The latest from writer-director Na Hong-jin (The Wailing) is set to release in theaters on September 9.

Audiences can see it even earlier with Hope Premium Early Access screenings on September 7; the film will screen at 175 PLF (Premium Large Format) locations across the country in six premium formats, including Dolby, 4DX, ScreenX, HDR by Barco, D-BOX and Dolby Atmos, with participating theaters in New York, Los Angeles, Chicago, San Francisco, Dallas and more.

Tickets are on sale now for the early access event screenings.

Hope follows “police outpost chief Bum-seok (Hwang Jung-min) and officer Sung-ae (Hoyeon) as they investigate a series of violent attacks believed to be the work of a mysterious creature lurking in the nearby forest. As local hunters join the search, the line between predator and prey begins to blur, revealing a story that challenges assumptions about fear, humanity, and the unknown.”

Based on the new images below, this creature feature may be gnarlier than the trailer suggests.

Zo In-sung (“Moving”), Taylor Russell (Bones and All), Cameron Britton (“The Umbrella Academy”), Alicia Vikander (Ex Machina), and Michael Fassbender (Prometheus) also star in Hope.

Hope had its World Premiere at the Cannes Film Festival back in May.  The festival’s director, Thierry Fremaux, previously teased that Hope “constantly changes genres” to capture a story of “no part of history that’s ever been told before.”

In case you missed it, catch up with the action-heavy trailer here.

The post Gory New ‘Hope’ Images Tease Brutal Creature Feature From ‘The Wailing’ Director Ahead Of Release appeared first on Bloody Disgusting!.

Beginning Friday, August 28, audiences at participating theaters nationwide can listen to Ullom with producers Carrie Carusone and Evan Barber’s commentary track synchronized to the film as it plays, using only the TheaterEars app on their own phone and a pair of headphones.

In It Ends, a group of recent grads heads out on a late-night drive for grub, hoping to enjoy one final hangout before their paths diverge. Instead, they accidentally turn onto a never-ending, two-lane hellscape surrounded by untold horrors and cosmic forces beyond their understanding. Cramped together inside a Jeep Cherokee and with the miles stretching infinitely ahead, they face a choice: embrace their new existence or fight to escape it.

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

As for how the Director’s Commentary experience works, moviegoers download the free TheaterEars app, select It Ends and their showtime to get the track on their phone, then press play when the movie starts. The app synchronizes the filmmakers’ commentary to the projected film and works across all formats including RealD and 4DX.

The app is free to download from the App Store and Google Play and is free to use (ad-supported) for the Director’s Experience during any standard showtime at participating locations, providing the moviegoer with premium audio experience without an additional ticket upcharge.

“I made a movie that takes place almost entirely inside a car, so I spent a year thinking about what four people say to each other and what they don’t. Getting to sit next to an audience while they watch it and tell them what we were actually doing — in a theater, while it’s still in theaters — is not something I thought was possible when we were shooting this in twenty days,” Ullom said in a statement.

“Commentary tracks have always arrived after the fact, months later, on a disc or a stream, to an audience that has already moved on. It Ends is a film built out of conversation, and Alex is a filmmaker whose audience found him online and then showed up in theaters. Putting his voice in that room, while the film is still on screens, is exactly the thing we built this for,” Dan Mangru, Founder & CEO, TheaterEars adds.

Alexander Ullom is already a filmmaker to watch; the newcomer was recently tapped to helm 4 X 4: The Event, which is being described as Battle Royale meets Saw meets Climax.

The post ‘It Ends’ Gets Director’s Commentary Experience For Select Showings This Weekend appeared first on Bloody Disgusting!.

Her Private Hell will arrive on digital platforms to rent or own beginning today, August 25, followed by a 4K Ultra HD/Blu-ray Combo on November 24, 2026.

In the film, when a mysterious mist engulfs a futuristic metropolis, unleashing a deadly and elusive entity, a troubled young woman searches for her father. Her quest collides with an American GI on a harrowing odyssey to rescue his daughter from Hell.

Sophie Thatcher (“Yellowjackets”), Charles Melton (“Riverdale”), Kristine Froseth (How to Blow Up a Pipeline), Havana Rose Liu (No Exit), and Diego Calva (Babylon) star.

The ensemble also includes Dougray Scott (Hitman), Aoi Yamada (Perfect Days), Shioli Kutsuna (Deadpool & Wolverine), and Hidetoshi Nishijima (Shin Ultraman).

Nicolas Winding Refn directs Her Private Hell from a script he co-wrote with Esti Giordani (“Vida”).

Pino Donaggio (Carrie, Don’t Look Now) composed the score.

Her Private Hell definitely won’t be for everyone. I wrote in my review, “While it never fully pulls you into its tangled web of artistic musings, there’s a lot to admire in a technically stunning feature this fearless in its incomprehensibility and ambition.”

The physical media release will come packed with exclusive bonus features; the 4K Ultra HD/Blu-ray includes a behind-the-scenes music video, an interview with Nicolas Winding Refn, an interview with the cast, the teaser and trailer.

The post ‘Her Private Hell’ Arrives On Digital Today Ahead Of November Physical Media Release appeared first on Bloody Disgusting!.

Gen Z horror hangout movie It Ends is now playing in select theaters before expanding nationwide on August 28, and NEON has unveiled a final trailer that packs in the accolades.

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

A group of recent grads heads out on a late-night drive for grub, hoping to enjoy one final hangout before their paths diverge. Instead, they accidentally turn onto a never-ending, two-lane hellscape surrounded by untold horrors and cosmic forces beyond their understanding. Cramped together inside a Jeep Cherokee and with the miles stretching infinitely ahead, they face a choice: embrace their new existence or fight to escape it.

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

“This was always a movie that was more about how we live with horror than about the actual horror. I make this joke too much, but I always wanted to see the family in Hereditary give a postgame interview and just be like, ‘Yeah, that was terrifying. That was absolutely terrifying.’ Then, they all die, obviously, but like they go about their lives. The movie is constantly recontextualizing the things that happen in it,” Alexander Ullom previously told BD.

Alexander Ullom is already a filmmaker to watch; the newcomer was recently tapped to helm 4 X 4: The Event, which is being described as Battle Royale meets Saw meets Climax.

The post ‘It Ends’ Final Trailer Hits The Open Road of Existential Horror appeared first on Bloody Disgusting!.

The latest from writer-director Na Hong-jin (The Wailing) is set to release in theaters on September 9, but on Monday, September 7, the film will screen at 175 PLF (Premium Large Format) locations across the country in six premium formats, including Dolby, 4DX, ScreenX, HDR by Barco, D-BOX and Dolby Atmos, with participating theaters in New York, Los Angeles, Chicago, San Francisco, Dallas and more.

Tickets for the Hope Early Access Event are on sale now. Purchase tickets HERE.

While Neon is building upon its early-access PLF strategy for Osgood Perkins’ The Monkey, Hope feels designed for the biggest screen possible.

Hope follows “police outpost chief Bum-seok (Hwang Jung-min) and officer Sung-ae (Hoyeon) as they investigate a series of violent attacks believed to be the work of a mysterious creature lurking in the nearby forest. As local hunters join the search, the line between predator and prey begins to blur, revealing a story that challenges assumptions about fear, humanity, and the unknown.”

Zo In-sung (“Moving”), Taylor Russell (Bones and All), Cameron Britton (“The Umbrella Academy”), Alicia Vikander (Ex Machina), and Michael Fassbender (Prometheus) also star in Hope.

Hope had its World Premiere at the Cannes Film Festival back in May.  The festival’s director, Thierry Fremaux, previously teased that Hope “constantly changes genres” to capture a story of “no part of history that’s ever been told before.”

In case you missed it, catch up with the action-heavy trailer here.

The post See Na Hong-jin’s Creature Feature ‘Hope’ Early With Nationwide Premium Format Screening Event appeared first on Bloody Disgusting!.

The Korean monster movie will be released in theaters in the United States by NEON on September 9.

Set in the remote South Korean village of Hope Harbor, police chief Bum-seok and officer Sung-ae are called to find a mysterious creature that has wreaked havoc on the village.

In the nearby forest, a coterie of hunters, including Sung- ki, set out to track the beast and find themselves hunted instead. But all is not as it seems, and perceptions can be misleading.

What begins as ignorance plants the seed of disaster, escalating through human conflict into a tragedy of cosmic proportions.

Hwang Jung-min (The Wailing), Zo In-sung (“Moving”), Hoyeon (“Squid Game”), Taylor Russell (Bones and All), Cameron Britton (“The Umbrella Academy”), Alicia Vikander (Ex Machina), and Michael Fassbender (Prometheus) star in Hope.

Hope had its World Premiere at the Cannes Film Festival back in May.  The festival’s director, Thierry Fremaux, previously teased that Hope “constantly changes genres” to capture a story of “no part of history that’s ever been told before.”

In case you missed it, catch up with the trailer here.

The post ‘Hope’ Behind-The-Scenes Featurette Highlights High-Octane Action appeared first on Bloody Disgusting!.

It Ends releases in NYC & LA theaters on August 21, which is also when “The Endless Screening” begins for daring groups of four. The film expands wide on August 28.

Even better? The challenge features a cash prize.

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

“The Endless Screening” will begin at 7:00 p.m. ET on August 21 and continue through 7:00 a.m. ET on August 23 at Metro Private Cinema, 131 8th Avenue, New York, NY 10011. 

Four-person teams will take part in a “Last Person Standing” style competition, challenging them to remain inside the theater for the full 36-hour marathon, with designated breaks throughout.

Each group member will receive $0.25 for every minute they remain in the competition, up to $540 per person. If every member of a group makes it through the entire 36-hour marathon, each member will receive an additional $500 bonus.

Each participant will also receive a $250 theater credit toward concessions during the marathon, excluding alcohol. And, because no endless journey should be entirely predictable, bonus surprises will take place along the way. 

The contest is open to legal residents of New York City who are 21 years of age or older.

To enter, groups of exactly four must submit a video of no more than 60 seconds to Instagram explaining why they have what it takes to go the distance, using #ItEndsMarathonContest and tagging @itendsmovie. One person may submit on behalf of their group, but must name all group members in the video.

Entries must be submitted by 11:59 p.m. PT on August 17, 2026. The submitting Instagram account must be public at the time of entry. Groups of fewer than four people are not eligible.

For complete eligibility requirements and contest rules, visit the official IT ENDS Endless Screening Contest Official Rules.

It’s a fun endurance test for a great film. It Ends marks the feature debut of writer-director Alexander Ullom.

Ullom is already a filmmaker to watch; the newcomer has already been tapped to helm 4 X 4: The Event, which is described as Battle Royale meets Saw meets Climax.

The post ‘It Ends’ Turns Its Endless Road Nightmare Into “Endless” Movie Marathon Challenge appeared first on Bloody Disgusting!.

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

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

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

“This was always a movie that was more about how we live with horror than about the actual horror. I make this joke too much, but I always wanted to see the family in Hereditary give a postgame interview and just be like, ‘Yeah, that was terrifying. That was absolutely terrifying.’ Then, they all die, obviously, but like they go about their lives. The movie is constantly recontextualizing the things that happen in it,” Alexander Ullom previously told BD.

Meagan Navarro wrote in her 4-star festival review for Bloody Disgusting, “It Ends captures a universal fear, that anxiety-inducing transition into full-blown adulthood where we’re all expected to become responsible contributors to society. It’s a lot of pressure with no clear guide. As such, it runs through every emotion that comes with that journey.”

Alexander Ullom is already a filmmaker to watch; the newcomer was recently tapped to helm 4 X 4: The Event, which is being described as Battle Royale meets Saw meets Climax.

The post ‘It Ends’ Official Poster Takes You on the Most Existential Road Trip of the Summer appeared first on Bloody Disgusting!.

The Korean monster movie will be released in theaters in the United States by NEON on September 9.

Check out the new poster below.

Set in the remote South Korean village of Hope Harbor, police chief Bum-seok and officer Sung-ae are called to find a mysterious creature that has wreaked havoc on the village.

In the nearby forest, a coterie of hunters, including Sung- ki, set out to track the beast and find themselves hunted instead. But all is not as it seems, and perceptions can be misleading.

What begins as ignorance plants the seed of disaster, escalating through human conflict into a tragedy of cosmic proportions.

Hwang Jung-min (The Wailing), Zo In-sung (“Moving”), Hoyeon (“Squid Game”), Taylor Russell (Bones and All), Cameron Britton (“The Umbrella Academy”), Alicia Vikander (Ex Machina), and Michael Fassbender (Prometheus) star in Hope.

Hope had its World Premiere at the Cannes Film Festival back in May.  The festival’s director, Thierry Fremaux, previously teased that Hope “constantly changes genres” to capture a story of “no part of history that’s ever been told before.”

In case you missed it, catch up with the action-heavy trailer here.

The post New ‘Hope’ Poster Gives Closer Look at Rampaging Monster appeared first on Bloody Disgusting!.

NEON will now release A Place in Hell in theaters on April 23, 2027.

Chloe Domont writes and directs the “adult thriller.”

A cutthroat criminal defense attorney (Williams), on the verge of making partner, sees her ambitions upended when a younger lawyer (Edgar-Jones) is brought in to replace her. As rivalry escalates into a battle for control, the two women push one another to dangerous extremes.

Andrew Scott, Danny Huston, Arturo Castro, Rob Yang, Kyle Mooney, Dani Oliveros, and Esther McGregor round out the ensemble cast of A Place in Hell.

Rian Johnson’s T-Street (Knives Out) and MCR (Saltburn) produce.

A Place in Hell moving out of the Christmas Day 2026 release date is a great help to the Robert Eggers-directed Werwulf, which will now own the day without any genre competition.

The post ‘A Place in Hell’ – Michelle Williams Thriller Moves from Christmas 2026 to April 2027 appeared first on Bloody Disgusting!.

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

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

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

“This was always a movie that was more about how we live with horror than about the actual horror. I make this joke too much, but I always wanted to see the family in Hereditary give a postgame interview and just be like, ‘Yeah, that was terrifying. That was absolutely terrifying.’ Then, they all die, obviously, but like they go about their lives. The movie is constantly recontextualizing the things that happen in it,” Alexander Ullom previously told BD.

Meagan Navarro wrote in her 4-star festival review for Bloody Disgusting, “It Ends captures a universal fear, that anxiety-inducing transition into full-blown adulthood where we’re all expected to become responsible contributors to society. It’s a lot of pressure with no clear guide. As such, it runs through every emotion that comes with that journey.”

Alexander Ullom is already a filmmaker to watch; the newcomer was recently tapped to helm 4 X 4: The Event, which is being described as Battle Royale meets Saw meets Climax.

The post ‘It Ends’ Official Trailer – Existential Road Trip Nightmare Drives into Theaters This Summer appeared first on Bloody Disgusting!.

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

The feature debut by writer-director Alexander Ullom will arrive in theaters on August 21.

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

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

“This was always a movie that was more about how we live with horror than about the actual horror. I make this joke too much, but I always wanted to see the family in Hereditary give a postgame interview and just be like, ‘Yeah, that was terrifying. That was absolutely terrifying.’ Then, they all die, obviously, but like they go about their lives. The movie is constantly recontextualizing the things that happen in it,” Ullom previously told BD.

Meagan Navarro wrote in her 4-star festival review for Bloody Disgusting, “It Ends captures a universal fear, that anxiety-inducing transition into full-blown adulthood where we’re all expected to become responsible contributors to society. It’s a lot of pressure with no clear guide. As such, it runs through every emotion that comes with that journey.”

Alexander Ullom is already a filmmaker to watch; the newcomer has already been tapped to helm 4 X 4: The Event, which is being described as Battle Royale meets Saw meets Climax.

The post ‘It Ends’ Official Poster Paves the Way for the Trailer Premiere Tomorrow appeared first on Bloody Disgusting!.

The Korean monster movie will be released in theaters in the United States by NEON on September 9.

Hwang Jung-min (The Wailing), Zo In-sung (“Moving”), Hoyeon (“Squid Game”), Taylor Russell (Bones and All), Cameron Britton (“The Umbrella Academy”), Alicia Vikander (Ex Machina), and Michael Fassbender (Prometheus) star in Hope.

Set in the remote South Korean village of Hope Harbor, police chief Bum-seok and officer Sung-ae are called to find a mysterious creature that has wreaked havoc on the village.

In the nearby forest, a coterie of hunters, including Sung- ki, set out to track the beast and find themselves hunted instead. But all is not as it seems, and perceptions can be misleading.

What begins as ignorance plants the seed of disaster, escalating through human conflict into a tragedy of cosmic proportions.

The new trailer below doesn’t reveal most of its cast, but it does give a much closer look at the monster terrorizing a village. It also sets up a genre-bending actioner, as the trailer emphasizes a constant pursuit of the rampaging creature.

Hope had its World Premiere at the Cannes Film Festival back in May. The festival’s director, Thierry Fremaux, previously teased that Hope “constantly changes genres” to capture a story of “no part of history that’s ever been told before.”

Na produces alongside Saemi Kim and Saerom Kim for Forged Films. Jeongin Hong executive produces, with Plus M Entertainment financing.

The post ‘Hope’ New Trailer Reveals a Rampaging Monster Tearing Through a Village appeared first on Bloody Disgusting!.

The feature debut by writer-director Alex Ullom will officially arrive in theaters on August 21.

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

Starring in the film are:

• Akira Jackson as Day
• Phinehas Yoon as James
• Mitchell Cole as Tyler
• Noah Toth as Fisher

“This was always a movie that was more about how we live with horror than about the actual horror. I make this joke too much, but I always wanted to see the family in Hereditary give a postgame interview and just be like, ‘Yeah, that was terrifying. That was absolutely terrifying.’ Then, they all die, obviously, but like they go about their lives. The movie is constantly recontextualizing the things that happen in it,” Ullom previously told BD of his existential horror film.

It Ends premiered at SXSW earlier last year and went on to win Best First Feature at the Fantasia International Film Festival.

I wrote in my review, “It Ends captures a universal fear, that anxiety-inducing transition into full-blown adulthood where we’re all expected to become responsible contributors to society. It’s a lot of pressure with no clear guide. As such, it runs through every emotion that comes with that journey.”

Ullom is already a filmmaker to watch; the newcomer has already been tapped to helm 4 X 4: The Event, which is described as Battle Royale meets Saw meets Climax.

The post Neon’s Gen Z Horror Movie ‘It Ends’ Heads to Theaters This August appeared first on Bloody Disgusting!.

Check out the new poster and previously released teaser trailer below.

Hwang Jung-min (The Wailing), Zo In-sung (“Moving”), Hoyeon (“Squid Game”), Taylor Russell (Bones and All), Cameron Britton (“The Umbrella Academy”), Alicia Vikander (Ex Machina), and Michael Fassbender (Prometheus) star in Hope.

Set in the remote South Korea village of Hope Harbor, police chief Bum-seok and officer Sung-ae are called to find a mysterious creature that has wreaked havoc on the village.

In the nearby forest, a coterie of hunters, including Sung- ki, set out to track the beast and find themselves hunted instead. But all is not as it seems, and perceptions can be misleading.

What begins as ignorance plants the seed of disaster, escalating through human conflict into a tragedy of cosmic proportions.

Hope had its World Premiere at the Cannes Film Festival back in May.

The post ‘Hope’ – South Korean Creature Feature Coming to U.S. Theaters in September appeared first on Bloody Disgusting!.

Settle in for a spooky supernatural chiller as Hokum arrives on all Digital platforms to rent or own beginning June 2, followed by a Blu-ray/4K Ultra HD Combo and DVD release on August 11, 2026.

Adam Scott (“Severance”) stars in Hokum as reclusive novelist Ohm Bauman. When he retreats to a remote Irish inn to scatter his parents’ ashes, the staff’s tales of an ancient witch haunting the honeymoon suite take hold of his mind. Disturbing visions and a shocking disappearance draw Ohm into a nightmarish confrontation with the darkest corners of his past.

Peter Coonan (“The Alienist: Angel of Darkness”), David Wilmot (“Station Eleven”), Florence Ordesh (“Departure”), Michael Patric (“Frontier”), Will O’Connell (“Game of Thrones”), Brendan Conroy (“Bodkin”), and Austin Amelio (“The Walking Dead”) also star.

Get a peek at the upcoming physical media release below, including a few special features.

Spooky Pictures’ Roy Lee (Weapons) & Steven Schneider (Insidious) produce alongside Image Nation’s Derek Dauchy (Late Night with the Devil), Tailored Film’s Ruth Treacy, Julianne Forde, & Mairtín de Barra, and Cweature Features’ Ken Kao & Josh Rosenbaum.

I wrote in my review for Bloody Disgusting, “A quaint Irish hotel with a deeply haunted history awaits an American writer in McCarthy’s third outing, continuing his streak for folkloric tales of supernatural karma and spine-tingling terror with a dark sense of humor.”

What’s next from Damian McCarthy? He’s currently writing a haunted house movie, but recent comments suggest he may be moving into other genres beyond that upcoming project.

The post ‘Hokum’ Heads Home to Digital Tomorrow Ahead of Physical Media Release in August 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
• JUST ADDED: 6/12 – Phoenix, AZ @ Harkins Camelview feat. Q&A with Adrian Chiarella, Joe Bird, and Stacy Clausen – RSVP!

* 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!.

Adam Scott stars as Ohm Bauman, a successful author struggling to conclude his conquistador book series that seems destined to end in bleakness. That’s likely because Ohm is very much haunted by the loss of his parents, and so he travels to the hotel where they honeymooned for a sense of closure. Ohm isn’t a very nice guy, though, and alienates much of Billberry Woods Hotel’s staff.

He does manage to make two friends in bartender Fiona (Florence Ordesh) and forest dweller Jerry (David Wilmot), both of whom warn him of the witch haunting the closed-off Honeymoon Suite. When Fiona goes missing, Ohm’s attempts to find her and the truth plunge him into an existential nightmare straight out of a twisted fairy tale.

Hokum‘s setting and acerbic author call Stephen King to mind, 1408 and The Shining specifically, in that the supernatural causes its protagonist to confront their issues in a baptism by unholy fire. While that means that McCarthy places higher emphasis on Ohm’s journey than the witchy folklore, the filmmaker firmly marches to his own drum with a unique and haunted vision. 

While Ohm’s introduction brings an effective scare, Hokum bides its time building anticipation and mystery. That’s not to say it’s light on scares; trust that McCarthy will scare you silly here. But dread and atmosphere take precedence over a constant barrage of jump scares; though there are plenty of those, too. One of McCarthy’s biggest strengths is his ability to conjure up chills from seemingly mundane spaces or objects, and with such imagination. 

There’s a distinct look to a Damian McCarthy horror movie. The filmmaker has a way of making whimsy pure nightmare fuel; Hokum distorts a kids’ show into eerie, uncanny valley-induced terror in its torment of Ohm. Production designer Til Frohlich ensures the hotel, and the Honeymoon Suite in particular, is as tactile and immersive as it is full of personality. When Ohm eventually finds his way in, you can practically smell the musk and mildew.

Adam Scott’s Ohm makes for a pleasant surprise, and his complicated emotional journey gives way to a deeply moving story of a man, not unlike his fictional conquistador bookending this film, so thoroughly broken by personal trauma that he constantly dwells in darkness. In true McCarthy style, expect the creepy as hell witch to dole out some supernatural retribution for crimes committed, but never in the way you’d expect. 

Damian McCarthy excels at defying expectations, also reflected in the way that every supporting player surprises: first impressions are very deceptive here. It’s also reflected in Hokum‘s narrative structure. McCarthy is unhurried in doling out details and uninterested in handholding. The Irish, at least in Hokum, simply accept the existence of folkloric entities like the witch. How she got there isn’t as important as the fact that she’s there and for good. Those hoping for an expansion of lore will likely come away disappointed, but that’s not what’s important to this story.

Hokum so thoroughly invests you in Ohm’s off-kilter quest, one that keeps raising new intrigues and questions, and in a way that’s not easily predicted. The full scope of terror takes a while to arrive for the sake of building anticipation, such nail-biting anticipation that explodes in a folkloric freakout, yet it still holds you firmly in its grip.

McCarthy dangles close to the precipice of bleakness, but ultimately rewards with a magical story about storytelling and the ability to heal. Hokum just also happens to be really freaking scary. But, as Jerry explains to Ohm, you have to be open to it.

Hokum premiered at SXSW and releases in theaters on May 1.

Editor’s Note: This SXSW review was originally published on March 15, 2026.

The post ‘Hokum’ Review – ‘Oddity’ Director’s Latest Irish Folkloric Horror is Nightmare Fuel appeared first on Bloody Disgusting!.

The official synopsis reads, “In Hope Harbor, a remote village near the Demilitarized Zone, police outpost chief Bum-seok receives alarming news from locals that a tiger has appeared. As the village erupts into panic, Bum-seok is forced to confront a reality beyond belief.“

The new images below introduce a tense situation within the Demilitarized Zone, though we’re no closer to learning what reality-bending situation its characters may encounter.

Hwang Jung-min (The Wailing), Zo In-sung (“Moving”), Hoyeon (“Squid Game”), Taylor Russell (Bones and All), Cameron Britton (“The Umbrella Academy”), Alicia Vikander (Ex Machina), and Michael Fassbender (Prometheus) star.

Hong Kyung-pyo (The Wailing, Parasite) reteams with Na Hong-Jin as cinematographer.

Expect to hear more about Hope out of Cannes soon. The fest’s artistic director Thierry Fremaux previously teased that Hope “constantly changes genres” to capture a story of “no part of history that’s ever been told before.”

Na produces alongside Saemi Kim and Saerom Kim for Forged Films. Jeongin Hong executive produces, with Plus M Entertainment financing.

Neon will release Hope theatrically. Stay tuned for more as it arrives.

The post ‘Hope’ First Images Preview Tense Demilitarized Zone in Sci-Fi Thriller from ‘The Wailing’ Director 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 96% with 26 reviews.

The post ‘Leviticus’ Official Trailer – A Twisted Horror Romance Sets Theaters Ablaze This Summer appeared first on Bloody Disgusting!.

Variety reports that NEON (Longlegs, Parasite, Anora, The Monkey) has hired Sam Evenson to write and direct a feature length adaptation of his horror short MORA.

In MORA, which was uploaded online one year ago, “a displaced artist becomes haunted by a mysterious woman after using an AI model corrupted by dark web images.”

The 12-minute horror short currently has 4.3 million views on YouTube.

Steven Schneider (The Long Walk, Late Night With the Devil) and Roy Lee (Weapons, IT) of Spooky Pictures, Ken Kao and Josh Rosenbaum of Waypoint Entertainment’s Cweature Features (Longlegs), and Jessica Biel and Michelle Purple’s Iron Ocean Productions (The Sinner, Candy) will produce the feature version of MORA alongside Neon.

You watch the original MORA short film below.

Sam Evenson publishes his horror shorts on the YouTube channel Grimoire Horror.

The post Horror Short ‘MORA’ Getting a Feature Film Expansion from NEON appeared first on Bloody Disgusting!.

While you wait, check out two new Leviticus official posters below.

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 96% with 25 reviews.

The post ‘Leviticus’ Poster Reveal – Queer Horror Movie Trailer Drops Tomorrow appeared first on Bloody Disgusting!.

You’ll want to check into writer/director Damian McCarthy‘s hotel of horror when Hokum releases in theaters on May 1, 2026.

Adam Scott stars as reclusive novelist Ohm Bauman. When he retreats to a remote Irish inn to scatter his parents’ ashes, the staff’s tales of an ancient witch haunting the honeymoon suite take hold of his mind.

Disturbing visions and a shocking disappearance draw Ohm into a nightmarish confrontation with the darkest corners of his past.

Peter Coonan (“The Alienist: Angel of Darkness”), David Wilmot (“Station Eleven”), Florence Ordesh (“Departure”), Michael Patric (“Frontier”), Will O’Connell (“Game of Thrones”), Brendan Conroy (“Bodkin”), and Austin Amelio (“The Walking Dead”) round out the cast.

Spooky Pictures’ Roy Lee (Weapons) & Steven Schneider (Insidious) produce alongside Image Nation’s Derek Dauchy (Late Night with the Devil), Tailored Film’s Ruth Treacy, Julianne Forde, & Mairtín de Barra, and Cweature Features’ Ken Kao & Josh Rosenbaum.

I wrote in my 4.5-skull review out of SXSW, “Hokum so thoroughly invests you in Ohm’s off-kilter quest, one that keeps raising new intrigues and questions, and in a way that’s not easily predicted. The full scope of terror takes a while to arrive for the sake of building anticipation, such nail-biting anticipation that explodes in a folkloric freakout, yet it still holds you firmly in its grip.”

Tickets are on sale now, as well as a few early sneak screenings. Fans of Oddity and Caveat won’t want to miss McCarthy’s latest folkloric nightmare.

The post ‘Hokum’ Final Trailer Opens Closed Minds to Damian McCarthy’s Witchy Nightmare Fuel appeared first on Bloody Disgusting!.

You’ll want to check into writer/director Damian McCarthy‘s hotel of horror when Hokum releases in theaters on May 1, 2026.

Watch the bone-chilling clip below that makes a strong case against the vulnerability of open floorplans and helps inspire Ohm Bauman’s retreat to a remote Irish inn to scatter his parents’ ashes.

Once there, the staff’s tales of an ancient witch haunting the honeymoon suite take hold of his mind. Disturbing visions and a shocking disappearance draw Ohm into a nightmarish confrontation with the darkest corners of his past.

Peter Coonan (“The Alienist: Angel of Darkness”), David Wilmot (“Station Eleven”), Florence Ordesh (“Departure”), Michael Patric (“Frontier”), Will O’Connell (“Game of Thrones”), Brendan Conroy (“Bodkin”), and Austin Amelio (“The Walking Dead”) round out the cast.

Spooky Pictures’ Roy Lee (Weapons) & Steven Schneider (Insidious) produce alongside Image Nation’s Derek Dauchy (Late Night with the Devil), Tailored Film’s Ruth Treacy, Julianne Forde, & Mairtín de Barra, and Cweature Features’ Ken Kao & Josh Rosenbaum.

I wrote in my 4.5-skull review out of SXSW, “Hokum so thoroughly invests you in Ohm’s off-kilter quest, one that keeps raising new intrigues and questions, and in a way that’s not easily predicted. The full scope of terror takes a while to arrive for the sake of building anticipation, such nail-biting anticipation that explodes in a folkloric freakout, yet it still holds you firmly in its grip.”

It’s a doozy that’ll leave you rushing to buy chalk.

Tickets are on sale now, as well as a few early sneak screenings. Fans of Oddity and Caveat won’t want to miss this one.

The post ‘Hokum’ Exclusive Clip Introduces the Film’s Terrifying First Scare for Adam Scott appeared first on Bloody Disgusting!.

Leviticus is rated R for “Bloody violent content, language, some sexual content and teen drug use.” Check out the previously released official poster down below.

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 96% with 24 reviews.

Stay tuned for the official trailer for NEON’s horror movie Leviticus.

The post ‘Leviticus’ Receives ‘R’ Rating for Bloody Violence and Sexual Content appeared first on Bloody Disgusting!.

While the sequel news isn’t surprising, considering Longlegs was the highest-grossing indie film of 2024, what is surprising is that the sequel is shifting from distributor Neon to Paramount Pictures.

More importantly, the new Longlegs film isn’t a direct sequel but rather something “set in the Longlegs universe.” Naturally, that means plot details are under wraps at this time, but it is confirmed that Perkins has written the script and will return to the director’s chair as well as produce.

In Longlegs, “FBI Agent Lee Harker (Maika Monroe) is a gifted new recruit assigned to the unsolved case of an elusive serial killer (Cage). As the case takes complex turns, unearthing evidence of the occult, Harker discovers a personal connection to the merciless killer and must race against time to stop him before he claims the lives of another family.”

THR reports that the budget and scope of the new Longlegs feature were too substantial for its former distributor, raising even more eyebrows as to what Perkins has envisioned for his killer’s latest exploits.

Also producing are Brian Kavanaugh Jones of Range Media, Chris Ferguson, Perkins’ partner at their company Phobos, and Dave Caplan of C2, which financed the initial movie.

Perkins is coming off a busy 2025, which saw the release of both The Monkey and Keeper. His upcoming horror film starring Nicole Kidman, The Young People, is expected to arrive in 2026 from Neon.

Cage will next be seen in Amazon Prime Video’s Spider-Man series, Spider-Noir, before donning the Longlegs wig and prosthetics for another round of Satanic mayhem.

The post Nicolas Cage & Osgood Perkins Are Reteaming On New ‘Longlegs’ Universe Film appeared first on Bloody Disgusting!.

The Korean production is written and directed by Na Hong-jin (The Wailing).

Hwang Jung-min (The Wailing), Zo In-sung (“Moving”), Hoyeon (“Squid Game”), Taylor Russell (Bones and All), Cameron Britton (“The Umbrella Academy”), Alicia Vikander (Ex Machina), and Michael Fassbender (Prometheus) star.

Set in Hope Harbor, a remote village near the Demilitarized Zone, the film follows a police officer who is alerted to the news that a tiger has appeared in the hills, sending the town into chaos.

What begins as a local emergency soon spirals into a deeper, more terrifying mystery, one that forces the town’s residents to confront a reality beyond belief.

Cannes artistic director Thierry Fremaux said that Hope “constantly changes genres” to capture a story of “no part of history that’s ever been told before.”

Na produces alongside Saemi Kim and Saerom Kim for Forged Films. Jeongin Hong executive produces, with Plus M Entertainment financing.

Neon, which has been pursuing the project since an early footage presentation in November, will release Hope theatrically.

The post Neon Acquires ‘The Wailing’ Director’s ‘Hope’ with Michael Fassbender & Alicia Vikander appeared first on Bloody Disgusting!.

An extended opening sequence in first-person perspective introduces a timid, asthmatic man (Kazunari Ninomiya) traveling on the subway. He keeps to himself, even as he witnesses a mother being berated by a man over her baby’s crying. As he leaves the train, he receives a call from his ex-girlfriend; she’s pregnant and unsure whether to keep it. Initially paralyzed by indecision, fear, and an asthma attack, the man agrees to meet her at the hospital. But when he attempts to exit the station, he instead finds himself trapped in a sterile backroom purgatory.

Like the game, the rules for the Lost Man are simple: scour the endlessly looping hallway for anomalies. If spotted, turn back immediately. If no anomalies, proceed. If the Lost Man can make eight successful loops, escape awaits.

Director Genki Kawamura gets inventive through simplicity. The brightly lit, pristine white tiled corridor is sparse in detail, ensuring both the Lost Man and the audience can keep track when it comes to spotting anomalies. It’s here where Exit 8 comes closest to capturing the essence of gaming, as much of the film’s fun comes from scouring for clues, picking up on subtle shifts in décor before the characters. In some instances, audiences can note the difference that onscreen characters miss entirely, instilling dread for the inevitable consequence of failure. And failure gets increasingly bizarre and cosmic.

It’s also here where Genki Kawamura adds complexity by toying with the narrative structure, weaving in nonlinear perspectives of the eerie grinning “walking man” (Yamato Kochi) and “the boy” (Kotone Hanase), touching on the prominent theme of guilt. It all ensures that Exit 8 is as unpredictable as it is meticulously crafted.

But the more the Lost Man attempts to find his way out of this twisted Möbius strip, the more the threadbare plotting begins to drag down the dizzying mind trap of horrors. The Lost Man’s arc is entirely driven by his indecision over whether to have the baby or abort, and once the boy fully enters the equation, it loses all nuance to the point of feeling more didactic in its pro-life messaging. That we never get a sense of who the Lost Man is beyond his panicked indecision and paralyzing fears means that the emotional stakes feel too low, to the point where the climax loses a lot of momentum.

Still, what Exit 8 lacks in storytelling, it makes up for in endless creativity. Kazunari Ninomiya capably navigates the physicality of his character’s cowardice and fear, without ever veering into unlikable territory. But the true magic of Exit 8 lies with its impressive ability to recreate the feeling of playing a game, as you find yourself scouring the walls, floors, and ceilings of a cosmic backroom hallway to assist the Lost Man in his search for anomalies. Even when the Lost Man’s story is easy to surmise in advance, there’s no predicting the aural and psychological terrors that await those trapped in Exit 8’s bizarre limbo.

Exit 8 screened at TIFF and releases in theaters on April 10, 2026.

Editor’s Note: This TIFF review was originally published on September 8, 2025.

The post ‘Exit 8’ Review – Liminal Looping Horror Has Endless Creativity But Minimal Plot appeared first on Bloody Disgusting!.

The studio acquired the Australian film in a seven-figure deal out of Sundance.

Writer-director Adrian Chiarella makes his feature debut on the film, which will screen at SXSW in Texas later this month.

Joe Bird (Talk to Me) and Stacy Clausen star as 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) co-stars, marking her return to the screen after a three-year absence, alongside Jeremy Blewitt, Ewen Leslie (The Nightingale), and Davida McKenzie (Silent Night).

Talk to Me and Bring Her Back producers Samanta Jennings and Kristina Ceyton of Causeway Films produce alongside Hannah Ngo. Causeway also bankrolled the picture with Salmira Productions.

“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.”

The post Neon Sets June Release Date for Supernatural Horror ‘Leviticus’ from ‘Talk to Me’ Producers appeared first on Bloody Disgusting!.

Based on the popular video game created by Kotake Create, the film follows a man trapped in an endless sterile subway passageway as he sets out to find Exit 8.

The rules of his quest are simple: do not overlook anything out of the ordinary. If you discover an anomaly, turn back immediately. If you don’t, carry on. Then leave from Exit 8. But even a single oversight will send him back to the beginning. Will he ever reach his goal and escape this infinite corridor?

Your Name. producer Kawamura Genki directs from a script he co-wrote with Kentaro Hirase.

Kazunari Ninomiya (Letters from Iwo Jima) stars with Yamato Kôchi, Naru Asanuma, Kotone Hanase, and Nana Komatsu (Silence).

Kenji Yamada (Godzilla Minus One), Yuto Sakata, Akito Yamamoto, and Taichi Ito produce.

The film’s April 10 release will pit it against Guy Ritchie’s action thriller In the Grey, rom-com You, Me & Tuscany, and an as-yet-unannounced Shudder movie.

Exit 8 premiered at the 2025 Cannes Film Festival, receiving an 8-minute standing ovation. It went on to play the Toronto International Film Festival, Sitges Film Festival, Beyond Fest, Busan International Film Festival, and International Film Festival Rotterdam.

The movie was a hit in its native Japan, grossing over $27 million upon its release last fall.

Meagan Navarro wrote in her review out of TIFF, “The true magic of Exit 8 lies with its impressive ability to recreate the feeling of playing a game, as you find yourself scouring the walls, floors, and ceilings of a cosmic backroom hallway to assist the Lost Man in his search for anomalies.”

The post Japanese Liminal Horror ‘Exit 8’ Set for April Theatrical Release from Neon appeared first on Bloody Disgusting!.

Writer-director Adrian Chiarella makes his feature debut on the Australian production, which had a buzzy premiere at Sundance on Friday.

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) co-stars, marking her return to the screen after a three-year break, alongside Jeremy Blewitt, Ewen Leslie (The Nightingale), and Davida McKenzie (Silent Night).

Talk to Me and Bring Her Back producers Samanta Jennings and Kristina Ceyton of Causeway Films produce alongside Hannah Ngo. Causeway also bankrolled the picture with Salmira Productions.

“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.”

The post Neon Acquires Queer Horror ‘Leviticus’ with Mia Wasikowska appeared first on Bloody Disgusting!.

Deadline reports that the deal is worth around $5 million for the global rights, sans Australia and New Zealand.

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) co-stars, marking her return to the screen after a three-year break, alongside Jeremy Blewitt, Ewen Leslie (The Nightingale), and Davida McKenzie (Silent Night).

Writer-director Adrian Chiarella makes his feature debut on the project. Samantha Jennings (Talk to Me, Bring Her Back), Kristina Ceyton (The Babadook, Talk to Me), and Hannah Ngo produce.

“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.”

The post Neon in Talks to Acquire Queer Horror ‘Leviticus’ from ‘Talk to Me’ Producers appeared first on Bloody Disgusting!.

Described “Battle Royale meets Saw meets Climax,” 4×4: The Event sees eight contestants enter an illegal sensory-assault livestream where they must kill or be killed using only what they can order online.

Deadline reports that Neon made an aggressive deal to preemptively acquire the project ahead of production, which begins later this year.

Roy Lee (Weapons, Barbarian) and Steven Schneider (Paranormal Activity, Insidious) of Spooky Pictures produce alongside Adam Hendricks and Greg Gilreath for Divide / Conquer, Haley Johnson, and Evan Barber. Image Nation’s Ben Ross and Spooky Pictures’ Jakob Pollack executive produce.

Named one of Filmmaker Magazine’s 25 New Faces of Independent Film in 2024, Ullom made his feature debut on It Ends, which premiered at SXSW last year and is due out in theaters this year.

The post Neon Acquires ‘4×4: The Event,’ Described as ‘Battle Royale’ Meets ‘Saw’ Meets ‘Climax’ appeared first on Bloody Disgusting!.

What’s particularly interesting about this news is that you can watch It Ends right now via Letterboxd Video Store, the digital film rental platform that launched last week.

Priced at $19.99, the 48-hour rental is available until January 9.

Writer-director Alex Ullom makes his feature debut on the indie film, leading a crew made up entirely of Gen Z-ers.

It follows a group of recent grads who head out on a late night drive for grub, hoping to enjoy one final hangout before their paths diverge. Instead, they accidentally turn onto a never-ending, two-lane hellscape surrounded by untold horrors and cosmic forces beyond their understanding.

Cramped together inside a Jeep Cherokee and with the miles stretching infinitely ahead, they face a choice: embrace their new existence or fight to escape it.

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

It Ends premiered at SXSW earlier this year and went on to win Best First Feature at the Fantasia International Film Festival.

Meagan Navarro wrote in her review, “It Ends captures a universal fear, that anxiety-inducing transition into full-blown adulthood where we’re all expected to become responsible contributors to society. It’s a lot of pressure with no clear guide. As such, it runs through every emotion that comes with that journey.”

Ullom will next helm 4 X 4: The Event, which is described as Battle Royale meets Saw meets Climax.

The post Neon Acquires Gen Z Horror ‘It Ends’ for 2026 Theatrical Release appeared first on Bloody Disgusting!.

Keeper will be available on all digital platforms to rent or own starting December 9, 2025, with the Blu-ray, DVD, and 4K Combo Pack arriving January 20, 2026. 

The home entertainment release includes an exclusive Feature Commentary with Osgood Perkins!

The film follows a couple as they escape for a romantic anniversary weekend at a secluded cabin. When Malcolm suddenly returns to the city, Liz finds herself isolated and in the presence of an unspeakable evil that unveils the cabin’s horrifying secrets.

Tatiana Maslany (The Monkey, “Orphan Black”) and Rossif Sutherland (Possessor) star. Nick Lepard (Dangerous Animals) wrote the screenplay for the R-rated horror movie.

I wrote in my review, “It’s sparse and quiet by design, but that’s also par for the course in a Perkins film. If you’re on the filmmaker’s unique, unhurried wavelength, Keeper makes for one engaging and original grim fairy tale that bides its time getting under your skin as romance curdles into one fucked up nightmare.”

Filmmaker James Wan calls Keeper, “a terrifying, ghostly descent into madness,” while Guillermo del Toro praises it as “horror origami that skillfully folds into itself.”

See what secrets lurk in the house when Keeper heads home tomorrow on Digital, followed by a physical release next month.

The post Watch Osgood Perkins’ Folk Horror Movie ‘Keeper’ at Home Starting Tomorrow appeared first on Bloody Disgusting!.

Alpha releases in theaters on March 27, 2026.

In the film, “Alpha, a troubled 13-year-old lives with her single mom. Their world collapses the day she returns from school with a tattoo on her arm.”

Golshifteh Farahani (The Patience Stone) and Tahar Rahim (“The Serpent”) star.

“Alpha is Julia’s most personal, profound work yet, and we are looking forward to a global audience discovering the story with as much excitement as we did,“ FilmNation Entertainment and Charades said in a statement. “We can’t wait to bring the film to market in Cannes and to launch sales together for the first time and collaborate in this way.“

“Alpha is a new page in Julia Ducournau’s corpus that is both very consistent with the previous ones and entirely new in its tone,“ the producers said. “To match an exceptional project, it was necessary to transcend conventions, as evidenced by the exceptional combination of producers on one hand and international sales companies on the other.“

Ducournau’s new feature made its premiere earlier this year at the Cannes Film Festival, where it was acquired by NEON.

Look for the trailer to arrive next week.

The post Julia Ducournau’s ‘Alpha’ Sets March Release Date Ahead of Trailer’s Arrival Next Week appeared first on Bloody Disgusting!.

Alpha has been rated “R” for “drug content, sexual material, language and some underage drinking.” Watch the previously released UK trailer for the upcoming movie below.

In the film, “Alpha, a troubled 13-year-old lives with her single mom. Their world collapses the day she returns from school with a tattoo on her arm.”

Golshifteh Farahani (The Patience Stone) and Tahar Rahim (“The Serpent”) star.

“Alpha is Julia’s most personal, profound work yet, and we are looking forward to a global audience discovering the story with as much excitement as we did,” FilmNation Entertainment and Charades said in a statement. “We can’t wait to bring the film to market in Cannes and to launch sales together for the first time and collaborate in this way.”

“Alpha is a new page in Julia Ducournau’s corpus that is both very consistent with the previous ones and entirely new in its tone,” the producers said. “To match an exceptional project, it was necessary to transcend conventions, as evidenced by the exceptional combination of producers on one hand and international sales companies on the other.”

The post Julia Ducournau’s ‘Alpha’ Ready for Release With “R” Rating for Sexual Material & Drug Content appeared first on Bloody Disgusting!.

The supernatural horror movie will be released on Blu-ray and DVD on January 6 via Neon.

Special features:

• Audio Commentary by Writer-Director Chris Stuckmann
• The Making of Shelby Oaks – 6-Part Documentary
• 4 Episodes of “Paranormal Paranoids”
• The Final Tape
• Crime Scene Gallery
• Hidden Special Features
• And More!

Drawing comparisons to The Blair Witch Project and Hereditary, the film incorporates found footage elements in a traditional narrative.

It follows a film crew who uncovers a disturbing new lead in a woman’s obsessive search for her missing sister, steering her into a terrifying mystery at the hands of an unknown evil.

Camille Sullivan, Brendan Sexton III, Keith David, Robin Bartlett, Michael Beach, Sarah Durn, and Derek Mears star.

Shelby Oaks is the highest-funded horror film in Kickstarter history with over $1.3 million raised. Following the campaign, Mike Flanagan joined the project as an executive producer via his Intrepid Pictures.

Joe Lipsett wrote in his review, “Even if the film’s closing moments are something of a fumble, the scenes set in the spooky cabin, as well as the film’s strong first hour, confirm that Stuckmann is one to watch, particularly when the first time writer/director sets out on his own path.”

The post Chris Stuckmann’s ‘Shelby Oaks’ Is Now on Digital; Blu-ray in January appeared first on Bloody Disgusting!.

A couple – Liz (Tatiana Maslany) and Malcolm (Rossif Sutherland) in this case – embarking on a romantic getaway in the woods always spells bad news in horror, and Keeper refreshingly skips the ambiguity of whether or not Liz is walking into a trap set by a seemingly mild-mannered lover. It also telecasts straight away that these lovebirds, setting out to celebrate their one-year anniversary at Malcolm’s family cabin, aren’t compatible at all. Liz is a confident artist from the city, the opposite of Malcolm, a quiet but warm doctor accustomed to living out in the woods.

That the couple’s introduction comes after an opening montage filled with women being courted, romanced, then brutally dispatched also signals a Bluebeard predicament in store for Liz. The question Keeper poses isn’t whether Malcolm ultimately means Liz harm, but why and how, and the mystical wooded setting unfurls deeply bizarre and eerie answers.

Maslany, who wowed for her carefree spirit in The Monkey, turns in an even more impressive and gripping performance here. Liz is instantly relatable as a woman who’s tamped down parts of herself to match a lover she’s head over heels for, but one who’s perceptive and unafraid to speak her mind, either. She’s completely out of her comfort zone, both in terrain and romantically, and watching Liz struggle to navigate the line between appeasing her lover and upholding her boundaries makes it easy to understand why she lets early red flags slide past her, even though she’s internally registering them. Obvious signs like being fed a slice of chocolate cake, despite not liking it, or that Malcolm noticeably doesn’t partake despite insisting it’s great, coil the tension tighter, but Keeper‘s magic is that nothing is quite as straightforward as it seems. 

Perkins keeps you on the hook with this approach as you find yourself scrutinizing every red flag moment, like Malcolm waking the night after feeding Liz the cake and eerily scouring the ceiling as if expecting something to be there. His behavior isn’t in line with a killer’s, raising intrigue as Perkins begins escalating the surrealism and nightmare imagery, signaling something truly messed up and supernatural inhabits the cabin. The director’s signature use of background scares prevails in the early half, but Perkins builds this bizarre pressure cooker until it explodes in an inspired and satisfying finale, one owned by a primitively fierce Maslany and some inspired creature designs.

Like the turbulent brook bubbling alongside Malcolm’s family cabin, and Perkins’ films in general, Keeper is a film meant to wash over you and carry you along its wholly original and dreamy current. It’s deeply intimate and confined, allowing for heavier introspection of each detail in relation to the overarching mystery behind what exactly Malcolm has planned. It’s sparse and quiet by design, but that’s also par for the course in a Perkins film. If you’re on the filmmaker’s unique, unhurried wavelength, Keeper makes for one engaging and original grim fairy tale that bides its time getting under your skin as romance curdles into one fucked up nightmare.

Keeper is now playing in theaters.

The post ‘Keeper’ Review – Romance Curdles in Osgood Perkins’ Haunting Folk Horror Movie appeared first on Bloody Disgusting!.

Perkins isn’t slowing down either; he’s already in production on The Young People, the fourth film with NEON due next year. In anticipation, NEON has curated an Osgood Perkins triple feature hitting theaters tomorrow night, ahead of Keeper’s arrival. If there are no showings near you or the cozy comfort of your couch is simply too irresistible, we have good news. 

All five Perkins-directed horror movies are now available to stream. Here’s where to watch.

The Blackcoat’s Daughter – Pluto TV, Tubi

Perkins’ feature directorial debut follows Kat (Kiernan Shipka), a quiet freshman at a boarding school who has nightmares of her parents’ death. Kat’s nightmares soon give way to strange behavior, and eventually, her loneliness makes her a perfect target for evil. It’s as moody and atmospheric as its wintry setting, an early precursor for Longlegs’ style of icy horror. What makes this such a standout film, though, is its unique approach to possession horror and its meditative examination of the aftermath. What happens to the victim after the demon has been expelled? Perkins’ answer is both chilling and heartbreaking.

I Am the Pretty Thing That Lives in the House – Netflix

Perkins slows down pacing even further for his sophomore effort, a no frills ghost story centered around a retired horror writer suffering from dementia, one whose most popular novel has come back to haunt her. There are ghosts here, but not always of the dead kind; the film also doubles as Perkins’ own attempts at connecting with his dead father, Anthony Perkins. The director opts for slow-burn dread over scares, and a melancholic look at lost time. Whereas The Blackcoat’s Daughter retooled possession horror, I Am the Pretty Thing That Lives in the House toys with the concept of a ghost.

Gretel & Hansel – Pluto TV, Prime Video, Roku Channel, Tubi

The horror filmmaker shifts gears dramatically with a visually lush reconfiguration of a classic Grimm fairy tale, though no less moody than previous efforts. Think unparalleled production design with impressive sound design and score to match, but with its story told in an unconventional and sometimes enigmatic way. Sophia Lillis stars as Gretel, the elder sister tasked with protecting her brother from Alice Krige’s mesmerizing Witch, eager to gobble them up. It’s a coming-of-rage sort of fairy tale that operates on mood over narrative.

Longlegs – Disney+, Hulu, Kanopy

Longlegs plays it close to the vest as it follows young FBI recruit Lee Harker (Maika Monroe), whose uncanny sense of intuition draws the attention of the tenured Agent Carter (Blair Underwood). Harker is so naturally gifted that Carter pulls the agent into his ongoing investigation of serial killer Longlegs (an unrecognizable Nicolas Cage), a demented figure so elusive that the trail to catch him has gone cold. Perkins injects a true crime story with putrid Satanism, packing Harker’s quest with foreboding atmosphere and chilling background scares. But it’s deeply personal, with Perkins drawing from his own upbringing when it comes to the central relationship between Harker and her mother (Alicia Witt).

The Monkey – Disney+, Hulu, Kanopy

This adaptation of Stephen King’s short story uses its source material as a loose framework for a Final Destination-style, gory comedy romp filled with a nonstop onslaught of over-the-top, Rube Goldberg-like elaborate deaths. All of it is a comical, carnage-fueled reminder of the film’s core thesis: Death comes for us all, and it’s quite silly to presume you can stop it. It follows twins Hal and Bill Shelburne, played by Christian Convery (Guillermo del Toro’s Frankenstein) as kids and Theo James(“Castlevania”) as adults, as they discover dad’s strange wind-up monkey and its unique connection with death. Perkins weaves a raucous cautionary tale that smashes subtlety with a sledgehammer, leaving a gloriously splatstick trail of bodies in its wake.

The post Where to Watch All Five Osgood Perkins-Directed Horror Movies Ahead of ‘Keeper’ appeared first on Bloody Disgusting!.

Watch for a startling scare below, as Maslany’s character encounters a rather haunting flirt for a brief moment.

Hell awaits when Keeper opens in theaters on November 14 from Neon.

Rossif Sutherland (Possessor) also stars.

It follows a couple as they escape for a romantic anniversary weekend at a secluded cabin. When Malcolm (Sutherland) suddenly returns to the city, Liz (Maslany) finds herself isolated and in the presence of an unspeakable evil that unveils the cabin’s horrifying secrets.

Nick Lepard (Dangerous Animals) wrote the script, which has been shrouded in secrecy. For the extremely curious, though, our own John Squires watched 30 minutes from the upcoming film and reports back on startling, almost fairy-tale-like imagery in store.

Keeper is rated “R” for some violent content/gore, language, and some sexual references.

The film marks the Perkins’ third collaboration with Neon in two years, following Longlegs and The Monkey. His fourth, The Young People, sees the filmmaker reteaming with Keeper star Maslany. 

Look for Keeper, Perkins’ latest descent into madness, next week in theaters.

Or, see it early as part of the Horrors of Osgood Perkins Triple Feature on November 13.

The post A Flirtatious Visitor Terrifies Tatiana Maslany in ‘Keeper’ Exclusive Clip appeared first on Bloody Disgusting!.

These NEON films blur the genre lines and defy the rules for those seeking adventurous frights for your Halloween horror watchlists. Keep your spooky season NEON and enter to win a Halloween bundle featuring tricks and treats for favorites like Longlegs, The Monkey, Together, and more.

Colossal (2016)

The horror genre has seen many metaphors for addiction and mental health, but none so strange as in Nacho Vigalondo’s Colossal. Neon’s first acquisition follows Gloria (Anne Hathaway), a semi-functioning alcoholic reeling from a recent breakup. Forced to move back into her parents’ home, she reunites with childhood friend Oscar (Jason Sudeikis) and takes a job at his neighborhood bar. Through a series of strange occurrences and blackout drunks, Gloria discovers that her innocent trip through an unassuming park causes a monster to manifest over Seoul, South Korea. When Oscar similarly creates a giant robot, the hungover friends realize that these beasts are colossal avatars that mimic their every move, causing death and destruction wherever they go. While bizarre, these giants become poignant parallels to the horror and shame of addiction. Vigalondo offers no easy answers, but reflects our own pain back to us. This impressive debut established Neon as a brand willing to break long-standing rules in order to capture emotional truth.

I, Tonya (2017)

Craig Gillespie’s sports drama/true crime hybrid pulls its horror from history. Chronicling the life of Tonya Harding (Margot Robbie), we follow the young skater from the wrong side of the tracks through an abusive childhood with her mother, LaVona (Allison Janney), and her violent marriage to Jeff Gillooly (Sebastian Stan). The story culminates in the vicious attack on rival skater Nancy Kerrigan (Caitlin Carver) that overshadowed the 1994 Winter Olympics. Jeff and Tonya give conflicting accounts of the skater’s tumultuous private life, while Gillespie exposes the class bias that plagued the athlete throughout her career. We watch Tonya careen headfirst into trouble, knowing there’s nothing we can do to save the strangely empathetic 24-year-old. But decades after Harding’s highly-publicized downfall, we’re finally ready to reckon with our tendency to vilify female celebrities. Not only did I, Tonya garner Neon its first Oscar love—a nomination for Robbie and a win for Janney—Gillespie’s film exists within a collective realignment in how we view non-traditional women.

Assassination Nation (2018)

Few of life’s many phases horrify like the high school years. While trying to define ourselves, we inevitably make public mistakes or hurt the people we care about most. And that’s without the added pressure of social media in all its toxic forms. Modern teens must balance IRL interactions with a constant barrage of posts and feeds presenting a curated version of reality. No film explores this terrifying realm like Sam Levinson’s Assassination Nation. Aptly inspired by the witch trials of 17th-century Salem, the town in its modern iteration erupts in the wake of a massive private data leak. Lily (Odessa Young) and her friends become scapegoats for adults who can’t face the external shame of their private choices. Targeted by a violent mob, the teens have no choice but to respond with violence and must fight to the death for their right to exist. Levinson uses a variety of creative techniques to mimic the experience of online culture, a prototype of sorts for his award-winning series Euphoria. This harsh, yet empowering film blends action, drama, and horror themes to depict the omnipresent threat teenage girls endure in a world designed to tear them apart.

Parasite (2019)

Bong Joon Ho’s jarring South Korean film obliterates age-old genre distinctions. Based on Bong’s own 2013 play, Parasite follows Ki Woo (Choi Woo-sik), a destitute student who cons his way into a lucrative job with the wealthy yet naive Park family, then finagles domestic service positions for his parents and sister. But a mystery lurking beneath the floorboards of the Park family’s lavish estate throws the Kims’ social climb into jeopardy. In a disturbingly prescient commentary on wealth inequality and class dynamics, Bong’s jaw-dropping finale asks us to question the title of the film itself. Is Kim Ki-taek (Song Kang-ho) a parasite, stealing resources from a stable source? Or are the Parks the story’s true villains as they callously bleed their employees dry? The first non-English-language film to win the Academy Award for Best Picture, Parasite established Neon as a serious player in the cinematic world while opening the doors for a diverse new wave of visionary creators.

Shirley (2020)

Few women have put their stamp on the horror genre like author Shirley Jackson. Her breakthrough short story “The Lottery” was a polarizing hit, simultaneously reviling and intriguing readers with its grim, yet sunny savagery. She would go on to publish six genre novels, including the seminal ghost story, The Haunting of Hill House. Josephine Decker’s Shirley is a largely fictionalized snapshot of the renowned author’s private life. We meet the reclusive Jackson (Elisabeth Moss) through Rose Nemser (Odessa Young), an uneasy guest in the eccentric home Jackson shares with her philandering husband Stanley Hyman (Michael Stuhlbarg). Shirley balks at this awkward intrusion while struggling to write her second novel, Hangsaman. The biopic may never escalate to outright horror, but it flirts with Jackson’s trademark style of unnamed terror and domestic fear. With electrifying performances from Moss and Young, Decker paints a harrowing picture of the dehumanization and treachery women must contend with in the world of literary academia.

Triangle of Sadness (2022)

Ruben Östlund’s Triangle of Sadness gleefully invites us to eat the rich. Told in three parts, this disturbing satire takes place on a luxury yacht filled with influencers and the inexplicably wealthy, then spirals into ever more disturbing circles of hell. Toilet Manager Abigail (Dolly De Leon) is tasked with catering to the guests’ every demand, even when their idiocy threatens the safety of both passengers and crew. The pirates that ultimately sink the ship merely cap off a night of completely avoidable chaos and death sparked by the passengers’ own selfishness. Violence and turmoil escalate when survivors wash up on a nearby island, finally leveling the playing field. But can they ever shed the dehumanizing caste system that defines their lives? This bleak yet hilarious comedy eviscerates our habit of prioritizing status and outward appearance while ignoring inner strength and reliability with a subtle reminder that no matter how altruistic our intentions, none of us are entirely virtuous.

The Monkey (2025)

Stephen King may be known as the Master of Horror, but his most memorable adaptation of 2025 is arguably an outright comedy. The author’s 1980 short story “The Monkey” is a quiet family drama exploring generational trauma and random tragedy. Osgood Perkins’ shocking adaptation drags the story into the world of the absurd with outlandish deaths and over-the-top characters. In a dual role, Theo James stars as a lonely father desperate to protect his estranged son while navigating a complex relationship with his bullish twin brother. Perkins’ version of this curious story involves death by stampede, a horde of bees, and a school bus full of decapitated cheerleaders. Yet King’s themes of nihilistic tragedy remain, and we watch as this bombastic story transitions into a tender exploration of survivor’s guilt and brotherly love. The Monkey is the second in a trio of films helmed by the visionary genre auteur, establishing Neon as a go-to brand for boundary-pushing horror films. 

From its earliest titles to the present day, Neon has been distinguishing itself from a crowded pack with a dazzling roster of complex films that blur traditional genre lines. Theme and character lead the way, allowing for the kinds of creative risks that produce game-changing cinema fare. With a full slate of highly anticipated titles on the horizon, Neon continues to push the boundaries of genre classification while challenging audiences to reevaluate the way they engage with narrative art.

Don’t forget to keep your spooky season NEON and enter to win a Halloween bundle featuring tricks and treats for favorites like Longlegs, The Monkey, Together, and more.

The post Blurred Genre Lines: A Guide to NEON’s Genre-Bending Films appeared first on Bloody Disgusting!.

When you want that anxiety rendered into a gorgeous, disruptive cinematic experience, NEON has become one of the go-to labels. The company has built a reputation for scooping up daring auteur work from the festival circuit and fully throwing their support behind it, resulting in films like Anora, Parasite, Triangle of Sadness, and Anatomy of a Fall (among others) garnering international awards and acclaim. Never afraid to lean into genre films and filmmakers who take risks, their catalog contains some of the most boundary-pushing movies of the last decade, including some of the most innovative body horror films out there.

Just in time to help you curate that Halloween Horror Watchlist, this roundup features NEON’s most brutal body horror hits that channel these fears in a variety of effective ways. Some feature more overt and visceral body horror elements, while others take a quieter, more conceptual and insidious approach to the subgenre.

So pick your poison, and prepare for these NEON films to get under your skin, and keep your spooky season NEON and enter to win a Halloween bundle featuring tricks and treats for favorites like Longlegs, The Monkey, Together, and more.

Titane (2021)

Agathe Rousselle stars in Julia Ducournau’s Titane as the complicated, enigmatic Alexia. After surviving a car crash as a child, Alexia winds up forever carrying a titanium plate in her skull as a reminder of the incident. Now grown-up, Alexia has developed a raw, eroticized fascination with cars that often erupts into violence and leads to a series of truly unsettling bodily transfigurations. After one particularly brutal incident gone awry, she passes herself off as the long-missing son of a local Fire Department Captain (Vincent Lindon). The two soon form an unlikely bond that turns Ducournau’s story into an unexpected meditation on family, grief, and identity.

What makes Titane such a compelling body-horror film is how Ducournau blends tactile, often nauseating imagery with surprising and intimate emotional stakes. Here, metal and flesh collide in ways that are simultaneously fetishistic and horrifying, while the cinematography, sound, and Rousselle’s quietly magnetic performance drive the unique narrative. By stitching together this odd menagerie of seemingly disparate themes, the body horror bits of the movie transcend mere shock value. Instead, they add a fresh new voice to the film’s larger conversation about belonging and social dislocation. Bold and audacious, Titane made history when it won the Palme d’Or at Cannes in 2021, a historic win for horror and Ducournau as one of the very few women to have ever received the festival’s top prize.

Together (2025)

Together opens as a relationship drama about longtime couple Tim and Millie, played by real-life spouses Dave Franco and Alison Brie, who flee the city and move to the countryside in hopes of altering their seemingly doomed trajectory. With tensions already high between the couple, things quickly escalate further after they fall into a mysterious subterranean cave while out on a hike. Before too long, the couple realizes something from the cave has latched on to them, causing them to physically and psychologically cling to one another in the most intimate of ways.

Part of what makes the movie so engaging is how writer/director Michael Shanks balances genuine emotional tension and cringe relationship beats with detailed, gooey practical effects. Because of this, the film’s gross-out set pieces always feel like logical escalations of the couple’s codependency rather than just some random scares. As Bloody Disgusting’s own Meagan Navarro put it in her review, Together delivers “a unique blend of awkward romantic dramedy and cosmic body horror” that produces “laughing and screaming in equal measure.” In short, Together uses body horror to literalize the messy and sticky idea of long-term love.

Possessor (2020)

Brandon Cronenberg picked up the family body horror legacy and has never stopped running with it, treating flesh and technology as inseparable vocabularies. His films inherit his dad, David Cronenberg’s, clinical curiosity about how bodies change under social and technological pressure while pushing that inquiry into sleeker, colder territory. While Cronenberg’s more recent film, Infinity Pool, definitely plays in this same sandbox, Possessor feels more like a deliberate refinement of that familial legacy and curiosity.

In Possessor, Tasya Vos (Andrea Riseborough) is a corporate assassin who uses chips implanted in the brain to occupy other people’s bodies and carry out murders. When an assignment goes wrong, the boundaries between host and intruder begin to crumble. Thanks in part to some brutal practical effects, Cronenberg makes the loss of control feel physically invasive, so the terror is never merely conceptual. Body horror with a high-concept sci-fi twist, Possessor is a movie that is as visceral as it is intellectually rigorous.

Immaculate (2024)

While one might not immediately think of Immaculate as a body horror film, there are certainly horrifying elements of the film that have to do with the human body and one’s own agency over it. In the movie, Sydney Sweeney plays Sister Cecilia, a young American nun who excitedly arrives at an Italian convent only to find herself the target of a fanatical cult that insists she is carrying a miraculous pregnancy. As Cecilia’s body becomes scrutinized, fawned over, medicated, and ultimately weaponized by those in power, what started as a creeping suspicion and eerie ritual soon results in Cecilia feeling violated, stripped of all choice and agency.

Where Immaculate works best is in how it sneaks up on you as body horror. The gore and Giallo-inflected visuals are there, but the movie’s real bite comes from the slow erosion of Cecilia’s bodily autonomy and the institutional mechanisms that allow that violation to happen. Framing the film as a stealth body horror piece lets it do double duty as an entertaining, bloody, religious-horror affair, while also staging a dark, topical parable about who gets to own a body and the sometimes torturous road to reclaiming one’s power.

Crimes of the Future (2022)

Crimes of the Future follows Saul Tenser (Viggo Mortensen), a performance artist who turns his body into the site of staged surgery, allowing new organs to be removed and displayed as art. Working with his partner Caprice (Léa Seydoux), Tenser’s exhibitions blur the line between aesthetic spectacle and intimate violation. At the same time, a subversive, counter-cultural movement treats biological mutation as a form of political protest.

This is quintessential David Cronenberg territory. For decades, he has explored the ways in which technology, desire, and pathology reshape identity in films. From The Fly, to Videodrome, to Scanners, Crimes of the Future, and more, the recurring fascination with the complexity of the human body is presented in new, boundary-pushing ways. Here, Cronenberg revisits surgical spectacle and the eroticized body not as a stunt, but as a philosophical device, asking what it ultimately means to inhabit a mutable body in the public space.

Cuckoo (2024)

Tilman Singer’s Cuckoo defies easy categorization. It is beautiful, suffocating, and weirdly bodily. It is also a movie that unravels what it means to grieve and feel unwanted while fully embracing being weird as all hell. In the movie, Gretchen (Hunter Schafer), still mourning the loss of her mom, relocates with her father, stepmom, and stepsister Alma to an isolated German resort run by the enigmatic Herr König (Dan Stevens). The resort seems pristine at first glance, but soon reveals a myriad of unsettling, shocking secrets and scientific experiments. Behind the polished facade, König runs cold, quasi-scientific programs that turn kids into implanted cargo and human hosts into involuntary parents.

Compared with some of the other films on this list, Cuckoo reveals its body horror in a more restrained and sly way. Even though Gretchen absolutely goes through it and has the bruises and injuries to prove it, her character becomes almost more of a witness to the film’s body horror elements than a victim herself. Like carefully placed breadcrumbs, vomiting guests, Alma’s inexplicable seizures, missing gaps of time, and sonic screeches permeating the property, build to a climax that is as odd as it is delightful. Although a little more Giallo-infused than grotesque in typical body horror fashion, Cuckoo is unquestionably playing with aspects of body horror, just in its own wonderfully weird way.

Don’t forget to keep your spooky season NEON and enter to win a Halloween bundle featuring tricks and treats for favorites like Longlegs, The Monkey, Together, and more.

The post Fleshy Frights: NEON’s Most Brutal Body Horror Hits appeared first on Bloody Disgusting!.

But what’s most interesting about Shelby Oaks is something baked into its premise, a compelling formalist exercise that allows the film to unfold like a creepy set of nesting dolls. The found footage elements of this story have been heavily emphasized in the film’s marketing – at the Fantastic Fest premiere in September, DVDs of raw DV footage from the story were passed out to attendees – but they are only part of the Shelby Oaks puzzle. Part found footage, part faux documentary, and part traditional narrative feature, Shelby Oaks sets out to strike a delicate balance that plays with three different well-worn horror cinema forms. 

It’s all enough to beg the question: How do you even begin to put all of this together?

That’s the task that fell to editors Patrick Lawrence and Brett W. Bachman, who worked closely with Stuckmann to assemble Shelby Oaks into the 90-minute thrill ride hitting theaters this month. Lawrence was on board well before the film ever played before a crowd, while Bachman joined the production after the Neon acquisition and helped Stuckmann to recut things in 2025, but both editors had to work with the same challenges, including hours of raw footage and the film’s effort to play in three cinematic sandboxes at once. 

“I remember Chris sharing a conversation he had had with a buddy where he was like, ‘I have this idea to do a fake documentary, but I don’t really know how far I can take it,'” Bachman told Bloody Disgusting. “‘Can I then go into single camera footage? Am I allowed to do that?’ And his buddy was like, ‘Yes, of course, you can do whatever you want! It’s your movie.’ This very much changes on a filmmaker-to-filmmaker basis, and I think with Chris, you’d have to talk to him about this, but I don’t know if he could foresee a version of Shelby that existed solely as a found-footage film or a faux-documentary.”

Shelby Oaks is the story of Mia Brennan (Camille Sullivan), whose sister, paranormal investigator Riley Brennan (Sarah Durn), went missing back in 2008 while filming an episode of her ghost hunting series, Paranormal Paranoids. It’s years later, and Mia is still not ready to give up on finding Riley, so when she comes into possession of a tape that promises more information on how exactly Riley went missing in the nearby Ohio ghost town of Shelby Oaks, she will stop at nothing to find the truth, even if it means walking into the same darkness that took her sister. 

We won’t go into all the spoilery details, but the film opens with a found footage peek into terror, then morphs into a faux-documentary about Riley’s disappearance, Mia’s search, and the online sleuthing community that sprang up around the mystery. From there, the film zooms out again to reveal the documentary is still in production, and becomes a traditional narrative feature – with elements of found footage and faux-doc recurring throughout – following Mia’s final search for Riley. Throw in the hours of Paranormal Paranoids footage Stuckmann had previously shot and already uploaded to YouTube, and Shelby Oaks became a towering task for any editor. 

“There’s a lot. The documentary, in script form, was 30 pages, and in the first cut, was probably closer to 40 minutes [of the movie],” Lawrence explained. “And there’s just a lot of information there, a lot of exposition that sets up Mia and her journey through the rest of the film. So it’s essentially the first act of the film. But there really had to be an examination of not being too precious about all that information.”

As the film came together, notes started to come in, and the temptation to cut down the documentary footage increased. But even with some tweaks to condense things, Stuckmann and Lawrence stuck to their guns on using the faux-documentary angle to set up much of the narrative tension in the film, before Mia heads out on her journey. When Bachman came aboard, it was no longer about condensing, but about enhancing. 

“The first 30 minutes were so strong, this documentary sequence was really eloquently prepared, and it just hooks you from a narrative perspective,” Bachman said. “I’d seen so much effort to compress the opening parts of this documentary scene,  and I remember thinking, ‘This is my first impression of the movie. You can really lean into this. You can actually let this thing breathe. You can really just firmly establish right off the bat the tone of this thing.‘ So my first act was actually to make the opening of the movie a little bit longer. Open that up, let that breathe, really set the tone and really ratchet up your sense of dread immediately.”

But the first act wasn’t the only major challenge when it came to the film’s hybrid nature. When Mia receives the tape, featured in the film’s trailers, which leads her to new clues about what happened to Riley, she has to actually sit down and watch the footage. This gives the viewer a scene in which Mia, in the narrative feature portion, is both finding and watching elements of the found footage portion. For the editors, it was all about showing enough of the raw found footage that viewers got the important clues, but not so much that it overshadowed Sullivan’s performance as a grieving sister looking for hope.

“That was the challenge because there is a whole, I don’t know, two-hour-long version of that tape,” Lawrence said. “So it was like, ‘How do we do this in a way where the audience doesn’t get bored with it, that they’re along for the ride and make it still feel like the tape is seamless?’ Obviously we had cuts and glitches and we had some of Mia’s reactions and stuff like that, but we still had to manipulate the tape to where it felt authentic and seamless, even though we were splicing and trying to speed up the journey as they’re going through Shelby Oaks, trying to speed up all that information.“

Stuckmann’s long track record as a critic and commentator, and with his public documentation of the making of Shelby Oaks, means that it’s not difficult to find the film’s influences. Whether it’s Lake Mungo or Noroi: The Curse or The Blair Witch Project, the film’s thematic and tonal touchstones are right there on its sleeve, but even with those in mind, the structure of Shelby Oaks also offered a chance to do something that felt fresh. For Lawrence and Bachman, working with Stuckmann on the film was a chance to work within a certain frame of reference in horror cinema history, but then forge ahead with their own take on familiar formats.

“When it came to the actual influence of the movie, some of these things that come up, whether it be Blair Witch or other influences, those weren’t really discussed [in the edit],” Lawrence said. “A lot of it was just us doing our own thing.”

Shelby Oaks is in theaters everywhere on October 24.

The post How ‘Shelby Oaks’ Crafted a Fascinating Mixed Format Horror Hybrid Through Editing appeared first on Bloody Disgusting!.

Perkins, the son of the late legend Anthony Perkins, keeps his artistic instrument clear, allowing no distractions to seep their way into his creative process. His instrument? His mind.

“If you’re going to be putting out, you’ve got to be putting in. It’s like eating well. Drinking less. You’re really cognizant about what you’re ingesting,” Perkins explains. “I try not to put a bunch of junk into my system. I don’t watch Netflix, I don’t have Netflix. Netflix is the opposite of what I do. I don’t watch bad movies. I don’t watch a lot of horror movies. I don’t really like them. I don’t really watch them. I read a lot. I play with my kids. I listen to music. I go to coffee shops and I watch people. That’s how I feed myself. I go to the museum. I read poems. I read comic books. And I try not to watch the news. I don’t have any social media. It’s taking care of your instrument. If I’m the vessel that the stuff pours through, I might as well keep it fairly clean.”

It’s a process that’s clearly working for Osgood Perkins.

Perkins was 41 when he made his first movie, The Blackcoat’s Daughter in 2015, and in the past few years alone he’s made a huge impact at the box office with Longlegs starring Nicolas Cage last year and Stephen King adaptation The Monkey this year, both of which are being followed by sixth movie Keeper this November, his third collaboration with distributor NEON.

And that brings us back to the quote we opened this piece with. “I didn’t really know what we were going to be seeing.” It’s the way everyone in those NY and LA sneak peeks felt, and that’s part of a carefully curated mystique that NEON and Perkins began playing with on the road to the release of Longlegs last year. Perkins’ first collaboration with NEON was shrouded in secrecy to the point that we never even got a look at Nicolas Cage’s bone chilling character until we bought our ticket and sat down in the theater to watch the movie, with the marketing campaign largely driven by cryptic teases and a mysterious viral website. It was a plan that clearly paid off big time, with Longlegs scaring up $127 million at the box office.

If The Blackcoat’s Daughter established Perkins as a filmmaker to watch among the hardcore, deeply online horror fanbase, it was Longlegs that crossed Perkins over into the mainstream. The success of that film not only made Perkins a bona fide big screen horror filmmaker, but it also clearly set a tone for his future output: you never know what you’re going to get from an Osgood Perkins picture, but you should probably buy that ticket and show the hell up.

WARNING: If you want to know NOTHING about Keeper, turn away now…

So what did we see when we sat down to watch the exclusive sneak peek at Keeper, a film that has been wrapped up as secretly as Longlegs was last year? NEON treated us to a total of 30 minutes of the film that were clearly pulled from four or five different chronologically-selected scenes, the first vignette introducing the main players: Tatiana Maslany’s Liz and Rossif Sutherland’s Malcolm. A romantic date is interrupted by the arrival of obnoxious cousin Darren and his new girlfriend, Minka. Things take a turn for the strange when Malcolm and his cousin exit the room, leaving Liz to share an awkward moment with Minka. “Tastes like shit,” Minka randomly tells Liz, motioning towards a neatly wrapped package sitting on the kitchen counter.

Obnoxious cousin and his girlfriend exit as quickly as they arrived, leaving Liz that much more appreciative of the man she’s clearly falling in love with. But what about that bizarre exchange? And what is that mysterious gift on the counter? It hangs heavy over the scene until it’s finally addressed again, with Malcolm opening it up after a quick make-out session.

It’s a chocolate cake, one that was baked by the caretaker of the cabin they’re staying in. Liz reluctantly takes a couple bites – she’s never been a fan of chocolate cake – and she offers up a wry review to Malcolm, who is eagerly awaiting her feedback: “Tastes like shit.”

The next scene jumps to later that night. Liz wakes up after experiencing strange dreams. Was that someone pointing a gun at her bloodied head? And is someone… or something… in the bedroom with them? Before we can process any of the haunting imagery, Liz heads into the kitchen to find that chocolate cake still sitting there. A bright red cherry on top. Missing only the slice that she consumed. She’s almost supernaturally drawn to the cake, tearing away at it with her fingers and voraciously devouring it. The suggestion is clearly that this isn’t a normal cake and that eating it has changed Liz in some way. Was Minka trying to warn her… ?

The indelible imagery of an Osgood Perkins movie is on full display in the brief scene that was shown next, which finds Liz alone in the cabin. She’s seemingly being stalked by a meat cleaver-wielding man, but it’s hard to tell what’s going on without any context. Something about someone unnaturally walking around the cabin with its head barely attached? It feels like something out of a Scary Stories to Tell in the Dark book. We’ll leave it at that.

Much more is revealed in the final scenes that NEON showed, but to talk too much about them would be delving a bit too far into spoiler territory. All we’ll say is that there’s a strong fairy tale-mythology at play here, something Perkins previously played with in his movie Gretel & Hansel, a fresh new take on the classic tale. A dark forest. Promises of eternal life.

Creatures? Very hungry creatures?

Before you know it, seemingly inhuman entities are crawling all over the cabin, and Liz is plunged into a survival nightmare. We have no idea exactly what the threat here is, but it’s clear that Liz and Malcolm are in a fight for their lives. The final lines spoken by Maslany in the final moments of the footage we were shown capture it all pitch perfectly: “What the fuck?”

Osgood Perkins. He’s a Keeper.

The latest dark trip from Osgood Perkins opens in theaters on November 14.

The post ‘Keeper’ – We Just Watched 30 Minutes of the New Osgood Perkins Horror Movie appeared first on Bloody Disgusting!.

Their quotes are featured in the newest trailer for Keeper, along with some rather bizarre imagery that has us intrigued.

Tatiana Maslany (The Monkey, “Orphan Black”) and Rossif Sutherland (Possessor) will star in Keeper, which is shrouded in secrecy at the present moment. It’s coming to theaters on November 14.

“Keeper follows a couple as they escape for a romantic anniversary weekend at a secluded cabin. When Malcolm (Sutherland) suddenly returns to the city, Liz (Maslany) finds herself isolated and in the presence of an unspeakable evil that unveils the cabin’s horrifying secrets.”

Nick Lepard (Dangerous Animals) wrote the screenplay.

This will be Perkins’ third movie with NEON, in the wake of box office hits Longlegs and The Monkey. Perkins previously directed The Blackcoat’s Daughter, I Am the Pretty Thing That Lives in the House, and the arthouse fairytale adaptation Gretel & Hansel.

Osgood Perkins previously teased that his cabin in the woods horror movie definitely features some kind of entity that’s toying with our main characters. That certainly appears to be the case in the new trailer, though the imagery gives absolutely nothing away. 

Keeper is rated “R” for some violent content/gore, language, and some sexual references.

A romantic weekend, based on this trailer, is about to go extremely off the rails when Keeper releases next month.

The post Creepy New ‘Keeper’ Trailer Features High Praise from Horror Heavy Hitters appeared first on Bloody Disgusting!.

Based on Donald E. Westlake‘s 1997 novel The Ax, the black comedy thriller will open in select theaters on December 25 before expanding wide in January.

Lee Byung-hun (“Squid Game”) stars a man who is abruptly laid off by the paper company where he worked tirelessly for many years. He grows increasingly desperate in his hunt for new work, eventually coming to a life-altering decision.

Son Ye-jin (“Crash Landing on You”), Park Hee-soon (“Squid Game”), Lee Sung-min (The Spy Gone North), Yeom Hye-ran (“The Glory”), Cha Seung-won (Night in Paradise), and Yoo Yeon-seok (“When the Phone Rings”) also star.

Chan-wook co-wrote the script with Lee Kyoung-mi, Jahye Lee (Uprising) and Don McKellar (Blindness).

The film premiered at the Venice International Film Festival and went on to play the Toronto International Film Festival and Beyond Fest, with upcoming screenings set for the New York Film Festival, Sitges Film Festival, BFI London Film Festival, and more.

“Park Chan-wook’s deceptively simple comedy proves anything but,” Meagan Navarro wrote in her review out of TIFF. “It makes for a disarming and almost whimsical experience that wallops you hard with a sucker punch when you least expect it.”

No Other Choice was selected as the South Korean entry for the Best International Feature Film category for the 98th Academy Awards.

The post ‘No Other Choice’ Trailer – Park Chan-wook’s Killer Dark Comedy Opens on Christmas appeared first on Bloody Disgusting!.

It all goes down Tuesday, October 14th at Regal Union Square (850 Broadway New York, NY 10003), so hurry up and RSVP now. Check in and doors open at 6 PM EST, but plan to arrive extra early as seats will be given on a first come, first served basis. What’s more, seat-saving is not permitted, so make sure your pals or loved ones are with you.

Drawing comparisons to The Blair Witch Project and Hereditary, the supernatural horror movie incorporates found footage elements in a traditional narrative.

A woman’s obsessive search for her missing sister leads her into a terrifying mystery at the hands of an unknown evil.

Camille Sullivan, Brendan Sexton III, Michael Beach, Robin Bartlett, Keith David, and Derek Mears star.

Shelby Oaks is the highest-funded horror film in Kickstarter history with over $1.3 million raised. Following the campaign, Mike Flanagan joined the project as an executive producer via his Intrepid Pictures.

What happened to Riley Brennan? Investigate the film’s cryptic website.

The post ‘Shelby Oaks’ – Join Neon & Brooklyn Horror Film Festival for FREE Sneak Screening and Q&A with Chris Stuckmann appeared first on Bloody Disgusting!.

That allowed Stuckmann to bring the deeply personal horror tale to the screen, and Shelby Oaks was subsequently boarded by Mike Flanagan as Executive Producer and acquired for distribution by the indie horror heavyweights over at NEON. It’s a dream scenario for any filmmaker, and Stuckmann isn’t forgetting the backers who made it all happen.

NEON has released a brand new poster for Shelby Oaks this morning that pays tribute to everyone who supported the film’s original crowd-funding campaign. The names of all 14,720 backers have been incorporated into the background, all of them coming together to form a creepy image. Click here to download the full-res image and see if you can spot your own name!

A traditional narrative that incorporates found footage elements, Shelby Oaks hits theaters on October 24.

Can’t wait until then? NEON and Bloody Disgusting are joining forces for a series of free sneak screenings on October 8 in select locations! Here’s everything you need to know.

Shelby Oaks is about missing paranormal investigators, the dark legacy they uncovered, and the far-reaching effects their investigation has as Mia searches for her sister Riley, the lead paranormal investigator, 12 years later. The film’s official synopsis continues…

“As Mia uncovers new and disturbing leads related to Riley’s disappearance, she uncovers evidence of a hidden supernatural evil dating all the way back to her and Riley’s childhood.”

Shelby Oaks has been rated “R” for “violent content/gore, suicide and language.”

NEON previews, “What started as a tale about missing YouTubers eventually transformed into something with deeper, darker implications for its characters, and it wasn’t until post-production, that Stuckmann realized the film was a much more personal project than he had initially conceived. Stuckmann was raised in a faith (Jehovah’s Witness) that practices shunning. At twelve years old, his sister was excommunicated and he was forced to shun her. Cutting off all communication, he was told his sister was ‘spiritually dead.’

“It wasn’t until Stuckmann’s early twenties when he finally escaped the faith, that he reconnected with his sister. It became clear that the story behind Shelby Oaks – about someone’s desperate yearning to find a lost loved one as seemingly insurmountable forces keep them apart – is inspired by his own search for his sister.”

Watch the film’s final official trailer below.

The post ‘Shelby Oaks’ – New Poster Pays Tribute to Everyone Who Backed the Movie’s Crowd-Funding Campaign appeared first on Bloody Disgusting!.

On Wednesday, October 8th, Bloody Disgusting and Neon present FREE sneak previews nationwide, giving you the chance to see the most hotly anticipated horror film of the Halloween season.

Check the listings below and GRAB YOUR TICKETS RIGHT NOW!

— Atlanta, GA @ AMC Madison Yards 
— Boston, MA @ AMC Boston Common 19
— Chicago, IL @ AMC River East
— Houston, TX @ Regal Edwards Houston Marq’E
— San Francisco, CA @ AMC Metreon
— Orlando, FL @ AMC Disney Springs
— Phoenix, AZ @ Harkins Tempe Marketplace

Drawing comparisons to The Blair Witch Project and Hereditary, the supernatural horror movie incorporates found footage elements in a traditional narrative.

A woman’s obsessive search for her missing sister leads her into a terrifying mystery at the hands of an unknown evil.

Camille Sullivan, Brendan Sexton III, Michael Beach, Robin Bartlett, Keith David, and Derek Mears star.

Shelby Oaks is the highest-funded horror film in Kickstarter history with over $1.3 million raised. Following the campaign, Mike Flanagan joined the project as an executive producer via his Intrepid Pictures.

What happened to Riley Brennan? Investigate the film’s cryptic website.

The post ‘Shelby Oaks’ – Bloody Disgusting Presents FREE Early Screenings of Chris Stuckmann’s Highly Anticipated Horror Film appeared first on Bloody Disgusting!.