theaters.
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 $3 billion worldwide. Koepp also wrote the script for Jurassic World Rebirth.
Steven Spielberg is of course no stranger to extraterrestrial encounters, directing two of the greatest alien movies of all time: Close Encounters of the Third Kind in 1977 and E.T. in 1982. It’s an arena he returned to in 2005, directing an adaptation of H.G. Wells’ War of the Worlds.
Here in 2026, Steven Spielberg sees hope in the existence of aliens. He notes in the final trailer for Disclosure Day, “How will disclosure change us? I believe for the better.”
Another movie that’s not a horror movie but worth mentioning here is the violent martial arts revenge thriller The Furious, which is now playing in theaters from Lionsgate.
Xie Miao (The New Legend of Shaolin) and Joe Taslim (Mortal Kombat) star.
After his daughter is kidnapped by a criminal network and he receives no help from the corrupt police, Wang Wei sets out on a rampage to find her himself.
His only ally is Navin, a relentless journalist whose wife has mysteriously disappeared. Fueled by a furious vengeance, the unlikely duo ruthlessly fights against the kidnappers.
Kenji Tanigaki (Enter the Fat Dragon) directs from a script by Mak Tin Shu (Kung Fu Jungle), Lei Zhilong, Shum Kwan Sin (Twilight of the Warriors: Walled In), and Frank Hui.
A disturbing weight loss craze involving human ashes opens up a haunting world of hurt for a young woman in Saccharine, which is now available on Digital outlets at home.
From writer/director Natalie Erika James (Relic, Apartment 7A), the Australian supernatural body horror film follows lovelorn medical student Hana, who becomes terrorized by a sinister force after taking part in an obscure weight loss craze: eating human ashes.
Midori Francis (“Grey’s Anatomy”), Danielle Macdonald (Patti Cake$), and Madeleine Madden (“The Wheel of Time”) star in Natalie Erika James’ latest nightmare.
From directors Arturo Ambriz and Roy Ambriz, I Am Frankelda is billed as the first ever full length stop motion movie from Mexico, and it’s now streaming on Netflix.
The history-making stop-motion film is a dark fantasy set in a world of monsters.
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.”
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 lines of reality and delusion blur in Time of Death, now available on Digital.
Michael Kelly (“The Penguin,” Dawn of the Dead 2004) stars with Kevin Pollak (End of Days), Mena Suvari (Vampires of the Velvet Lounge), and Dennis Haysbert (Send Help).
In the horror-thriller, “When a prisoner vanishes without a trace, Detective Frank Morley (Michael Kelly) is sent to a decaying prison on the verge of shutdown. What begins as a routine investigation quickly spirals into a dangerous search for answers.”
Will Wernick (Escape Room 2017, Follow Me) directs from a script by Jason Rosen. They also produce alongside Kelly Delson, Jeff Delson, and Kyle David Crosby.
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