The final season premieres Friday, November 20, exclusively on Paramount+ with the Premium Plan.

Created by showrunners Ashley Lyle and Bart Nickerson, Yellowjackets is the saga of a team of wildly talented high school girls soccer players who become the (un)lucky survivors of a plane crash deep in the remote northern wilderness. Equal parts survival epic, psychological horror story, and coming-of-age drama, the series chronicles their descent from a complicated but thriving team to savage clans, while also tracking the lives they’ve attempted to piece back together nearly 25 years later, proving that the past is never really past and what began out in the wilderness is far from over.

Here’s the official season four synopsis: “The Yellowjackets race to bury their sins before rescue arrives — but the Wilderness has its own ideas about who gets out alive.

“After returning to Wiskayok, their secrets fester under the growing weight of what they’ve done and who they’ve become. Meanwhile in the present, two of the Yellowjackets prepare to kill one of their own as an old flame roars back to town with plans all their own. Turns out not every homecoming is a joyous one, and this one’s going to sting.”

Season four stars Melanie Lynskey, Christina Ricci, Tawny Cypress, Sophie Nélisse, Jasmin Savoy Brown, Sophie Thatcher,  Samantha Hanratty, Courtney Eaton, Liv Hewson,  Warren Kole, Kevin Alves, Sarah Desjardins, Nia Sondaya, Jenna Burgess, and Hilary Swank.

Guest starring are June Squibb, Elijah Wood, Molly Ringwald, Devon Sawa, Sam Braun, Dulé Hill, and more.

Watch the new trailer below that infuses the survivors’ rescue with a sense of foreboding. Death certainly looms large, both in the wilderness and in Wisayok.

The post ‘Yellowjackets’ Season 4 Trailer Sets the Stage for a Bloody Homecoming appeared first on Bloody Disgusting!.

Except for a few surviving characters, the finale takes us to the end of King’s novel, with the Maine facility telekinetically destroyed, its remote assassin program decimated. Anything past this point would mean venturing into uncharted territory. Thankfully, showrunner Benjamin Cavell has proven up to the task. After a rocky start, season two drifts away from its source material and expands this fascinating sci-fi world while turning a reflective eye on its own moral compass. 

The eight-episode season picks up almost immediately where we left off. Luke Ellis (Joe Freeman) has just escaped from the Institute along with his friends Kalisha (Simone Miller), Nicky (Fionn Laird), and George (Arlen So). Aided by outsiders Tim (Ben Barnes) and Wendy (Hannah Galway), they mourn the kids they left behind while fleeing agents hot on their tail. Four months later, they’re still on the run.

This early time-jump honors the original plot while providing a clean break with season one. Cavell takes us away from a crumbling Maine facility and into a larger world of psychic assassins. Not only are there other “Institutes” filled with similarly tortured kids, but a Sanctuary houses a group of elite adults with precognitive abilities. Set up in high-tech loungers, they mentally drift through time and space, hoping to prevent the apocalypse.  

After an explosive finale, season two takes a while to find its footing. Early episodes see returning characters flung across the United States while introducing a new pair of antagonists. Jeff Fahey graduates from Man on the Phone to Director of the larger Institute while Alfie Allen joins the cast as Nolan Reeves, a billionaire AI developer with interest in the “precog” program. Together, they create a fascinating duo of ruthless pragmatism and earnestness. While making her own way back into the fold, Ms. Sigsby (Mary-Louise Parker) scrambles to find her place in the organization’s cutthroat administration while Cavell struggles to humanize the sardonic character.

The season picks up steam when Luke finds himself back at the Institute, hoping to take it down from within. Compared to the relatively straightforward morality of season one, it’s fascinating to watch our heroes and villains slowly merge into a single team of uneasy allies. Perhaps Fahey is simply more believable when he insists his program is saving the world. Or maybe viewers benefit from seeing the projected outcomes of worldwide annihilation and the reason for each “sparkler night,” the mechanism through which the Institute kids carry out their psychic assassinations. Either way, we’re left to question the absolute villainy of the murderous Institute, deftly built in season one.

After all, how can we prioritize a handful of kids over saving all of humanity? 

Thankfully, Kalisha reminds us of the ultimate cost of moral relativity. Thanks to Miller’s sensitive performance and an unflinching arc of empowerment, the young telepath becomes the heart of the show and a living embodiment of the Trolley Problem. Cavell also benefits from a smaller cast of child actors in pivotal roles. Freeman, Miller, and Laird form an endearing bond as their characters attempt to navigate this hellish corporate maze filled with ethically compromised adults. A half-hearted love triangle never really gains traction, but the trio has palpable chemistry and becomes the show’s strongest asset.  

As in season one, the plot’s scientific elements fail to impress. “Sparkler nights” are less stylized and more believable, but visual manifestations of the precog program are unwieldy and occasionally nonsensical. However, we easily gloss over this bizarre imagery as the palace intrigue plotline picks up speed. Again, Tim’s own storyline as a beleaguered ex-cop turned father figure fades into the background. Compared to the inner workings of the Institute, his role as an outside vigilante is simply not as interesting. Barnes does what he can with the floundering story, but his scenes often pull us away from the pulse of the show. Midway through the season, Cavell begins shaving off unnecessary plot details to create a more cohesive narrative.  

Though it takes a while to pick up speed, The Institute season two builds upon King’s original story about kids learning to harness their innate power while morphing into its own entity. Nods to the prolific author’s larger body of work are basically nonexistent, and one could be forgiven for forgetting that the show began as a King adaptation at all. Early episodes reset the plot before The Institute transforms itself into a story about the corrosive nature of power and money.

Forced to work with the program’s upper management, Luke and his friends must question the purpose of their hard-won empowerment and the high price they paid to escape. Under their guidance, can the Institute be transformed into a force for good, or will the former victims wind up becoming monsters themselves? 

The Institute Season 2 premieres November 8, 2026 at 9pm ET/PT on MGM+, with new episodes airing weekly through December 20, 2026.

The post ‘The Institute’ Season 2 Review: Stephen King Adaptation Evolves Into Morally Complex Sci-Fi Thriller appeared first on Bloody Disgusting!.

After releasing in limited theaters over the weekend, Ralph’s Perfekt Christmas receives its digital release on November 3, 2026, simultaneously on TVOD and Screambox.

Tom McLaren (“Expelled”) stars as Ralph, a likable family man whose fanatical obsession with Christmas pushes his wife towards divorce, leaving his life in shambles. Determined to win her back, Ralph devises a crazy plan involving kidnapping the former child star of his favorite Christmas movie.

When his ill-conceived scheme spirals wildly out of control, Ralph’s pursuit of his perfect Christmas takes increasingly dark and unexpected turns.

Ralph’s Perfekt Christmas stars Charlie Schlatter (Diagnosis Murder), Jill Schoelen (The Stepfather), Casey Burke (The Middle), Landon Gimenez (Resurrection), and marks the return to the big screen of Lynda Day George (Mission: Impossible, “Roots”).

The supporting cast includes special guest appearances by Hollywood veterans Susan Blakely (The Towering Inferno), Marta Kristen (“Lost in Space”), Nicholle Tom (“The Nanny”), Trevor Lissauer (“Sabrina the Teenage Witch”), Bill Mumy (“Lost in Space”) and Angela Cartwright (“Lost in Space”, The Sound of Music).

“Ralph’s Perfekt Christmas is exactly the kind of smart, distinctive, genre-bending film that resonates with Cineverse and Screambox audiences,” said Dan Fisher, vice president of acquisitions at Cineverse. “The film combines an original story with unexpected twists, turns, and a surprise ending coupled with a standout performance by Tom McLaren as Ralph that makes this film a ‘must watch’ for the holidays.”

Jeremy Padow and Tom McLaren wrote the screenplay, based upon an original story by Padow. Matthew Bellamy and Tom & Mary McLaren direct.

Look for the holiday genre-bender on DVD and Blu-ray later in November.

Watch Ralph lose his grip on the holidays in the new trailer below.

The post New ‘Ralph’s Perfekt Christmas’ Trailer Unwraps A Bloody Holiday Nightmare Ahead of Screambox Debut appeared first on Bloody Disgusting!.

The biggest streaming addition this month is arguably Curry Barker’s Obsession, which arrives on Netflix mid-month. Liminal horror fans should head to Kanopy to get lost in Exit 8, while gory action horror fans should enjoy They Will Kill You on Prime Video. For those wanting a jump start on their holiday horror, look for Ralph’s Perfekt Christmas on Screambox.

Here’s what arrives on streaming in November.

HBO Max

November 1
The First Purge
Jurassic World: Fallen Kingdom (2018)
The Predator (2018)
Scream (1996)

Hulu

November 1
Aliens
Don’t Breathe
The Meg
Meg 2: The Trench
Unhinged

November 8
Heart Eyes

November 20
Whistle

November 22
This Is Not a Test

November 30
The First Omen

Kanopy

November 6
Exit 8

November 20
The Rose of Nevada

November 27
Whistle

Netflix

November 1
Insidious: Chapter 2
Insidious: Chapter 3
The Mummy
Resident Evil
Resident Evil: Apocalypse

November 15
Insidious
Smile

November 17
Obsession

Paramount+

November 1
Gone Girl
Queen of the Damned
Scrooged

Peacock

November 1
Beetlejuice 

November 12
Firestarter*

November 16
You Won’t Be Alone*

November 19
Never Let Go*

November 21
Alien: Romulus

November 26
M3GAN 2.0*
M3GAN 2.0 (Unrated)*

* = is exclusive to Peacock

Pluto TV

November 1
30 Days Of Night (2007)
30 Days Of Night: Dark Days
Abattoir
Afflicted
The Amityville Horror (1979)
Area 51
Beneath
Case 39
Changing Lanes
Child’s Play (1988)
Child’s Play (2019)
Clown (2014)
The Craft: Legacy
Dark Places
Dead Again
The Devil Inside
Disturbia
Dream Scenario
Embrace Of The Vampire (1995)
The Evil Dead (1983)
The Exorcist
Eye For An Eye
Godzilla (1998)
Grind House: Death Proof/Planet Terror
The Haunting
Invasion Of The Body Snatchers
Jack Goes Home
Killer Klowns From Outer Space
King Kong (1976)
Kiss The Girls
The Last Exorcism Part II
Little Shop Of Horrors (1986)
The Lost Boys
Medusa Deluxe
Men (2022)
Mom And Dad
The Mummy (1999)
The Mummy Returns
The Night Clerk
Once Bitten
Poltergeist
The Possession (2012)
Pumpkinhead
The Return Of The Living Dead
Seven
The Silencing
Spontaneous
Tales From The Darkside: The Movie
Texas Chainsaw 3D (2013)
Viral
Wes Craven Presents Dracula II: Ascension
Wes Craven Presents Dracula III: Legacy
Wes Craven Presents: They
Woodshock

Prime Video

November 20
They Will Kill You

Screambox

November 3
Hammer: Heroes, Legends and Monsters
Ralph’s Perfekt Christmas

November 6
The Invisible Half (English Dub)
Graveyard Shift
Lovesick: Sick Love
Space Babes From Outer Space
Attack of the Killer Donuts
Attack of the Lederhosen Zombies
The Mutant (Original Chinese Language)
Jack the Ripper: Conspiracies
Jessie’s Super Normal Average Day
Limbo
Sukma

November 13
Harpoon Whale Watching Massacre
Music Store Massacre
Retratos del Apocalipsis (Portraits Of The Apocalypse)
Water Damage
A Knife in the Dark
Granny of the Dead
The Reverend
Compulsion
Blood Relic
Savage Dawn
Mutant War

November 17
Portal to Hell

November 20
Bad Blood
The Day It Came To Earth (1977)
The Devil’s Door
Gush
Lust, Magic, and the Witches’ Sabbath
Behemoth
Companion
Hideout In The Sun
Red Mob
New York Ninja
Fatal Games
The Lamp

November 27
Easter Evil
Feral Female
A Cold Grave
Kat Crime: Tales of the Occult
Blood for Dracula
Flesh for Frankenstein

Shudder

November 1
A Christmas Horror Story
Better Watch Out
Christmas Evil
Don’t Open Till Christmas
The Green Inferno
The House of the Devil
The Innkeepers
The Lighthouse Keepers (1929)
Scary Stories to Tell in the Dark
Spawn (1997)
Sweeney Todd (1928)
Theatre of Horror
You’re Next

November 6
New Group

November 9
Eerie Tales (1919)
The Living Dead
The Wizard of Gore

November 13
Tinsman Road

November 16
The A-Frame
The Becomers
Bury Your Dead
Hush

November 20
Ice Cream Man (2026)

November 26
Black Christmas (1974)
Black Christmas (2006)

November 27
The Holy Boy

Tubi

November 1
Black Christmas (2006)
Bones
Bram Stoker’s Dracula
Brooklyn 45
Child’s Play (1988)
The Craft
The Crow
Daddy’s Head
Deliver Us From Evil
Dream Scenario
From Dusk Til Dawn
Green Room
House At The End Of The Street
I Am Legend
Identity
Insidious: The Red Door
The Intruder (2019)
Men (2022)
Misery
Relic
The Skeleton Key
Spell
The Spine Of Night
Straw Dogs (2011)
Swallow
Tales From The Hood
Tales From The Hood 2
Tales From The Hood 3
Texas Chainsaw Massacre: The Next Generation

November 19
Saw X

November 20
Kong: Skull Island

The post All The Horror Heading To Hulu, Netflix, Tubi & Other Streaming Services In November 2026 appeared first on Bloody Disgusting!.

New to Tubi November Horror Films

Black Christmas (2006)

• Premise: On Christmas Eve, an escaped maniac returns to his childhood home, which is now a sorority house, and begins to murder the sorority sisters one by one.
• Why Watch It? Get an early start on the holidays with a (re)watch of the ridiculously over the top remake of Bob Clark’s quintessential classic. The new film is filled with bitchy, vapid sorority girls played by genre stalwarts such as Katie Cassidy, Michelle Trachtenberg, Mary Elizabeth Winstead, Lacey Chabert and Andrea Martin. While the vomit color palette (yellows and greens), as well as the incest-laden backstory and eyeball fetish, is off-putting to some, the bizarre turns and campiness of Glenn Morgan’s story is Christmas catnip to others.
• Streaming: November 1

Dante’s Peak (1997)

• Premise: A volcanologist arrives at a countryside town recently named the second-most desirable place to live in America, and discovers that a nearby long-dormant volcano may awaken at any moment.
• Why Watch It? One half of 1997’s volcano double bill (the other is the Tommy Lee Jones/Anne Heche title), Dante’s Peak is often regarded as the superior entry. Starring James Bond himself, Pierce Brosnan and Linda Hamilton, the film takes the micro approach to disaster movies by keeping the action specific to the titular small Washington town. Come for Bond and Sarah Connor surviving invasive lava, but stay for the terrifying hot springs sequence, in which bathers are boiled alive.
• Streaming: November 1

Dream Scenario (2023)

• Premise: An ordinary family man finds his life turned upside down when strangers suddenly start seeing him in their dreams.
• Why Watch It? Easily the most adventurous title in this month’s guide, the Nic Cage-starrer is firmly arthouse and straddles multiple genres. Basically, Cage’s Paul Matthews is a regular professor whose life is completely upturned when he becomes a Freddy Krueger-esque manifestation in people’s dreams. Initially, writer/director Kristoffer Borgli uses this for comedic effect, playing off Matthews’ bumbling everyman persona. But the narrative quickly takes a dark turn, resulting in a paranoid, occasionally freaky film that blends comedy, family drama, and, yes, horror. It’s not wholly successful, but it’s definitely worth a watch for the uninitiated.
• Streaming: November 1

The Intruder (2019)

• Premise: A young married couple buys a beautiful house on several acres of land, only to find out that the man they bought it from refuses to let go of the property.
• Why Watch It? This one’s a curiosity: it’s relatively contemporary, but sounds utterly unfamiliar. The cast is totally solid: Michael Ealy and Megan Good play the couple, while Dennis Quaid is the psychopath who makes their life a living hell (because racism!) The film has a certain pedigree in director David Loughery, the man behind similar thrillers like Lakeview Terrace, Obsessed, Fatale, and uncredited work on The Good Son back in the day. Even more surprising is the fact that the film was a quiet hit: the worldwide gross is $40.6M on a budget of $8M. And I have *zero* recollection of it, AT ALL. Perhaps now is the time to rectify that!
• Streaming: November 1

Kong: Skull Island (2017)

• Premise: After the Vietnam War, a team of scientists explores an uncharted island in the Pacific, venturing into the domain of the mighty Kong and must fight to escape a primal Eden.
• Why Watch It? Full confession: I always forget that this film is a period piece. It does seem as though folks sometimes overlook this title, which arrives 12 years after Peter Jackson’s (semi-bloated) epic and four years before we started adding x to all of the titles. Director Jordan Vogt-Roberts doesn’t have a ton of credits in his filmography (he’s more of a TV guy than film), but Dan Gilroy is one of three screenwriters credited, and the cast boasts A-listers like Tom Hiddleston, Samuel L. Jackson, Brie Larson, John C. Reilly, John Goodman, and Corey Hawkins. Perhaps it’s time to revisit this less popular entry in the Kong franchise?
• Streaming: November 1

Saw X (2023)

• Premise: A sick and desperate John (Tobin Bell) travels to Mexico for a risky and experimental medical procedure in hopes of a miracle cure for his cancer, only to discover the entire operation is a scam to defraud the most vulnerable.
• Why Watch It? Why yes, I am recommending the tenth entry in the Saw franchise, because it is undeniably THE BEST sequel of the bunch. Quibbles about Shawnee Smith’s haircut aside, by focusing on John and Amanda’s relationship, the prequel breathes new life into the characters without compromising on the series’ iconic torture devices. The creative team of director Kevin Greutert and screenwriters Josh Stolberg and Pete Goldfinger really did something special with this one. The only drawback is knowing that we’re unlikely to get any resolution for the epic battle of wills between Jigsaw and this film’s wonderfully hissable villain Cecilia (Synnøve Macody Lund) <Siiiigh>
• Streaming: November 19

Silent Night (2023)

• Premise: A grieving father (Joel Kinnaman) enacts his long-awaited revenge against a ruthless gang on Christmas Eve.
• Why Watch It? While the film didn’t exactly light the box office on fire with a final gross of $11M, it’s part of a recent trend of action films that experiment with non-verbal protagonists (see also: Alan Ritchardson’s much better received Motor City from last year). While Kinnaman has yet to truly break out in North America, the Swede has been delivering compelling performances on this continent for going on fifteen years. Oh, and to bury the lede, this is a John Woo film, so even if the rest of the film is a bag of meh, you know the violence is going to hit hard. (But also: can we declare a moratorium on holiday films with this title? Between this, the impeccable 2021 horror comedy, and last year’s SNDN remake, stick a fork in the phrase “Silent Night”).
• Streaming: November 15

Tales From The Hood 1-3 (1995-2020)

• Premise: A funeral director tells four strange tales of horror with an African American focus to three drug dealers he traps in his place of business.
• Why Watch It? Folks who dismiss horror in the early to mid-90s would do well to remember that this is the time when Tales from the Hood was quietly delivering Black horror excellence. If you can only watch one of the three films, it’s undoubtedly the first entry: the groundbreaking anthology hails from Rusty Cundieff and Darin Scott, features FX courtesy of Screaming Mad George and dolls by the Chiodo Brothers, and stars the fantastic Clarence Williams III as storyteller, Mr Simms.
• Streaming: November 1

Texas Chainsaw Massacre: The Next Generation (1994)

• Premise: A group of teenagers gets into a car crash in the Texas woods on prom night, then wander into an old farmhouse that is home to Leatherface (Robert Jacks) and his insane family of cannibalistic psychopaths.
• Why Watch It? The fourth film in the TCM franchise is arguably the one with the worst reputation, but it’s completely unearned. This movie is a camp masterpiece, filled with bizarre moments and characters that sing, including Tonie Perensky’s delightful Darla. Making the viewing experience even better is the fact that this is the queerest entry in the series, with Leatherface fully decked out in female drag for the majority of the movie. It’s a wild, wild ride, but at least it’s memorable/never boring. Oh right: The Next Generation also features early performances by Renée Zellweger and Matthew McConaughey. Phew!
• Streaming: November 1

November Tubi Originals

Don’t Quit (2026)

• Premise: Ten years after an accident ends her boxing career, a fallen fighter returns to the ring to train her younger sister for a shot at glory.
• Streaming: November 11

What’s your favorite from the list above? Will you check out the new Original? Sound off in the comments below.

The post The Best Horror Movies Streaming on Tubi [November 2026] appeared first on Bloody Disgusting!.

While there are plenty of Halloween-set frights to binge this weekend, this list is for those seeking visceral scares that’ll send shivers down your spine. These horror movies are designed to induce goosebumps, leave you on edge, and unleash pure nightmare fuel.

Here are eight terrifying horror movies you can and should stream this weekend.

The Autopsy of Jane Doe – Paramount+ with Showtime, Roku Channel, Shudder

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

The Dark and the Wicked – Hoopla, Shudder

Bryan Bertino, a filmmaker with a reputation for bleak horror, creates unrelenting dread and evil in the vacuum of loss here. Siblings Louise (Marin Ireland) and Michael (Michael Abbott Jr.) return to their childhood home to say their final goodbyes to their dying father, much to their mother’s disappointment. She’d warned them not to come, and it doesn’t take long to figure out why; an evil presence has taken root on the family’s rural land, and it wants them all. Ireland and Abbott Jr. get put through the physical and emotional wringer in a foreboding, nihilistic horror movie that feels evil.

The Descent – Fawesome, Shudder, Tubi

One year after a tragic accident, Sarah sets off with her friends on a spelunking adventure. Too bad pal Juno leads the group into an uncharted cave system, which traps them due to a collapse. As if no hope of rescue isn’t bad enough, this cave system happens to be inhabited by man-eating creatures. The fight for survival has never been quite as primal and bloody as it is in Neil Marshall’s fantastic entry in the annals of claustrophobic horror. It’s intense, unnerving, and epic.

Gonjiam: Haunted Asylum – Hoopla, Prime Video, Roku Channel, Tubi

Amateur ghost hunters in over their heads is a plot description that could apply to many found footage movies, let alone horror in general. If you’re going this route, you’d better find an innovative way to set it apart from the rest, or at least ensure the scares are plenty. Gonjiam nails it. In this Korean film, a horror web show crew plans a live stream event in one of the country’s most infamous abandoned hospitals. The host has rigged fake scares to spook his team for the sake of ratings, but they prove unnecessary thanks to the sinister forces haunting the place. While this movie doesn’t reinvent the wheel, it makes up for that with unrelenting terror. Turn the lights down low and prepare to get creeped out.

Hokum – Hulu

A surly, traumatized writer, Adam Scott’s Ohm, must break free from his self-imposed shackles of guilt when confronted by a wicked witch haunting a quaint Irish inn in the latest by writer/director Damian McCarthy (Oddity). The creepy as hell witch doles out some supernatural karma for crimes committed, but never in the way you’d expect.  Channeling Stephen King, this creeper plays like a traditional campfire tale in mood and style, infusing genuine scares with a sense of magic and heart. That means it delivers on spooky atmosphere and scares, and it also happens to take place over Halloween.

Sinister – Disney+, Hulu, Moviesphere+, Peacock, Pluto TV

True crime author Ellison Oswalt has uprooted his family and moved them into a home where a family was previously murdered, unbeknownst to them. He’s researching the murder for his new book, hoping the research will lead him to the whereabouts of the murdered family’s missing 10-year-old girl. When he finds a box of Super 8 home movies in the attic, he discovers the murder might be the work of a serial killer whose work dates back to the 1960s. Scott Derrickson and C. Robert Cargill’s feature consistently ranks high among the scariest horror movies, and it’s not hard to see why. Eerie atmosphere, iconic jump scares, and a memorable boogeyman all make for a noteworthy genre movie.

Smile 2 – Paramount+

Smile 2 picks up days after the first film’s events, tracking the curse’s path to world-famous pop star Skye Riley (Naomi Scott) just as she’s preparing to launch her new global tour. Two things become immediately clear: the entity seems much more savage this round, and Skye is a deeply flawed and fragile character. Writer/Director Parker Finn is much a more confident and assured filmmaker this round, injecting a more pronounced sense of humor and personality when not scaring the pants off his audience. Make no mistake, though, Smile 2 is far more vicious. It makes for a satisfying thrill ride of jaw-dropping horror and unrelenting dread; a perfect Halloween treat for those in need of a good scare — or twenty.

Terrified – Shudder

The cinematic equivalent of enjoying a haunted attraction, Demián Rugna’s feature is an onslaught of terror from beginning to end. Plot-wise, there’s not much to it, nor is there a lot of explanation for those who prefer answers. However, that doesn’t stop a cop on the cusp of retirement and a slew of paranormal experts from trying to get to the bottom of a series of bizarre activities plaguing a Buenos Aires neighborhood. With creative and innovative scares aplenty, Terrified is the type of horror film that lives up to its name; it’s freaking petrifying. Make it a Rugna double feature with visceral possession shocker When Evil Lurks, also streaming on Shudder.

The post 8 Terrifying Horror Movies to Stream This Halloween Weekend appeared first on Bloody Disgusting!.

Today, October 30, Screambox will premiere Your Dearest Darkest Friend, a new talk show hosted and created by Raimi, which follows the actor, producer, director, and writer as he simultaneously plays classic horror host and in-depth interviewer. Each episode features a conversation with a fellow horror icon, covering everything from the trajectory of their careers to the craft they apply to each project, supported by custom-created cocktails and, naturally, a puppet co-host named Mort (voiced by Ed Larson). 

The show’s premiere means that Raimi fans will spend a portion of their Halloween weekend with him and his guests, but how does Ted Raimi like to spend Halloween? What are his must-watch films that he resurrects every single October? 

Speaking to Bloody Disgusting via Zoom, Raimi explained that his Halloween is not complete without a few “tragedies,” movies where good doesn’t always prevail over evil, and the heroes actually often end up in a darker place than when they began. 

“The ones I watch every year are ones where the hero in the story fails miserably at the end,” Raimi said. “I do love gore, and I’ll always watch gore, but the ones I always go back to are character-centric horror, where the hero attempts something so outlandish and fails in a horror way. Those are the ones I love the most.”

So, which movies are included in his list of must-watch character pieces? 

“I would say number one is Cronenberg’s The Fly, the remake. Also The Dead Zone, another one where the character attempts everything he can and fails horribly at the end. Angel Heart, a detective-story failure. The Serpent and the Rainbow is another must-watch for the very same reason. I always go back to that during Halloween. Jacob’s Ladder, total soldier failure, but great. I love tragedies in horror, horror and tragedy.

“Another one I like is an early John Frankenheimer movie called Seconds. It’s from 1966; you gotta be in the right place to dig that. The Vanishing, I just watched that one the other day. The Spoorloos one from 1988. That is a character whose curiosity truly kills him in the end, in a gruesome way. Sorry, spoiler alert, but I’m not going to say how he dies. Finally, another Cronenberg film, The Shrouds, which came out a couple years ago, same thing. My girlfriend and I love that movie, and I’ll watch that a million times or more. Those movies are probably my top, whatever that is, 8 to 10 pictures.”

So, why does Raimi tend to go for tragedy rather than, say, a horror-comedy or something lighter? Because on Halloween, Ted Raimi likes to be truly, deeply scared. 

“Those are the things that frighten me the most,” Raimi explained. “I like a mixture of human tragedy with gore and body horror. You can always divorce yourself from gore when you get out of a movie. It’s like a roller-coaster ride. I love it, but you can divorce yourself from it. The movies that stay with you are the ones that also have personal tragedy in them.

“A good example is The Hitcher with Rutger Hauer and C. Thomas Howell. It’s another good example of that, where C. Thomas Howell is just a kid, and he’s just trying to drive a car across the country. That’s it. That’s all he wants. Everything horrible happens to him, and he loses at the end. Those movies really stick with me because of that.”

According to the man himself, if you go to Ted Raimi’s house on Halloween, you’re going to get a lot of movies that end on very sad notes. Fortunately, as with Your Dearest, Darkest Friend, you’ll also get cocktails to wash those movies down. So, what’s Raimi drinking during all of these cinematic tragedies?

“Everything,” Raimi said with a laugh. “For these movies, it’s usually classics. I don’t like too many fancy drinks with my horror movies. I’ll either do Old Fashioneds or Gin Martinis with olives, never with a twist because I like the tartness of the olives. You need that. If I drink something that’s too elaborate during a horror movie, I just focus on the drink, and I don’t want to do that.”

Ted Raimi’s Halloween Watchlist:

1. The Fly 
2. The Dead Zone
3. Angel Heart
4. The Serpent and the Rainbow
5. Jacob’s Ladder
6. Seconds
7. The Vanishing
8. The Shrouds
9. The Hitcher

Your Dearest, Darkest Friend with Ted Raimi premieres October 30 on Screambox. New episodes will release every Friday. 

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The new series will tell a completely original story, separate from the video games. Under director Takayuki Sano, the hand-drawn animations have been brought to life by renowned studio E&H Production (NINJA KAMUI, BULLET/BULLET, Magic Knight Rayearth).

Death Stranding Isolations is set in North America and takes place immediately after Sam, the game’s protagonist, reconnects the continent by means of the Chiral Network. However, as America is reborn from the ashes, the renewed connections that bind it together bring about new and unforeseen consequences.

“In this tumultuous new landscape, there are some who walk a different path to the one chosen by Sam and his Bridges comrades: a wise old man who connects people through a method that defies all reckoning; a female soldier ensnared in a cycle of war and destruction; a boy who seethes with rage at the absurdity of his life…and of course, the girl who chose to sever all ties with the outside world…Fate has other plans for her, however, and chance encounters see her launched headfirst into a world she does not recognize.”

“One of the unique abilities of entertainment is its power to enhance the spirituality of those who consume it, and I think this is something that Mr. Kojima’s works have always achieved. As a result, I approached this production with an exceptionally strong sense of duty and responsibility. I knew that no matter what, I needed to accomplish the same thing,” said Takayuki Sano.

The series’ original character designs are by Ilya Kuvshinov, with screenplay by Tow Ubukata. Hideo Kojima executive produces.

As of June 2026, the Death Stranding series has reached a cumulative player base of over 27 million worldwide. Death Stranding: Director’s Cut is currently available for PlayStation5 and on PC, available through Steam or the Epic Games Store, while Death Stranding 2: On The Beach is currently available for PlayStation5 and on PC, available through Steam or the Epic Games Store

A live-action Death Stranding film is in development from A24 with Michael Sarnoski (A Quiet Place: Day One) set to write and direct, while an animated Death Stranding movie is also in the works with Aaron Guzikowski (Prisoners) penning the script.

Watch the new Death Stranding Isolations teaser below.

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On top of all the popular and well-known titles it features, Tubi boasts a number of hidden gems. These are movies that have gone unnoticed by the masses, or they’ve been forgotten. In either case, they’re entertaining and deserve more eyes on them.

The following are ten horror hidden gems that can now be found at Tubi.

Death Weekend (1976)

You may know Brenda Vaccaro from her stage work, from movies like Midnight Cowboy, or that Golden Girls episode where she played Sophia’s daughter-in-law. Regardless of how you recognize Vaccaro, don’t overlook one of her most visceral and vulnerable performances. After being hard to find for a number of years, this Canadian slice of exploitation is now tucked away on Tubi. It’s presented in the 4:3 aspect ratio, but that only elevates its drive-in quality. In William Fruet‘s Death Weekend (a.k.a. The House by the Lake), a couple’s romantic getaway is disrupted by a group of cruel home invaders.

The Enchanted (1984)

Folk horror varies from movie to movie, but for the most part, they’re about someone’s unusual beliefs. This applies to the spellbinding The Enchanted, a regional folktale shot in rural Florida. Here, a sailor (Will Sennett) returns from sea, and while fixing up an old ranch, he meets a local family. A neighbor played by Julius Harris advises him to steer clear of Miss Twyla (Casey Blanton) and her weird kin, but of course that warning goes unheeded.

The Caller (1987)

You’re advised not to read a thing about Arthur Allan Seidelman‘s The Caller beforehand. It’s best to go in not knowing any details about this movie other than the setup. In this two hander, the only characters, who are simply credited as The Girl (Madolyn Smith) and the Caller (Malcolm McDowell), are trapped with each other’s company. The Girl allows this random stranger into her remote house in the woods, unaware of his intentions. Keep in mind, his host has secrets of her own. Once again, do watch The Caller without spoiling yourself. That way the ending will come as more of a shock.

Demonwarp (1988)

From the director who brought us New Year’s Evil is this wild-as-hell Bigfoot movie. Emmett Alston‘s Demonwarp looks to be a basic cryptid slasher, but soon it turns into something else entirely. The schlock factor, however, never fades. Here, George Kennedy and his young co-stars are in for a nightmare as they deal with not only a rampaging Bigfoot, but also the strange forces lurking in these woods.

The Wrong Door (1990)

Fans of regional horror may be interested in Bill Weiss and Shawn Korby‘s The Wrong Door. Shot on Super 8 and for very little money, this largely all-in-one-night suspense tale is worth seeking out. The trouble begins after mystery-loving college student Ted (Matt Felmlee) gets mixed up in a mystery of his own. During his part-time job as a singing telegram deliverer, he briefly goes to the wrong address. The woman who answered is mouthing things like “help me” to him, but Ted doesn’t understand. That is until the same woman later turns up dead, and the killer then comes after Ted.

Campfire Tales (1997)

Conceived in 1995, and almost put into theaters, the anthology Campfire Tales has garnered a following, in spite of its relative unavailability for some years. Then all of a sudden, it found its way to streaming. In this omnibus, which was co-directed by Martin Kunert, David Semel and Matt Cooper, four young people (including The Craft‘s Christine Taylor) are stranded in the woods after a car accident. They then bide their time by telling tales based on urban legends and ghost stories. Other before-they-were-famous stars in the movie are James Marsden, Ron Livingston and Amy Smart.

The Paranormal (1998)

To all the shot-on-video enthusiasts reading this, your assignment is to watch The Paranormal ASAP. Todd Norris‘ Kansas-shot movie is more charming than scary, but that’s no reason to let it collect more dust. This lo-fi production centers around a paranormal academic (Norris) who’s given a new field assignment; a theater in his hometown is reportedly haunted. Any assumptions you ever had about SOV will be challenged after one viewing of this sharp and well-made movie. Oh, and be on the lookout for Darren Lynn Bousman; he played a zombie here before directing movies like Saw II and Repo! The Genetic Opera.

Infection (2004)

Infection (a.k.a. Kansen) hails from a series of movies called “J-Horror Theater”. Other installments in this line include Takashi Shimizu‘s Reincarnation and Kiyoshi Kurosawa‘s Retribution. In Masayuki Ochiai‘s entry, a hospital is overcome by what seems like the supernatural after a doctor (Kōichi Satō) and his team make a grave medical error.  This goopy, creepy movie is based on Ochiai’s segment in the 1991 anthology Tales of the Unusual: Spring Edition; the story was inspired by the hospital setting of The Exorcist III.

Butterfly Kisses (2018)

Tubi is a fountain of found footage, but as many would agree, it can be tough to sift through everything there. Even so, you can always count on Butterfly Kisses, a movie from the last ten years that has rightfully gained a sizable fanbase. Erik Kristopher Myers concocted a frightfully fun urban legend, then spun it into a story that’s both terrifying and affecting. One of this movie’s additional strengths is the attention paid to its complex main character.

Initiation (2020)

While it’s not a remake of 1984’s The Initiation, John Berardo‘s Initiation is also a slasher. And unlike the former movie, this is a rather grounded take on the formula we all know and love. However, the story is timely with its themes and content; a case of sexual assault on a college campus leads to a spree of brutal murders committed by a mysterious, masked killer. Initiation is definitely heavier than some of its contemporaries, but it also never forgets to be a slasher. You can expect suspenseful chases, vicious kills, and a surprising unmasking.

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This week, Screambox will premiere Your Dearest, Darkest Friend, a funny, warm, in-depth interview series in which Raimi sits down with fellow genre icons ranging from actors to directors to musicians to talk about their creative processes, their careers, how they overcome adversity, and much more.

But this is more than your standard video podcast-style interview show. It’s a full-blown Gothic production, complete with talking severed heads, mutated rat critters, an old Victorian house, and of course, cocktails. 

Ahead of the show’s October 30 premiere, Bloody Disgusting sat down with Raimi to discuss Your Dearest, Darkest Friend‘s origins, its format, and why Raimi came away from the project full of fresh creative energy. 

Bloody Disgusting: Ted, this is such a fun show. I just want to start by asking: how did this happen? What was the path to getting your own Gothic, weird comedy talk show?

Ted Raimi: I had done a series of YouTube shorts that I created called Deathly Spirits, where I make a drink, and I tell a scary story, but this was some years ago. I took it off the air, thinking no one cared. Then a bunch of fans were like, “Where’s the show? Where’s the rest of the episodes?” I said, “I’m not making them anymore,” and I went on with my life making movies and TV shows and stuff. 

During that time, I was thinking about [how] we get asked really dumb questions as horror buffs. Really stupid ones. “Was the house actually haunted where you were shooting? Was there an actual demon in the car that you feel the presence of?” Like, no, man, we’re making a movie. Are you kidding me? We’re scraping cash together! We’re eating 2:00 A.M. Pollo Loco. We’re just filmmakers.

I noticed that everyone else was getting asked those same questions. I decided to make a little tiny podcast, just a horror insider show, but never got around to it. Then about a month after that, Screambox, that’s headed by [producers] Tony Wash, Charlie Queen, and Lauren Leshansky, called me and said, “Look, we want to make a talk show kind of like Dinner for Five,” which was the idea. 

I thought, look, let’s go a step farther. We got a little studio money now. Instead of me sitting down with a chair, I said, let’s build a set. It’s a version of me. I’m now in this dilapidated Victorian mansion at the end of a dead street in this old, faded industrial town, and I invite people into my house to talk. I ply them with drinks to get them more talkative. That’s how it started, and they thought that was a good idea.

BD: One of the best things about the show is how much you get to talk about craft with fellow artists, but then you also get to have your Vincent Price moments in your smoking jacket in your creepy house. What was it like finding the balance between the horror-host Ted and then the real Ted who genuinely wants to get to know how these people work?

TR: It was a trick, and I didn’t know if it would work. That was something that other producers and I talked about. They knew that this was kind of a weird-ass concept. On the other hand, very few fans other than horror fans will accept weird-ass concepts from a talk show.

Your typical viewer would be like, “I don’t get this. Why is he so weird and wonky here, but then he’s like serious Ted Raimi here?” Horror fans get it. We didn’t really make it for a mass audience. Rather, we made it for fans of the genre specifically, who understand that, who get the insider vibe.

Also, I think people are tired of meta stuff. I know I am. I’m sick of seeing references of references of references that I’m supposed to have gotten. If I didn’t see X, Y, and Z movie, I wouldn’t understand this movie. I didn’t want to do anything like that. You don’t have to know anything, I suppose, other than maybe if you did know what Vincent Price and Alfred Hitchcock were like. Even if you didn’t, it didn’t matter. It would be fresh.

BD: You’ve obviously got a very broad knowledge of film, TV, and entertainment history, so there’s a lot of inspiration to pull from. Who were the talk show hosts that you looked to as a guide to your interview style?

TR: There were two of them. One was Dick Cavett, the 1960s guy, who had this very … it’s very unmodern. It’s a very relaxed, calm style. It’s as though he invited them to a living room. He’s got this very sonorous voice that you want to listen to. In a like manner, a modern version of him, though politics aside, no matter where you are in politics, it’s his interview style, which is Bill Maher. I thought it was very much in the Dick Cavett style.

What I didn’t want to do, even though Lord only knows we had enough funny people who were writing on that show, including Holden McNeely from The Last Podcast on the Left, who’s hilarious. We could have just joked it up. It could have been a Conan O’Brien thing, where I sat there and did bits and jokes and ripped them and tried to get stories, but I didn’t want to do that. I think people are frankly sick of that stuff. They want something a little more honest, especially horror fans.

BD: Then, on the other side of that, you also get to have some fun with a rat creature puppet and a talking severed head puppet. What was the creation process like there? How did those two guys become part of this?

TRi: I always loved puppets. I like things like The Muppets. They’re okay. They’re cute for Christmas time and stuff, but I like puppets that were treated seriously. It’s an old tradition. They used to be their own characters that weren’t treated as anything other than human. I wanted to do that, but it’s a very challenging fine line because if you don’t do it right, it could be Lamb Chop. If you do it right, I think it can be weird and fun. That’s why I wanted puppets. I also just think they’re funny. Generally, they’re just funny to look at.

I also thought it would be fun if I forced the guests who came on the show to talk to the puppets. [chuckles] [No matter] how serious you took yourself, as soon as you got on set, you were forced to have a conversation with a puppet. I really think that was a great benefit because it really relaxed a lot of guests who were very nervous. Some of our guests were just forced to be like, “Well, I guess I’m talking to a puppet.”

BD: Did they all know coming in that a severed head puppet voiced by Ed Larson was going to be talking to them?

TR: Some of them. Some of them didn’t. It was a bit of a crapshoot sometimes. There are some people we had to tell. There are some actors who were quite concerned about image, and directors too. I’m not going to name names, but they want to make sure that they don’t look ridiculous, and that’s understandable. Everybody that we had on the show was totally fine with it. I tell you, after you have a drink and you talk to a puppet, you’re pretty loose. That’s where we wanted them, and we got them.

BD: The cocktail element is obviously very important to the show. How did you create all of the drinks? They all look so fun. 

TR: Thank you. Some I had an idea for, and I do make my own at home, and I do make wild creations, but those were finalized and solidified by a professional mixologist that they brought in. Charlie Queen, the producer, had a good buddy who came on. I’m not a terrible mixologist, I don’t think. I can make a pretty good batch of drinks, but this guy was great, and he taught me the finer points. I would just shake stuff, like shake a drink. He’d be like, “No, no, no, no. You got to shake it right here. Do this. Pour. No, don’t pour it like that!” I was taught all the finer points. Some were my idea, but many were [when] a professional came and showed me how to do it.

BD: You also close each episode with a trip to the “Oddities Room” in the house, where guests are encouraged to leave a gift. How did that become the final segment?

TR: I was trying to come up with something that was personal, because the point of talk shows is that you want to be personal. You want them to give you information, and you want to give information. I was telling this to my friend Jordan Morris, and I go, “How am I going to get these guys relaxed?” He said, “Do a gift exchange kind of thing where they give you something personal, and you give them something personal.”

At first I was like, “That’s ridiculous. How are they going to do that?” Then I realized that was a really good idea. I wish I could tell you that was my idea, but it wasn’t. It was totally my buddy who came up with that one, but it wound up working great, and the guests really took to it. I thought to myself, if I was on a talk show and someone told me to do that, I thought that’d be great because it means something to me. It doesn’t mean something just to the interviewer.

BD: Because these interviews are very driven by discussions of craft, creative process, and dealing with adversity, I’m curious: What did you take away from these conversations that you want to apply to your own career?

TR: Oh, I think the steadfastness of so many of these guys and girls who’ve been in it for so long. You go on for years, and you go, “I don’t think I can take this anymore. I’ve been doing this crap for 45 years. Is it time for me to just say goodbye and feed my chickens and my cats and stuff? Is this it?” These guys are like, “No, man, this is where it starts,” and I’m grateful to hear that.

I don’t ever want to quit. I don’t ever want to retire. I’m 60 now, and I’ve been doing this for more than 40 years. There are points in your career where you’re like, “Okay, how many more movies can I do? How many more TV shows can I be on? Did I do it all?” No, these guys are just like, “No, no, no.” They’re just grinding on, these rock musicians and actors and directors. You always have something more to offer. I don’t want to burn myself out at 35, which I could have easily done in this business. It’s not hard, considering all the options you have. I’d rather be Clint Eastwood. Just keep going until you just croak. That’s the goal.

BD: So this was a creatively energizing experience for you.

TR: Yes, it was. It was. I didn’t expect it, though. I thought I would just try to make this talk show the best I could, but man, most of these conversations I had, I was sorry when they were over. Charlie Queen directed most of them, and Charlie would tell me, “You got to keep it going. You got to keep it going for 30 minutes because we got to have 30 minutes to cut it down.” I was like, “How am I going to talk to people for 30 minutes?” Every single time, Charlie would go, “OK, we have to stop now. That was an hour.” I was like, “No!” I found that I was incredibly energized doing it.

BD: If this gets the response that I’m sure that you and Screambox and everyone who worked on it is hoping for, are you hoping to do more?

Ted Raimi: Most definitely, yes, but it’s a weird crapshoot. It’s a weird show. I think people who are watching Screambox will get it. They definitely will get it. Whether or not it’s available to a wider audience and someone who normally watches, say, Hallmark Channel, that’s going to apply to them, I don’t know. I’m not sure if someone watching Hallmark Channel will want to see a half-dead rat as a talk show. [laughs] We’ll see. I had such a good time doing it, and I loved all our guests. If Screambox said, “Let’s go season two,” I’d say yes, for sure.

Your Dearest, Darkest Friend with Ted Raimi arrives October 30 on Screambox. 

The post Ted Raimi On New Screambox Talk Show ‘Your Dearest, Darkest Friend’: “Horror Fans Get It” appeared first on Bloody Disgusting!.

Shudder has unveiled an unsettling new trailer ahead of The Holy Boy releasing on November 27.

In the film, “Sergio (Michele Riondino), a teacher tormented by his past is transferred to Remis, a secluded village known as the happiest town in Italy. But Sergio soon discovers that behind the town’s joyful facade lies a disturbing secret: Each week, the villagers gather to hug Matteo (Giulio Feltri), an introverted fifteen-year-old whose embrace can free one of all pain and sorrow. As Sergio uncovers that the village’s devotion to Matteo is far from benevolent, his attempt to rescue the boy known as the Angel of Remis ignites the community’s vengeful nature.”

Paolo Strippoli (A Classic Horror Story) directs from a script he co-wrote with Jacopo Del Giudice and Milo Tissone.

Michele Riondino, Giulio Feltri, Paolo Pierobon, and Romana Maggiora Vergano star.

The award-winning The Holy Boy (2025) is Strippoli’s third feature after Flowing (2022) and A Classic Horror Story (2021).

“Shudder is a guiding light in visionary genre cinema, and I am beyond thrilled they will bring The Holy Boy to a wider, passionate audience,” said Strippoli. “The film explores our relationship with pain — the shortcuts we take to avoid it, and the way in which pain itself makes us fully human. We imagined a town that does not exist but could and a ritual that does not exist but could: an uncanny embrace that takes away all suffering. Soon, new audiences will embrace The Holy Boy and discover its terrifying consequences.”

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Bacon has been cast as methodical physicist Alex Regan.

In The Black Tapes, “Dr. Richard Strand (Coster-Waldau), a brilliant psychiatrist with a mysterious past, teams with the obsessed, relentless scientist Alex Regan to debunk paranormal cases of hauntings, possessions, disappearances, and sinister legends – the infamous black tapes. But as Strand and Regan unravel the secrets of these events, they uncover a hidden occult world behind our own and must unravel a centuries-old apocalyptic conspiracy.”

The eight-episode series is based on the 2015 horror podcast of the same name created by Terry Miles and Paul Bae. Miles and Bae, who will also executive produce, team with series’ showrunner John Rogers (Leverage) on writing duties.

Production is expected to begin in Vancouver in January 2027 for release on MGM+ in the US, UK, Ireland, Germany, Italy, Spain, Belgium, the Netherlands, and Latin America.

“The Black Tapes crafts a compelling story around our cultural fascination with the unexplained, while delivering the cinematic, classic storytelling that MGM+ audiences expect,” said Michael Wright, global head of MGM+. “With Nikolaj’s compelling presence and the creative vision of John Rogers, Kearie Peak and our talented production team, we’re excited to make something that is both provocative and hugely entertaining.”

While Bacon can next be seen in the horror-comedy Family Movie, starring her real-life family, releasing on April 23, 2027, the actress also played a scientist in the horror-comedy Cold Storage earlier this year.

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This streaming guide brings gateway scares, and most of them are set on or around Halloween, ensuring proper spooky season viewing. Grown-ups seeking non-gateway horror Halloween watches can find a selection here.

For those looking for new family frights to sink their fangs into this Halloween season, don’t miss these family-friendly frights.

The Curse of Bridge Hollow – Netflix

Director Jeff Wadlow (“Are You Afraid of the Dark?,” Cry Wolf) makes the most of the Halloween concept that sees Halloween décor spring to life to terrorize a town. The Howards have just moved to the quaint town of Bridge Hollow, just in time for Halloween. That’s excellent news for teen Sydney (Priah Ferguson, “Stranger Things”); her keen interest in the supernatural means she’s excited to see the entire block decked out with perfectly themed Halloween lawn displays. But when Sydney accidentally frees Stingy Jack’s ghost, which creates an army from holiday décor, she’s forced to team up with dad, Howard (Marlon Wayans), to save the town. It’s difficult not to fall under this movie’s spell, thanks to its commitment to capturing the essence and importance of Halloween.

Don’t Look Under the Bed – Disney+

The first PG-rated Disney Channel Original Movie to premiere on television in 1999 received many complaints from parents for being too scary for kids. New high schooler Frances begins noticing strange occurrences in town, pranks that seem to frame her as the one responsible. She teams up with Houdini, an older kid who reveals himself to be an imaginary friend. He tells her that it’s the Boogeyman that’s framing her. There’s an interesting mythology behind the Boogeyman here, and this movie also explores some rather adult themes of death. But more importantly, the boogeymen (yes, plural) in this film are pretty freaking creepy. Especially for a Disney film. Seriously. They look like they’re beginning their transformation into full-blown demons from Lamberto Bava’s Demons.

The Hole – Pluto TV, Prime Video, Roku Channel

This 2009 fantasy horror film has flown under the radar, but it makes a great primer for horror master Joe Dante’s body of work. While this kid horror movie also happens to feature a mysterious hole that torments the lead characters, this hole happens to really hone in on the deepest, personal fears of its victims. For 10-year-old Lucas, that means a fear of clowns. For older brother Dane and his love interest, Julie, that means a more profound fear stemming from their guilt-ridden past. This movie wins for taking on some deeper themes while delivering on jump scares and one very creepy clown doll. Also, look for Trick ‘r Treat’s Quinn Lord as a female ghost.

The Monster Squad – Paramount+, Pluto TV, Prime Video

A Goonies-esque horror movie featuring a group of pre-teens taking on the classic Universal movie monsters is a must for any budding horror fan. With memorable quotes, the best set production, memorable makeup effects, and nods to the genre that the grown-ups will appreciate, The Monster Squad is one for the ages. Phoebe’s friendship with Frankenstein’s monster will leave both kids and adults in tears, and lines like “Wolfman’s got nards!” will forever stick in your memory. Though parents be warned: this one is rated PG-13 for language, so save it for the slightly older monster kid.

Nightbooks – Netflix

Alex (Come Play’s Winslow Fegley) adores scary things so much that his birthday party looks more like a Halloween party, complete with costumes, décor, and candy. But when no one shows up, prompting a concerned but hushed conversation between his parents, Alex runs away. He quickly gets stuck inside the magical apartment and is forced to tell an evil witch (Krysten Ritter) a scary story every night if he hopes to live. Alex must team up with another prisoner, Yasmin (The Exorcist: Believer’s Lidya Jewett), to find a way to escape. It’s a whimsical horror fantasy movie produced by Sam Raimi, aimed at the horror-loving monster kid. It may not technically be set on Halloween, but it embraces the spirit all the same.

Scary Stories to Tell in the Dark – Peaock

On Halloween 1968, Stella (Zoe Margaret Colletti) and her two friends meet drifter Ramon (Michael Garza) while fleeing from bullies (Resident Evil‘s Austin Abrams). They invite Ramon to explore a local haunted house, where Stella discovers a mysterious book containing horror stories that seem to write themselves in real time. Director André Øvredal brings the nightmarish illustrations by Stephen Gammell and stories by Alvin Schwartz to life. Harold the scarecrow, the Pale Lady, the Big Toe corpse (Javier Botet), and the Jangly Man (Troy James) terrorize Mill Valley’s teens in this recent Halloween treat. It’s the perfect October movie full of chills for the older kid or kid at heart. Though maybe save this one for the older kids; it’s rated PG-13.

Something Wicked This Way Comes – Disney+

Disney+ has finally brought this quintessential gateway Halloween horror gem to streaming for the first time. Director Jack Clayton’s horror/dark fantasy film Something Wicked This Way Comes, adapted for the screen by author Ray Bradbury, didn’t shy away from getting pretty dark. Set in late October, two young boys visit a traveling carnival, led by the mysterious and ominous Mr. Dark. Faustian offers of wishes granted curdle the boys’ fantasies into waking nightmares. A haunting carousel, a blind witch, autumnal vibes, and more ensure there’s enough Halloween tricks and treats here for all. Just beware that some imagery may be far too intense for very young viewers, including a tarantula scene that’ll induce arachnophobia.

Under Wraps – Disney+

Released in 1997, this Disney Channel Original Movie has finally made it to streaming. It also happens to take place around Halloween! It centers on a horror-loving preteen and his two friends as they accidentally awaken an ancient mummy. It sets in motion a race against the clock to reunite the clumsy mummy with his long-lost love. It’s all holiday laughs over scares in this gateway Disney classic, though one that was all but impossible to find until recently. Under Wraps also has a remake and sequel available to stream on Disney+.

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Familiar faces like Ralph (Nick Cordileone) and Deputy Dorf (Cameron Scoggins) don’t quite align with their Friday the 13th filmic counterparts just yet, though they’re well on their way thanks to the events of Crystal Lake’s inaugural season. 

That gap will narrow even further should the series get renewed for a second season, showrunner Brad Caleb Kane (“IT: Welcome to Derry”) told Bloody Disgusting in a new chat.

“We are only just beginning to see who they are,” he explains. “We come to television to really spend time with people and to bring them into our homes and to get to know them. That’s the great thing about TV. In the movies, you can have a crazy Ralph just be the prophet of doom. He’s there for a little comic relief; Dorf is there for just a little comic relief.”

“But if we’re doing a show called Crystal Lake,” Kane says, “you want to delve into the eccentric characters in the town a little bit more. There is a little bit of a Twin Peaks thing to it, and that’s part of the fun. I did want to find some of those archetypal ’70s ideas, ’70s characters and ’70s interests to ascribe to some of these people. That early ’70s thing, the human potential movement was happening.“

Kane continues, “So it’s interesting to me that somebody like Rita (Joy Suprano), who’s, in today’s parlance, sex positive, would be looking for meaning wherever she could find it, whether it was in various partners or whether it was in these seminars to grow as a person, to grow beyond what she considers the provincial nature of Crystal Lake. That seemed like a character I’ve met before.

“Same thing with Dorf. He’s the guy who wants to be larger than he is. He wants to get out of his father’s shadow. His father is an old-school Jersey racist, and he’s not, but he’s fighting those feelings within himself and sort of throwing himself into some of the hobbies of the time. The martial arts thing was booming. He’s trying to find his own identity, just like Pam is trying to find her own identity, just like the country at this time is trying to find its identity, coming out of the identity crisis of the late ’60s and early ’70s.“

That won’t just extend to the returning F13 characters, but Crystal Lake originals, too.

“Because you don’t see it at the end of season one, I will just say it flat out, Officer Brooks survives. Chief Brooks survives. He’s okay,” Kane confirms of William Catlett’s sympathetic Sheriff.

Kane’s confirmation also reveals that he considers Brooks the series’ ultimate hero. “He’s got his guy Dorf there who’s looking out for him, and he’s okay. But in terms of where we would take him in season two, he’s our leading man. Will’s our leading man. Will is a classic leading man, and I wanted that tall, dark, literally tall, dark, and handsome leading man. He’s our Sidney Poitier, and I wanted a little bit for Will. We talked about Poitier; we talked about Gary Cooper, him having that sort of stoic, staunch, you know, the guy that everybody can rely on, but who is suffering all of the small indignities of being a Black man and a Black police chief in small-town America, with dignity and class. As much as those tiny paper cuts hurt him, he is pure class, and I think Will really embodies that. So, going into a season two, I don’t know what we would do with him specifically. I have ideas, but he would certainly be in danger again. But no, we’re not looking to kill Chief Brooks.“

It’s not just more Brooks that a second season would double down on, but even more carnage and more Sackhead Jason. The series’ showrunner also hints at more Friday the 13th characters he’d love to bring into the mix but remains tight-lipped for now on WHO.

“If we’re lucky enough to get a season two, I already sort of have a framework in my mind. I do know thematically what I want to touch on, which is a little bit different than part one.

“I do know that I want there to be a whole hell of a lot more of Sackhead Jason, I’ll tell you that. I want there to be a whole lot more carnage.”

“But in terms of other characters that I want to touch on, there are, and there are people that we haven’t necessarily seen in the first season, but people who might be very well known from the franchise that I do want to dig into,” Kane teases.

“Crystal Lake” is now streaming only on Peacock.

The post ‘Crystal Lake’ Showrunner Teases Season 2 Wishlist: More Sackhead Jason, Carnage, and Classic ‘Friday the 13th’ Characters appeared first on Bloody Disgusting!.

Deadline reports that Nikolaj Coster-Waldau (Nightwatch, Mama) will star in the eight-episode series, with Miles and Bae joining John Rogers (Leverage) on writing duties.

In The Black Tapes, “Dr. Richard Strand (Coster-Waldau), a brilliant psychiatrist with a mysterious past, teams with the obsessed, relentless scientist Alex Regan to debunk paranormal cases of hauntings, possessions, disappearances, and sinister legends – the infamous black tapes. But as Strand and Regan unravel the secrets of these events, they uncover a hidden occult world behind our own and must unravel a centuries-old apocalyptic conspiracy.“

Production is expected to begin in Vancouver in January 2027 for release on MGM+ in the US, UK, Ireland, Germany, Italy, Spain, Belgium, the Netherlands, and Latin America.

“The Black Tapes crafts a compelling story around our cultural fascination with the unexplained, while delivering the cinematic, classic storytelling that MGM+ audiences expect,” said Michael Wright, global head of MGM+. “With Nikolaj’s compelling presence and the creative vision of John Rogers, Kearie Peak and our talented production team, we’re excited to make something that is both provocative and hugely entertaining.”

“I was an early and passionate fan of The Black Tapes podcast,” says Rogers. “It’s a unique blend of truly unsettling horror and puzzle-box conspiracy mystery. With Paul and Terry not just executive producing, but also in the writer’s room, we have a chance to both bring The Black Tapes to a new generation of genre fans and deepen and expand the mythos in ways that will surprise long-time supernatural horror fans.”

The Black Tapes podcast has amassed over 60 million downloads since its launch 11 years ago. NBC previously attempted to develop a series based on the podcast in 2018, but it did not go to pilot.

Also on the way to MGM+ very soon is season two of The Institute, arriving next month.

The post Nikolaj Coster-Waldau to Star in MGM+’s ‘The Black Tapes’ Horror Series appeared first on Bloody Disgusting!.

Linklater’s Elias delivers a suitably villainous monologue in the penultimate episode of the season, explaining the science behind Project Argonaut, whose aim is to replicate the survivability of cockroaches in babies.

The key word here is “replicate,” showrunner and creator Brad Caleb Kane (“IT: Welcome to Derry”) wants fans to note. Speaking with Bloody Disgusting, Kane debunks the recent fan theory that Jason Voorhees was spliced with cockroach DNA.

“What I wanted to get into was the idea of why he would be indestructible for any particular reason,” Kane explains. “There is a real science called biomimicry that felt appropriate here, which is about reaching into the natural world for processes that we can replicate for human benefit. That includes reaching into the insect world. There were, in fact, very specific and very real studies done on the effects of radiation on cockroaches in the late ’50s, to see how we could benefit from the knowledge. There are other studies that have been done on bugs, also specifically cockroaches, that speak to their durability, their ability to survive for 30, 40, 45 minutes in water without dying, their regenerative processes. This is real science. It’s not science fiction.“

He continues, “It’s speculative because we’re specifically saying this worked, but it’s not science fiction. That’s like going back from the point of view we have now and saying the Terminator is science fiction. It’s not. As we know, as we’re getting into. I wanted to take very specific and real, grounded corporate and pharmaceutical science and apply it to what we know as Jason’s regenerative and indestructible abilities. That’s really it. And people can take it as they want to. If they want to go, ‘Hey, cockroach boy,‘ feel free, but it is reductive.”

The “Crystal Lake” showrunner notes that it’s also a very small detail in an inaugural season ultimately about “a mother’s love for her son, the thing that she ostensibly lived for being wrenched away from her. It’s about reproductive autonomy and bodily autonomy.“

Project Argonaut is ultimately successful in making Jason unstoppable, but Brad Caleb Kane officially puts to rest the rumors that the horror icon now shares DNA with an insect.

“Crystal Lake” is now streaming only on Peacock.

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Consider this a handy streaming guide to pad out your Halloween watchlists beyond the core staples, from recent Halloween hits to deeper cuts to forgotten classics. Whether you’re in the mood for serious scares or silly fun, these fifteen Halloween-set horror movies offer something for all tastes.

Here’s where you can stream them this weekend.

Cobweb – Fandango at Home, Moviesphere+

It doesn’t get more seasonal than the feature directorial debut of Samuel Bodin, creator of Netflix’s “Marianne.” Lizzy Caplan (“Castle Rock”) and Antony Starr (“The Boys”) star as parents who seemingly can’t be trusted when their young son Peter (Woody Norman) gets tormented by mysterious knocking on his bedroom walls. Bodin and screenwriter Chris Thomas Devlin’s R-rated horror fairy tale massively embraces its Halloween atmosphere. If you want full throttle scares, watch “Marianne.” For gateway thrills that go big on Halloween, get cozy with Cobweb.

Dark Harvest – Prime Video, Shudder, Tubi

Director David Slade (30 Days of Night) and screenwriter Michael Gilio (Dungeons & Dragons: Honor Among Thieves) adapt Norman Partridge’s 2006 Bram Stoker Award-winning novel Dark Harvest, unleashing Halloween carnage that upstages the barebones story. Every Halloween, the legendary Sawtooth Jack rises from the cornfields, where he must fight through a gauntlet of murderous teen boys, all eager to snuff him out lest he make his way to the town’s church by midnight. It’s kill or be killed, with the town awarding a hefty prize to the boy who takes out Sawtooth Jack to ensure the town’s survival. Dark Harvest combines folk horror with the slasher, unleashing a surprisingly gory bloodbath set on Halloween.

Dark Night of the Scarecrow – Criterion Channel, Fandango at Home, Fawesome, Kanopy, Midnight Pulp, Tubi

Don’t let the simplicity of this made-for-TV movie fool you; Dark Night of the Scarecrow is compelling storytelling. Set in a small Southern town over the Halloween season, a mentally challenged man is wrongfully murdered for a crime he didn’t commit. When his murderers evade justice, a mysterious scarecrow systematically takes them out one by one. Halloween décor, scarecrows, farmland, and a fantastic performance by horror stalwart Larry Drake make for one perfect Halloween season movie.

Deadstream – Hoopla, Shudder

The feature directorial debut from husband-and-wife filmmaking couple Vanessa and Joseph Winter follows a disgraced internet personality who attempts to win back his followers by livestreaming one night alone in a haunted house. It’s perfect for Halloween; YouTuber Shawn (Joseph Winter) gets decked out in holiday gear as he introduces his latest stunt as a Halloween event. Let’s just say that karma comes for Shawn in the form of mischievous and malevolent spirits. The Winters’ channel Sam Raimi in their delightfully gonzo horror-comedy full of bodily fluids, gore, and ghostly creatures.

Ghostwatch – Shudder

The initial airing of this made-for-TV movie stirred up controversy for the BBC, as the special Halloween event had viewers convinced that what they’d witnessed was real. It plays like a live TV special with a camera crew on-site attempting to investigate the truth behind the most haunted house in the country, one that borrows heavily from the Enfield Poltergeist. Neither they nor the viewer were prepared for the scares that would ensue—even the subtle ones. Pay close attention to every frame; Pipes hides in plain sight. Subtle chills build to a cacophony of terror. Don’t skip this one, as it’s a streaming rarity.

HeBGB TV – Fandango at Home, Prime Video, Screambox, Tubi

Similar to the effortlessly charming WNUF Halloween Special, HeBGB TV takes an experimental approach to spooky season fun through the lens of retro television viewing. Here, a multidimensional cable box installs itself into a neighborhood and, slowly, the world. A pair of young siblings get whisked away on a journey through various channels of comedic horror mayhem, leading to no shortage of creativity as viewers encounter infomercials, sketches, news reports, music clips, and more for an infectiously nostalgic and charming DIY feature. The singing candy corn quartet is a scene-stealer.

I Am Not a Serial Killer – Kanopy, Shudder, Tubi

John Wayne Cleaver (Max Records) adheres to a strict therapy regimen and rules to ward off his sociopathic, homicidal impulses. His darker nature makes him deeply curious when a string of murders ensues in his small Midwestern town, leaving behind traces of black goo. This adaptation of Dan Wells’ novel offers a unique blend of supernatural mystery and a sweet yet strange coming-of-age tale. While it doesn’t embrace Halloween throughout its entirety, the holiday does factor into the film’s events in important ways. Christopher Lloyd also stars.

Idle Hands – Pluto TV

If you’re in the mood for something that doesn’t take itself seriously at all and goes full-throttle on the Halloween fun, this is it. Devon Sawa stars as Anton Tobias, a high school slacker whose hand becomes possessed and homicidal. That proves problematic when it comes to wooing the girl of his dreams, though his undead friends have his back. Idle Hands offers plenty of splatstick, irreverent charm set around Halloween. It includes one prominent third act set at the Halloween high school dance. It even includes several music-based cameos.

Lady in White – MGM+, Pluto TV, Prime Video, Tubi

Based on the legend of “The Lady in White,” in which a ghost searches for her daughter in Rochester, New York, the film begins on Halloween in 1962, where 9-year-old Frankie (Lukas Haas) gets locked in the schoolroom closet by bullies and witnesses the ghost of a young girl getting murdered. This event sets off a murder mystery full of spirits that are spooky and entertaining enough for kids, yet layered with complex social themes for grown-ups. Paralleling Frankie’s journey, it’s the type of film that will teach budding horror fans that perhaps ghosts aren’t so scary after all.

Late Night with the Devil – Kanopy, Shudder, Tubi

Talk show host Jack Delroy (David Dastmalchian) goes all in on a Halloween special that includes psychics, skeptics, and parapsychologists in a desperate bid to stave off cancellation. Coordinating all of the bold personalities and moving parts of live television becomes all the more unpredictably stressful when a demonic entity disrupts the event. Writers/Directors Colin Cairnes and Cameron Cairnes hit the ground running with a rapid-fire documentary-style setup introducing essential exposition and personal stakes for Jack a year before the ill-fated event. The gradual build from pastiche into full-blown nightmare comes fast like a freight train, making for a unique and fun Halloween romp through ’70s TV.

Livid – Moviesphere+

Julien Maury and Alexandre Bustillo’s follow-up to the brutal horror film Inside doesn’t pop up on streaming very often. Lucie is an at-home nurse, and the last stop on her roster is a remote mansion inhabited by bedridden recluse Mrs. Jessel. Mrs. Jessel is rumored to have a treasure hidden on the property, so Lucie and her friends sneak in on Halloween night to steal it. Instead, they find a night full of unexpected terror, and Maury and Bustillo deliver a fun entry into fantasy horror. Look for fun homages to Halloween III: Season of the Witch. It’s gorgeous and creepy and offers a unique take on a tried-and-true horror staple.

Murder Party – Fandango at Home, Hoopla, Prime Video

Before Slayground, filmmaker Jeremy Saulnier celebrated the thrills of Halloween with Murder Party. The horror comedy follows Christopher (Chris Sharp), a nice guy with no plans for Halloween, until he finds a mysterious party invitation on the way home. With a DIY costume assembled and a host gift baked, Christopher treks over to the costume party in a nondescript warehouse. There, he finds that the partygoers plan to murder him in the name of art, though everything that could go wrong does, to hilarious results. Hyper-violence and a glorious bloodbath make for one of the most fun final acts, with a satisfying conclusion to Christopher’s venture out on Halloween night. Look for Macon Blair as a lovesick werewolf.

Night of the Demons – Fawesome, Midnight Pulp, Pluto TV, Screambox, Tubi

In this Halloween horror cult classic, Angela Franklin (Amelia Kinkade) and her best bud Suzanne (Linnea Quigley) decide to throw their Halloween party at Hull House, an abandoned mortuary with a dark past. A party séance reawakens a dormant evil, leaving the partygoers trapped inside Hull House while demonic spirits pick them off. Night of the Demons offers a cool animated title sequence, great demon effects and design, a memorable villainess, and a wide embrace of horror iconography- right down to a bookended trick-or-treating tale. It’s a holiday cult classic that embraces Halloween at every turn.

Sleepy Hollow – Paramount+, Pluto TV

Fallen leaves, gnarled trees, and a constant roll of fog leave the small town of Sleepy Hollow steeped in the autumn air. That’s where police constable Ichabod Crane (Johnny Depp) winds up on an assignment to investigate a series of beheadings. The culprit, of course, is the legendary Headless Horseman. Based on Washington Irving’s “The Legend of Sleepy Hollow,” Tim Burton’s Gothic tale is intertwined with Halloween and the Fall season. Look for new twists and updates to the iconic story, with a witchy take on the iconic headless foe.

Terrifier 2 – Hoopla, Kanopy, Peacock, Pluto TV, Screambox, Tubi

Art the Clown (David Howard Thornton) might’ve moved on to terrorize Christmas with Terrifier 3 now in theaters, but the horror icon tends to be synonymous with Halloween. The Halloween slasher sequel Terrifier 2 introduced an epic new final girl in Sienna (Lauren LaVera), expanding the lore and set pieces in the process, with gore aplenty and grisly deaths to match. It’s a Halloween-set slasher of the goriest order.

The post 15 Halloween Horror Movies to Stream This Weekend appeared first on Bloody Disgusting!.

Though Betsy Palmer appears onscreen for less than twenty minutes — most of her character’s kills are shot in first-person POV — she has an important place in the landscape of horror. She’s one of the genre’s first female slasher killers, and her motive is surprisingly relatable. 

Brad Kane’s prequel series Crystal Lake digs into the maternal villain’s humanity, exploring the events that transform her into the monster we meet in Cunningham’s film. But what we find is far from a maniacal murderess targeting innocent camp counselors. Kane’s Pamela Voorhees (Linda Cardellini) is a fiercely loyal mama bear who would do anything to protect her child — even if it means killing yours. 

Considering it’s mostly an unseen assassin, the original Friday the 13th is a bit of an anomaly. Alice (Adrienne King), our eventual final girl, may have misgivings about her place at the camp, but she doesn’t really notice that something is wrong until most of her friends are already dead. As a thunderstorm rolls through the woods, she finds the mangled bodies of her fellow counselors ominously posed around the camp. Alice runs, screaming, out into the night and into the arms of a friendly face. 

Introducing herself as “a friend of the Christys,” Mrs. Voorhees tries to calm Alice down and guides her back into the common room. Viewers are also unfamiliar with this authoritative woman and naively believe that she could be a protector. Only then does her mask begin to slip. Inside the cabin, Mrs. Voorhees begins talking about a boy named Jason who drowned in the lake many years ago. She explains, “The counselors weren’t paying any attention… They were making love while that young boy drowned,” before she reveals the awful truth. “You see, Jason was my son, and today is his birthday.”  

Now the film’s opening scene falls into place. In a flashback years before Alice’s time at camp, we see two young counselors named Claudette (Debra S. Hayes) and Barry (Willie Adams) sneak away and begin to “make love.” But they’re interrupted by an unseen attacker who approaches with a knife in hand. The mysterious killer we now assume is Pamela, stabs Barry then approaches Claudette, the cold open freezing on her final scream. Though we never find out for sure, we assume these are the counselors who failed to watch Jason, and their deaths are Mrs. Voorhees’ belated revenge. 

From Mystery Killer to Protective Mother

Kane’s series brings this disturbing sequence to life while revealing the killer behind the knife. After a bloody opening scene set months before Jason’s death, we meet a young and charming Pamela as she works in the camp’s cafeteria. Though her son Jason (Callum Vinson) attends camp during the day, he’s mocked for his cranial deformities. Jason’s only friend is a girl named Grace (Gwendolyn Sundstrom) who has her own problems at home.

Hoping to retrieve a volleyball, Jason swims out to the deep end while Claudette (Danielle Kotch) and Barry (Phoenix Parnevik) are off “making love.” Hearing a commotion, Pamela desperately swims to her floundering child, but ultimately arrives too late.  

Nine months later, Kane reintroduces us to a shattered Pamela who’s been unable to move on with her life. As she stares into the water from the dock, we learn that Jason’s body has not yet been found. Franchise fans know that her child has actually survived and is now living on his own in the woods. Kane will give us a handy explanation for this twist, but all the grieving mother knows is that she still feels a connection to her lost son.

She’s horrified that the Christys plan to reopen Camp Crystal Lake, but begins taking tentative steps toward recovery. 

A Mother’s Love Becomes Deadly

As time goes by, Pamela grows closer to Grace, who badly needs a maternal protector. She confronts Grace’s abusive mother, Valerie (Tonya Glanz), at a nearby diner after her shift. At first, Pamela offers to help, explaining that she knows how challenging single motherhood can be. But Valerie responds with vitriol, implying that Pamela is somehow responsible for Jason’s death. This seems to ignite the murderous rage that will come to define her character. Pamela attacks the woman with a meat tenderizer and sends her face-first into an industrial fryer. To cover up the evidence, she burns down the restaurant with Valerie’s body inside. 

Though the first episode shows two self-defense kills, this murder feels like an awakening. After months of helplessly trying to find her son’s body, Pamela has finally taken decisive action. Considering the abuse we’ve seen Valerie inflict on her daughter, we can view Pamela’s violence as an altruistic attempt to protect another innocent child. She is no doubt enraged that this cruel mother would take her living child for granted. Filled with strength and empowerment, Pamela races to her crush’s house and takes their stagnant relationship to the next level. 

Unfortunately, this cathartic kill only leads to more violence in days to come. When the orphaned Grace begins staying at camp, she grows close to a group of wandering hippies who’ve been helping to prepare the facilities. One particularly nurturing young woman named Harmony (Manon Gage) also seems drawn to Grace and welcomes the girl into their “family.” Pamela is skeptical of this flighty new mother figure, especially after a psychic reading casts a shadow over Valerie’s death. She’s heartbroken by Grace’s shock and distrust, no doubt feeling like she’s losing another child.  

This untenable situation comes to a head when Harmony abandons Grace for a drug-fueled affair with the adulterous Barry. Feeling betrayed, Grace takes three hits of the group’s acid and embarks upon her very first trip. Elsewhere at camp, Pamela finds herself consoling Claudette, who’s found out that Barry is cheating on her. Through tears, the teen finds herself finally confessing her part in Jason’s tragic death. Though the bratty Claudette insists she’s had a change of heart, she’s relieved by this unburdening and has no concern for how Pamela feels. Considering her mean girl tendencies — specifically when it comes to Grace — we have no doubt that the self-centered teen has just signed her own death warrant. 

Reimagining the Franchise’s First Kill

In episode five, Kane dazzles us with a recreation of Cunningham’s opening kill. We watch the familiar singalong and follow Barry and Claudette up into the loft. But when the mysterious murderer strikes, we’re shocked to see who’s holding the knife. Pamela walks in to find that Grace has stabbed both counselors, a result of her first acid trip. Maternal to a fault, Pamela springs into action and convinces Grace of her innocence. But we see her fiery rage emerge as she approaches Claudette to finish the job.  

This surprising killer reveal is a fascinating twist on established lore. We’ve always assumed that Palmer’s Pamela initiates the franchise’s opening kill. But Kane adds complexity to this devastating scene. In addition to seeking revenge for Jason’s death, this double murder serves to protect another innocent child. And of course, one could argue that Pamela is preventing two irresponsible counselors from putting future campers in similar danger. We’ve already seen Barry leave his group alone while he runs off to hook up with Harmony. And despite Claudette’s professed change of heart, she is still a self-centered and oblivious girl. I’m not arguing that either teen deserves to die, but Kane goes out of his way to present Pamela as less a demented slasher villain and more a justified anti-hero.

Next, Pamela goes on a rampage through the woods and kills any hippie that crosses her path. While possibly trying to create a cover story for Grace’s crime, she appears to drift into berserker mode. Not only is the vengeful mother punishing irresponsible teens who’ve allowed her surrogate daughter to overdose on their drugs, but she’s symbolically raging against the carelessness that originally caused her son to die. 

Jason’s New Origin Changes Everything

As the season nears its shocking end, Kane creates a fascinating explanation for Jason’s strength while making Pamela somehow more sympathetic. We learn that after a troubled pregnancy, Jason’s father, Elias (Hamish Linklater), enrolls mother and child in a dubious medical trial. For years, he gaslights and drugs his wife while putting Jason through a series of torturous tests designed to strengthen his resilience.

Each instance of physical trauma will cause the child to grow bigger and stronger. This explains how Jason was able to survive the lake and why locals have spotted a hulking “demon” haunting the woods. We see that an unintended side effect of the treatment has caused significant dissociation. Now wearing a bag over his misshapen head, Jason has become a stoic predator, hunting animals and humans alike. 

While this backstory explains why Jason never returned home after dragging himself out of the lake, it also provides new insight into Pamela’s murderous tendencies. Perhaps it’s the drugs Elias was feeding her that now cause breaks from reality and increasingly gruesome killing sprees. In addition to counselors and hippies, we’ve seen Pamela kill some of Elias’s henchmen. While rescuing Jason from the lab, she murders her deceitful doctor by tearing his face open with a drill. When goons track her down at Crystal Lake, the frightened mother murders them in self-defense. 

In the wake of this egregious attack — the two men pose as detectives who have finally located Jason’s body — Pamela drags their corpses out into the woods and smears them with tuna and honey, hoping wild animals will destroy the evidence. As she prepares this offering, a massive bear emerges from her den. Frozen, Pamela comes face to face with this dangerous creature … only to be blessed with empowerment. Pamela shows no fear and emerges from the woods with a newfound air of confidence. Though we see no cubs, this moonlit meeting feels like a spiritual connection between two mama bears who will tear anyone apart to protect their young.

Pamela Voorhees Becomes a Tragic Antihero

Another poignant animal encounter illustrates the devolving nature of Pamela’s life. While working in the camp kitchen just moments before Jason’s death, she notices a snake hiding among the supplies. As she eyes a nearby knife, we prepare to watch a ruthless woman kill the invading animal. But moments later, we see her release it, unharmed, back into the woods. However, one year after the death of her son, Pamela has lost her sense of altruism. When the snake finds its way back into camp, she grabs the knife and hacks it in two.

While referencing a grim moment from Cunningham’s original film, these bookends clearly show Pamela’s deteriorating state of mind and the escalation of a mother’s rage. 

Pamela was not born a monster and, unlike many other slasher villains, she is not inherently driven to kill. The otherwise kind-hearted woman has dedicated her life to protecting her son and has been put through unthinkable tragedy. After managing to escape her dangerous husband and creating a new life in an idyllic town, careless teens have ruined any remaining chance at a normal life. And perhaps the delusion that will cause her to kill Alice and her fellow counselors can also be laid at Elias’ feet.

Knowing that Pamela has suffered multiple tragedies and years of systemic manipulation, it’s difficult to blame her for travelling down a violent path, particularly considering she’s driven by a need to protect vulnerable children. Thanks to Kane’s sympathetic character exploration, we see the infamous villain in a new light. Pamela Voorhees is not a bloodthirsty killer but a vengeful and dangerous mama bear.

The post ‘Crystal Lake’ Rewrites Pamela Voorhees Into Horror’s Most Sympathetic Slasher Villain Yet appeared first on Bloody Disgusting!.

The unscripted competition series is set to debut on Prime Video on January 13, 2027, with the first four episodes. The final three episodes will air weekly through January 27.

Fallout Shelter invites “everyday participants to test their aptitude for the apocalypse in Vault-Tec’s state-of-the-art bomb-proof vault shelters. will go head to head in a series of high-octane drills, psychological dilemmas, and morally challenging behavior trials until one special dweller emerges to win the prize of a lifetime: $1,000,000.”

Set inside Vault-Tec’s bomb-proof vaults, a group of contestants will take part in a series of escalating challenges and must prove their ingenuity, teamwork, and resilience as they compete for safety, power, and a huge cash prize.

Studio Lambert, which is also behind Netflix’s “Squid Game: The Challenge”, produces with Kilter Films (“Fallout”), in association with Amazon MGM Studios and Bethesda Game Studios. Jonathan Nolan and Lisa Joy, creators of the Fallout TV show, serve as executive producers alongside franchise boss Todd Howard.

The third season of Fallout went into production earlier this summer for a spring or summer 2027 debut. Fallout Shelter: The Experiment will keep us busy this January while we wait.

The series based on the video games tells “the story of haves and have-nots in a world in which there’s almost nothing left to have. Two hundred years after the apocalypse, the gentle denizens of luxury fallout shelters are forced to return to the irradiated hellscape their ancestors left behind—and are shocked to discover an incredibly complex, gleefully weird, and highly violent universe waiting for them.“

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The fact that Henry is played by Heated Rivalry’s Hudson Williams is one reason that Yaga will undoubtedly attract a great deal of attention, but there are two rejoinders to this: 1) even though Williams plays two characters on the series (he’s also Logan, Henry’s best friend and doppelgänger), the rising star is barely a supporting character and 2) there are plenty of other reasons to watch Yaga.

Chief among them is genre icon Carrie-Anne Moss as anthropology instructor and overall MILF, Katherine Hargrove. With her shock of sexily unkempt hair, her bohemian vibe, and her tendency to flirt aggressively with Rapp, while verbally sparring with his partner, Clark Backo’s Carson, Moss is a legitimate sight to behold whenever she’s on screen.

It doesn’t hurt that Whittock is a town filled with all kinds of notable personalities and mysteries. Surrounded by water and woods, its primarily female citizens – ranging from Angel, the tattooed motel clerk (Emilija Baranac) to restaurateur Gina (Canadian royalty Megan Follows) to underage coffee barista Lily (Georgia Acken) to Henry’s bitter ex, Pam (Ezra Franky) – are all unrelentingly horny and prone to keeping secrets.

Sex and seduction are a huge part of the eight-episode series, which has been adapted by showrunner Kat Sandler from her play of the same name. The search for Henry, the debonair playboy heir to a small fortune, is the jumping-off point, but the series quickly contracts to include plenty of other revelations. Chief among them is the suggestion that there is a witch, or a cult of witches, who are practising sabbaths in the woods outside of town and encouraging locals to manifest their dreams via sacrifices. Potent hallucinogenics and trippy hallucinations, three-pronged symbols hidden under beds and carved into trees, and lots of poultry imagery pervade the series.

Anchoring the proceedings is Reid, who plays Rapp as a cavalier, carefree outsider. He’s as prone to yelling at a witness as he is at bedding down with them (he gets laid in nearly every episode), much to the chagrin of his reluctant partner, Carson. Their dynamic is the bedrock of most of the 30-minute episodes, which uniformly open with sultry voice-over from Baba Yaga and end on a revelatory cliffhanger. This is most notable in episode two when a nude, castrated body washes up on the rocky shore.

Between this attack, Rapp’s propensity to fuck every female character of age, and Yaga’s musings, there’s an undercurrent of female rage underpinning the whole series. In this capacity, Yaga echoes contemporary interpretations of the witch as a female healer who is misunderstood, feared, and targeted by men. As the series barrels towards its conclusion, later episodes blatantly interrogate the intersection of class, gender, and sex. It ain’t subtle, but the show negotiates its tone well enough that it works.

Audiences also have to accept some fairly distinct tonal shifts because the series is often surprisingly funny and, at times, irreverent. Yaga negotiates this reasonably well and, importantly, maintains its own independent identity from another notably oddball murder mystery series: Twin Peaks.

Considering its ties to traditional Baba Yaga folklore (not like in the John Wick movies, though the series is self-aware enough that this becomes a recurring joke among several characters), the fact that each episode opens with a Russian rendition of a familiar pop song (“California Dreaming“, “I Will Survive“, “These Boots Were Made For Walking“, etc.) feels like an inspired touch.

Aiding the proceedings is the inclusion of top-tier Canadian talent. In addition to Reid and Moss, there are meaty supporting roles by the aforementioned Fellows, as well as Sheila McCarthy as Olena Yaha, an elderly woman with dementia who provides plenty of Baba Yaga exposition. There’s another notable Canuck actress whose appearance in the penultimate episode will undoubtedly elicit plenty of excitement from genre fans.

Yaga is compulsively watchable and, with such short episodes, highly bingeable. Loaded with enough bizarre cult-like imagery and captivating performances, there’s plenty to recommend. If there is one significant drawback, it would be that Rapp and Carson’s temperaments tend to shift too quickly to be believable. This becomes more apparent in the back half of the series, and tends to feel like a narrative construct to induce needless character friction.

So yes, come to Yaga for a double dose of Williams, who acquits himself nicely in a mostly distinct dual performance. Just know that you’ll be staying for the hot, sexy antics and Moss’ “Boner Beast” professor. 

Yaga premieres on Crave in Canada and AMC+ in the US with the first two episodes on October 23.

The post ‘Yaga’ Review: Carrie-Anne Moss Steals This Seductive Folkloric Horror Mystery Series appeared first on Bloody Disgusting!.

Sabine Grace, Logan Kim (Ghostbusters: Afterlife), Marin Ireland (The Boogeyman, The Dark and the Wicked) and Intae Kim (Severance) have all boarded Pagans in starring roles.

Pagans follows a man, Gus, who becomes the sole caretaker of his two children after the tragic loss of his wife. While his son is typical, his daughter, Alice, is anything but. What starts as a strained father-daughter relationship soon evolves into something far more sinister.

While Yeun will star as Gus, Logan Kim will play Nate. Kim previously played the teenage version of Hershel Rhee, the son of The Walking Dead‘s Glenn (Yeun) and Maggie’s (Lauren Cohan), in The Walking Dead: Dead City.

Sabine Grace will make her television debut as the family’s black sheep, Alice. Ireland will play single mom Janelle, attempting to connect with her strong-willed 14-year-old daughter, Jade. Gus’s younger brother will be played by Intae Kim.

The supernatural drama was previously described as “equal parts emotional, horrifying and humorous; Pagans is a show that unearths all our darkest thoughts about family.” It received a straight-to-series order late last year, after an intense bidding war back in September.

Pagans is created by showrunner Joshua Zetumer. Drew Goddard (The Cabin in the Woods), Sarah Esberg, Jonathan van Tulleken, and Erica Kay executive produce. 

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The teaser introduces Hojo, a businessman whose obsession with the unknown leads him to solve strange mysteries. Deadline reports that the six-part series will debut in January 2027.

Based on a short horror story collection from Ichi Sawamura, Night Tales Club will follow Hojo as he introduces each different mysterious story. “He is convinced that ghost stories, monsters, and other supernatural anomalies are ‘bugs‘ in an underlying conspiracy, so he begins inviting people to share their experiences and evidence at his Night Tales Club in exchange for 20 million yen.“

Takayuki Yamada has been cast as the series’ narrator, Hojo.

Even more impressive are the directors attached to this project: Kiyoshi Kurosawa (Chime, Pulse), Takashi Shimizu (Ju-On), Shinzo Katayama (Gannibal), Yukiko Sode (Aristocrats), Yuichiro Sakashita (I Can’t Cry With Your Face) and Yosuke Nakamura (Higuma!!), with Kenji Nakajima (The Naked Director) directing the wraparound Hojo sequences.

Yusuke Wakabayashi and Teruhisa Yamamoto produced and adapted for the screen by the original writer, Ichi Sawamura, who told Deadline: “As the original author of these stories, I feel an enormous sense of surprise and joy that they will soon be available on screen to scare audiences around the world.”

Watch the brief teaser below that introduces Hojo and the series title treatment. We’ll have to wait for a full trailer to get a glimpse at the stories helmed by J-horror giants like Kiyoshi Kurosawa and Takashi Shimizu.

Look for the horror anthology series early next year.

The post First ‘Night Tales Club’ Teaser Brings J-Horror Masters Together For Disney+ Anthology Series appeared first on Bloody Disgusting!.

Cut to this month, where they’ve revisited the concept, this time with two notable names associated with the project. Not only is it a game set in the world of the hit Conjuring movie franchise, but it’s also from Supermassive Games, a studio that’s been building a huge catalog of “interactive movie” games since 2015’s Until Dawn.

The Conjuring: Unspoken is a big swing that immediately has more mainstream appeal, especially given that most of Netflix’s other original games are based on existing properties like Squid Game or Too Hot to Handle, but it still doesn’t quite feel like a breakout hit that makes full use of the format.

The game opens in medias res with Francesca Noakes running through a cave system for unknown reasons. To my surprise, unlike Unhinged, you have full third-person exploration mechanics in this game, walking around by using arrows on your phone screen to guide your way. During this tutorial, you’re also given a demo of how the EMF reader works, glowing different colors on your phone as you get closer to the supernatural clues. It’s a brief scene, but it’s nice to start with a very mechanics-forward sequence, given that it takes a little getting used to. Using phone arrows traditionally doesn’t feel great, but once you get used to it, it doesn’t get in your way too much.

After the tutorial, there’s an opening crawl that explains a bit of information about the Red Lion, a haunted pub that Unspoken takes place in, before introducing you to the family that lives there and their history of tragedy. The story centers around Bryony Cooper, who lives with her dad and sister, Charlotte, after the passing of her mother. Not only has she not spoken since the incident, but she has also been plagued by supernatural forces, which forces her sister to call on Francesca, a paranormal researcher who worked with Ed and Lorraine Warren. I was a little surprised the Warrens weren’t directly involved in the events of the game, but the narrative contains enough of the hallmarks of a Conjuring story that it feels at home in the series even without their direct presence.

As a Conjuring story, it’s not bad. It certainly isn’t up to the standard of the first film, which I consider the strongest, but the family unit presented in the game is still a compelling one. Bryony is able to convey her sense of grief, even without speaking, and Charlotte clearly is a great big sister who cares for her immensely. Their father struggles to balance his processing of grief with taking care of his daughters alone, while also being highly skeptical of the supernatural happenings in his home. Francesca has her own baggage that she brings to the case, which allows her to empathize with the family in a way that helps her connect with Bryony.

One of the best elements about Conjuring movies is the family aspect, both with the people suffering the hauntings and the loving couple of the Warrens. It’s definitely the strongest aspect of Conjuring: Unspoken, with clear character motivation at every turn. I wish the game had more of the other thing the Conjuring movies are known for: scares.

Much like the films, what seems like a standard haunting quickly reveals to also involve demonic activity, and that part is a bit weaker, never really providing much tension. There are a few lore elements that make the demon feel a little more interesting, but without any quick-time events or other more active moments of tension, the game fails to really get the heart racing.

It’s not for lack of polish, though, because Conjuring: Unspoken is up to the high graphics standard that Supermassive is known for in their work. Not only do the character models look great, but the performances captured bring the characters to life in a believable fashion. While the Red Lion pub where the game takes place doesn’t have much of a unique visual identity, it’s still beautifully rendered from a pure graphics standpoint.

Like many Supermassive games, a lot of the interaction you’ll do in the game is making choices about what your character says or does, but there are a couple of wrinkles added that cleverly take advantage of the unique format the Netflix provides. There are ghost-hunting devices that you have at your disposal that use your phone in interesting ways to make you feel like part of the action. In addition to the aforementioned EMF reader, there’s also a radio that can be tuned into specific otherworldly signals by physically moving your phone around and tilting it until the sound becomes clear.

It’s not the most interesting action, and one time I had to restart the game (which thankfully saves your progress) because it wouldn’t work, but it’s at least a unique and thematic activity to be doing between cutscenes.

The other device is an infrared camera that feels a lot more dynamic and clever. Through your phone window, you’ll see the infrared version of the scene while the TV shows the regular version, and you’re looking for specific things that the camera picks up that your naked eye would miss. Using the camera really fulfilled the fantasy of ghost hunting in an immersive way, particularly in the climax where you were tracking the demon in the dark. I appreciated the ways they used the phone to play around with the format, and I hope if they take another crack at this style they keep pushing it further.

For a Supermassive game, it felt like there were fewer choices, and the choices felt less consequential. The runtime of the game was about ninety minutes, which is a reasonable length for a horror movie and works great, but the decisions I made didn’t really seem to push the narrative in different directions.

Even at the end, when I made a choice that seemed to be saying, “if you do this, this character will die,” they ended up being fine and making it to the end. For something so short, it’s a little disappointing that it seems like the paths don’t branch much, but the conclusion actually ended up being one of the strongest narrative moments, so maybe it’s for the best story-wise. It’s not a surprising ending, but it comes to a well-deserved emotional resolution that focuses on the game’s characters rather than being overly scary.

Even if I don’t associate Netflix with video games yet, I’m always happy to see them experimenting in the gaming space. There’s definitely something to the format, and it’s at its best when it’s trying to figure out clever ways to use the phone controller to make the experience feel more immersive. Working with an established studio and franchise was a smart bet, even if it doesn’t reach the heights of either. The phone usage feels solid, even if the narrative choices don’t seem as dynamic or interesting as I’m used to from Supermassive.

I’m hoping they continue to iterate on this formula, but Conjuring: Unspoken is a clever, tightly-paced story with strong characters and performances, even if it is lacking a bit in the scare department.

The Conjuring: Unspoken is available to play now with your Netflix subscription.

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The film opens with an unnecessary in media res wherein Atlanta gym owner Mario (Blair Anthony Hall) runs into his house to find an armed woman in a wedding dress holding his wife hostage. A title card jumps the action back four months to focus on the extramarital affair between Mario and his titular side chick, Kelsey (Najah Bradley). Their relationship is deeply sexual (he shows up at her couture pop-up event so they can have sex within earshot of her bigwig clients), but unbeknownst to Kelsey, Mario is also a husband and expectant father.

This wrinkle – that Kelsey was unaware that she wasn’t the primary – offers some subtle empathy for the character…at least in the first act. It’s clear that Kelsey has an intense obsession with her lover, as evidenced by her immediate commitment to planning their wedding after Mario mentions marriage in what is clearly a post-coitus bliss slip. Best friend Paris (Chuanica Pickard), meanwhile, clearly understands Kelsey’s capacity for both delusion and violence because she tries to talk the dressmaker down, but Kelsey will not be assuaged.

Meanwhile, Mario is half-heartedly trying to repair his marriage to health worker Chloe (Tatiana Le’Joy), who initially presents as the dutiful and supportive wife and mother-to-be, but is eventually revealed to have her own flaws and issues. Mario, too, is more than a simple liar and cheater, though his poor decision-making will carry a substantial body count by film’s end.

These deviations in character type add both complexity and complications to an otherwise pretty straightforward narrative. These kinds of thrillers tend to operate in straightforward black-and-white moral and ethical terms: cheating = bad; fidelity and marriage = good. Psycho Side Chick doesn’t exactly break the mold, but by acknowledging that none of its characters are perfect, the film plays in a slightly more murky grey area.

Performance-wise, it’s not surprising that Bradley rules the screen. Her Kelsey is unhinged, unpredictable, quick to temper, and utterly ruthless in her dedication to hold on to Mario and get rid of any obstacles standing in her way. There are several moments when Kelsey falls prey to her frustrations, and Bradley clearly embraces the opportunity to throw a fit and break some furniture. There’s even a Jill Roberts from Scream 4 moment when Kelsey self-harms in order to get close to Chloe at urgent care.

As the straight man and woman, Anthony Hall and Le’Joy are required to ground the film and, as a result, don’t get as much fun stuff to do. By comparison, their respective best friends, private investigator Jerrell (Niles Austin) and Chloe’s snarky white friend Aaliyah (Rachel Comeau), both make an impression as the voices of reason. All of the friends, including Paris, go above and beyond the call of friendship – from breaking and entering to burying a body to initiating a beatdown in a hospital bathroom stall. Perhaps the true takeaway from Psycho Side Chick is to find a ride or die bestie?

If this all sounds utterly ridiculous, credit Blackwell and Singleton’s script, which is packed with highly entertaining developments and over the top dialogue. For example, one character – who shows up solely to get murdered in the very same scene – begins every. Single. Line of dialogue with the word “Bitch.” One of Kelsey’s most endearingly odd come-ons to Mario is “Your name is the only one written on this kitty.” Reader: she is not talking about a cat.

It’s extremely silly and entertaining, which are perfect descriptors for Psycho Side Chick. The film knows exactly what it is – a campy thriller in the vein of a Lifetime film – and it aspires to be just that and nothing more.

So if you dig the title, you’ll probably enjoy the film. Just don’t lie to your psycho side-chick, because she will track you down and ruin your life.  

Psycho Side Chick is now streaming on Tubi.

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The darkly comedic genre-bender receives a limited theatrical engagement on October 30, ahead of Bloody Disgusting parent company Cineverse’s digital release on November 3, 2026, simultaneously on TVOD and Screambox.

A physical release on DVD and Blu-ray will follow later in November.

Tom McLaren (“Expelled”) stars as Ralph, a likable family man whose fanatical obsession with Christmas pushes his wife towards divorce, leaving his life in shambles. Determined to win her back, Ralph devises a crazy plan involving kidnapping the former child star of his favorite Christmas movie.

When his ill-conceived scheme spirals wildly out of control, Ralph’s pursuit of his perfect Christmas takes increasingly dark and unexpected turns.

Ralph’s Perfekt Christmas stars Charlie Schlatter (Diagnosis Murder), Jill Schoelen (The Stepfather), Casey Burke (The Middle), Landon Gimenez (Resurrection), and marks the return to the big screen of Lynda Day George (Mission: Impossible, “Roots”).

The supporting cast includes special guest appearances by Hollywood veterans Susan Blakely (The Towering Inferno), Marta Kristen (“Lost in Space”), Nicholle Tom (“The Nanny”), Trevor Lissauer (“Sabrina the Teenage Witch”), Bill Mumy (“Lost in Space”) and Angela Cartwright (“Lost in Space”, The Sound of Music).

Jeremy Padow and Tom McLaren wrote the screenplay, based upon an original story by Padow. Matthew Bellamy and Tom & Mary McLaren direct.

Schoelen previously teased the holiday genre-bender last year, telling Bloody Disgusting, “Everything spirals to a point where it really has a quite wonderful horror twist to it, as it moves on down along the line.” 

The film not only inspired the actress to create her own Christmas album, and one of her original holiday tunes is in the film. 

“Ralph’s Perfekt Christmas is exactly the kind of smart, distinctive, genre-bending film that resonates with Cineverse and Screambox audiences,” said Dan Fisher, vice president of acquisitions at Cineverse. “The film combines an original story with unexpected twists, turns, and a surprise ending coupled with a standout performance by Tom McLaren as Ralph that makes this film a ‘must watch’ for the holidays.”

“We’re excited to partner with the incredible Cineverse team to deliver Ralph’s Perfekt Christmas to a broad audience,” said producer Mary McLaren. “We set out to target everyone who considers Die Hard a ‘Christmas Movie’ and Cineverse is an ideal distribution partner for reaching that audience seeking alternate holiday content.” Co-producer Tom McLaren added.

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The good news is that feeling never goes away, and over the course of 80 minutes, writer/director Ben Sottak, in his feature directorial debut, finds plenty of ways to reinforce both the film’s concept and the Halloween atmosphere teased out by its title. It’s never bad and always watchable, but that brings us to the bad news: it also never really becomes much more, leaving us with a pleasant ride that could have gone deeper, darker, and scarier.

Shapiro plays Pumpkin, a young woman in a post-apocalyptic world that’s left her, as far as she knows, the only remaining survivor. When we meet her, she’s about to celebrate her fourth Halloween alone in the apocalypse, and while she’s making every effort to decorate, put out candy for would-be trick-or-treaters, and get into the spirit, it’s hard when it feels like she’ll never meet another living soul again. 

That changes with the sudden arrival of three scavengers: Thalia (Shannyn Sossamon), her husband Royce (A.J. Bowen), and Wendy (Ajani Russell), another young person who seems to be there only reluctantly. Desperate for connection, Pumpkin invites the trio to celebrate Halloween with her, unaware that she’s inviting something much darker than a few houseguests into her life. With her boarded-up home suddenly under siege, Pumpkin has to fight to survive and figure out who to trust during the scariest Halloween she’s ever experienced.

There’s something instantly endearing and heartbreaking about watching Pumpkin go through her Halloween rituals without the family that made it her favorite holiday. Whatever strange plague has swept through the world took everyone she loved away from her, but she’s still trying to connect the only way she really knows how, through the decorations and traditions of October.

Shapiro, with her expressive eyes and childlike face, immediately pulls us into her emotional narrative, making Pumpkin feel fully formed even before we really know her. The vehicle is imperfect, but she’s clearly a star, and Sottak surrounds her with all the trappings of a Last of Us-style life, one that’s a shell of what she once had.

This means that when other people come in and start stirring up Pumpkin’s world in ways both good and bad, we’re pulled right along with her as she tries to figure things out. Is Thalia telling her the truth, or is Wendy? Is she safe, or is she about to face something more horrifying than even the mass death that previously surrounded her? Sossamon in particular is very well equipped to fuel this ambiguity, at times gentle but always simmering with a sense of deception lurking behind her eyes.

The true co-star of the story, though, is Russell, whose work as Wendy is full of cold fire. The character is a perfect foil for Pumpkin, and Russell and Shapiro generate a healthy dose of chemistry along the way. 

These performances, combined with wonderful Halloween-centric production design, keep the film humming along, even when the story stumbles. Though it’s only 80 minutes long, there are times when Hallowarrior feels like it’s spinning its wheels, holding off on new scares and set pieces simply because the edit requires it and not because the story requires it.

The dialogue often doesn’t help matters, as characters either explain exactly what’s about to happen or get bogged down in repetitive plot devices that require them to have the same reactions multiple times.

The good news, though, is that these issues really only persist through the second act. If you can make it to the grand finale, Sottak and his cast really turn up the intensity, delivering a kind of demented Halloween version of Home Alone that turns the film bloody, more intense, and more emotionally satisfying. 

The bumps in the road are noticeable with Hallowarrior, and they don’t necessarily leave your head when the good stuff starts to kick in, but that good stuff is more than enough to outweigh the bad in this film. Milly Shapiro seized the moment and gave a great performance, and with Ben Sottak, we’ve got another rising horror star with loads of potential. It’s a solid film; I just wish there was a little more meat on these Halloween bones.

Hallowarrior hits theaters and Shudder on October 16.

The post ‘Hallowarrior’ Review: Milly Shapiro Shines In Halloween Post-Apocalyptic Horror appeared first on Bloody Disgusting!.

While the full guest lineup hasn’t been announced just yet, the trailer below features Barbara Crampton, Joe Lynch, and Joe Swanberg being served themed libations ahead of the series’ premiere on October 30. New episodes will release every Friday.

The Last Podcast on the Left lends their voices to the colorful supporting cast of puppets. Co-host Ed Larson is starring as Ted’s co-host, Mortimer Dustworth, a re-animated head in a jar that has a love-hate relationship with Ted. Henry Zebrowski, Marcus Parks, and long-time Last Podcast collaborator Holden McNeely (host of the Nerd of Mouth Podcast on the Last Podcast Network) will make special guest star cameos throughout the season as other characters and puppets.

In Your Dearest Darkest Friend, Raimi welcomes celebrity guests into his haunted manor for an evening of confabulation, cocktails, and the presence of an uncanny creature or two. Joined by his puppet companions, Raimi takes viewers on a delightfully dreadful journey into the minds of some of the biggest names in horror—with a twisted sensibility only Ted Raimi can deliver.

“Yes, it’s weird. Truthfully, it’s a very odd concept for a talk show. We didn’t care: We all agreed it would appeal to the crowd we all knew would dig it – horror fans,” Ted Raimi said. 

A genre staple, Ted Raimi’s credits include Evil Dead II, Candyman, The Grudge, The Midnight Meat Train, Darkman, Wishmaster, Shocker, Intruder, Blood Rage, The Quarry, “Twin Peaks,” “Ash vs. Evil Dead,” “Creepshow,” and “Masters of Horror.”

Your Dearest Darkest Friend is produced by Tony Wash, Charlie Queen, Lauren Leshansky, and Ted Raimi. 

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From follows a group of strangers trapped in a mysterious small town they can’t escape, no matter how hard they try. That’d be troubling enough, but this town is also home to humalike creatures that come out by night to rip them apart.

The series is created and executive produced by John Griffin (Crater), directed and executive produced by Jack Bender (Lost, Game of Thrones, Mr. Mercedes), and executive produced by Showrunner Jeff Pinkner (Fringe, Alias, Lost).

The fourth season debuted earlier this year and is available to stream now on MGM+. In Season 4, “the closer the residents of town get to the answers they seek, the more terrifying their search becomes. Who is the Man in Yellow, and what does he want? Will Jade and Tabitha’s revelation be the key to finally going home? How much longer can Boyd hold the town together, even as his body and mind are falling apart? And what role will the town’s most recent arrival play in the events to come? Season Four will open doors that some in town will end up wishing had remained closed.”

Harold Perrineau stars with Catalina Sandino Moreno, Eion Bailey, Hannah Cheramy, Simon Webster, Ricky He, Chloe Van Landschoot, Corteon Moore, Pegah Ghafoori, David Alpay, Elizabeth Saunders, Avery Konrad, Scott McCord, Nathan D. Simmons, Kaelen Ohm, Angela Moore, A.J. Simmons, Julia Doyle, Robert Joy, and Samantha Brown.

Time and reality jumps also compound From’s monster problem, compounding its many mysteries. Here’s a helpful guide to keep track as you begin your watch through (or rewatch).

The fifth season will be the series‘ last. 

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The images also coincide with a new MTV promo teaser below that sees Alanis Morissette dedicate a performance to the ill-fated team. Yellowjackets Season 4 premieres November 20 on the Paramount+ Premium Plan.

Sophie Nélisse, Jasmin Savoy Brown, Samantha Hanratty, Sophie Thatcher, Courtney Eaton, Liv Hewson, and Nia Sondaya star alongside Melanie Lynskey, Tawny Cypress, Christina Ricci, Simone Kessell, Warren Kole, Hilary Swank, Sarah Desjardins, and Elijah Wood.

Devon Sawa, Molly Ringwald, and June Squibb are joining the cast in Season 4.

Yellowjackets is the saga of a team of high school soccer players who become the survivors of a plane crash deep in the remote northern wilderness. The series chronicles their descent from a complicated team to savage clans, while also tracking the lives they’ve attempted to piece back together nearly 25 years later.

Co-Showrunners Ashley Lyle and Bart Nickerson created the series, which is produced by Lionsgate Television. 

The third season broke records for the streamer, with the premiere becoming the most streamed episode in the show’s history. The Season 3 finale later broke the record, generating 3 million global viewers in seven days across linear and streaming.

In the closing moments of season three, Natalie (Sophie Thatcher) is finally able to make contact with the civilized world via satellite phone, teeing up the final season. 

Get a peek at what’s ahead; the final reckoning arrives next month.

BREAKING NEWS
After 19 months, the Wiskayok High Yellowjackets have been FOUND and rescued. Stay tuned for more updates on their return home to New Jersey. https://t.co/R8XqrjAkIn

— Yellowjackets (@yellowjackets96) October 13, 2026

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That’s apparent straightaway, with a pilot episode that not only recreates the tragedy that sets the entire franchise in motion but also features a throwback title card and opening credits that pay tribute to the films, accompanied by Harry Manfredini‘s theme. But it’s also here where the first noticeable shift from canon arrives; Crystal Lake introduces a sweet but sickly Jason Voorhees (Callum Vinson) and his mom in 1972, the night before his drowning accident. It’s a shift from the late ’50s, one that imbues the series with a rich palette but serves as a more important backdrop for the overarching mystery that centers around Pam and Jason and begins in earnest when Jason’s body is never found.

After an exciting Friday the 13th-heavy premiere that introduces all the callbacks and familiar sights of the film, including locals Crazy Ralph (Nick Cordileone) and Camp Crystal Lake owners the Christys, Crystal Lake settles into methodical mystery building surrounding the Voorhees’ hidden past. Kane writes with careful surgical precision, recreating iconic moments (like a certain death in the boathouse) to blend with the original while adding new details and revelations that shift our read on them.

It’s as if Kane’s biggest question for Crystal Lake wasn’t what drove Pam to murderous madness, but how someone of her size and demeanor could physically pull off such a body count. Refreshingly, Linda Cardellini’s Pam is relatively well adjusted despite what she’s been through, and her tender bond with her son is instantly endearing. There are flashes of madness, of course, as Pam is driven to graphic violence on more than one occasion, but Crystal Lake tends to find sympathetic justification for her actions, like a rather visceral first-episode battle in self-defense that culminates in a burst of blood spray. It’s a series that takes care in its escalation, ensuring we never lose rooting interest in a protagonist prone to murder.

Cardellini latches onto Pam’s fierce maternal instincts, and Pam’s warm affections for her son provide the series’ biggest heartbreaks and motives. Pam’s budding relationship with Crystal Lake sheriff Levon Brooks (William Catlett) further instills rooting interest as one of her few sources of support. They’re kindred spirits of sorts, though Brooks is more of a beacon of hope. 

While Crystal Lake does build to a proper camp bloodbath late in the eight-episode run, Kane injects enough death and violence to keep gore-hounds satiated until it arrives. The deaths are suitably gnarly, and most effective when employing practical effects over VFX, but they do have a tendency to get repetitive. The first instance of mouth trauma makes you wince, but the effect wears off by the fourth instance. Still, the series earns its marks for brutality.

Episode eight wraps so tidily that the series could stop here and satisfy, answering all of its major questions by season’s end. Well, depending on whether you’re on board with its grounded explanation behind an undead killer stalking the woods of Crystal Lake. There’s a remarkable level of detail and reverence for Friday the 13th here, one apparent by every careful tie to the original film and even more thoughtful treatment of original characters. Crystal Lake even carefully bridges Crazy Ralph from PTSD-suffering survivalist to townie doomsayer.

But that careful consideration means a more sluggish early half than expected, and a series deeply concerned with addressing questions that aren’t exactly being raised in the first place. Especially not in a franchise that’s resurrected its iconic killer by lightning strike or body-hopping possession; it’s standard practice to roll with the wacky sequel punches when it comes to ’80s slasher franchises, after all. Crystal Lake cares a great deal for continuity, making for a cohesive, compelling vision. It’s a success in its character-forward vision, all the same.

Kane extends endless empathy for the Voorhees clan, peeling the curtain back wide on two of horror’s most memorable slasher villains. While it might be a bit too wide for some, having Camp Crystal Lake and all the Friday the 13th iconography back on screen, even the small screen, is a deeply welcome sight.

All episodes of Crystal Lake premiere Thursday, October 15, only on Peacock.

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All episodes of “Crystal Lake” premiere Thursday, October 15, only on Peacock.

A camp counselor greets campers with warnings to follow the rules to stay alive, with none the wiser that the true threat may be lurking among them in Pamela Voorhees (Linda Cardellini).

She’s been unable to shake her grief after her young, sickly son Jason tragically drowned in the town lake almost a year before. When two strangers arrive at Pam’s door digging into her past, a disturbing chain of events is set into motion, leaving the townspeople of Crystal Lake wondering: just who is Pam Voorhees?

Callum Vinson (“Chucky”) is playing young Jason in “Crystal Lake,” which will tell the origin story of the masked slasher who has stalked the grounds of Crystal Lake for decades.

Based on Friday the 13th and the opening scene of Crystal Lake, we know where Jason gets his killer instincts from already. But showrunner Brad Caleb Kane (“IT: Welcome to Derry”) promises his prequel series will carve up an impressive body count, too.

“I went into the season knowing that we are going to spend a couple of episodes on Pam[ela Voorhees’] blossoming, her journey, her psychology. But I also know what the Friday the 13th fans are here for because I’m here for it, too — that’s really creative kills and a whole lot of them. So if you’re wondering if we’re ever going to go full fathom Friday the 13th, we go there and we drop a lot of bodies in really creative ways. It’s a lot more brutal. I think it’s even more brutal in many ways from some of the movies,” Kane told THR.

The show’s cast also includes William Catlett (Abigail), Cameron Scoggins (“Nashville”), Devin Kessler (“Godfather of Harlem”), Gwendolyn Sundstrom, Nick Cordileone (“Warrior”), Joy Suprano (“Fleishman Is in Trouble”), Danielle Kotch (Sinister), Christopher Denham (“Shining Girls”), Nancy Nagrant (“The Marvelous Mrs. Maisel”), and Phoenix Parnevik.

Follow the rules, stay alive. Crystal Lake premieres on @Peacock October 15. https://t.co/99kfDiQQNP

— A24 (@A24) October 9, 2026

The post ‘Crystal Lake’ Teaser Welcomes Campers To Pamela Voorhees’ Bloody Origin Story appeared first on Bloody Disgusting!.

Rarely does he mention Chamberlain, Maine, or those touched by the dreaded “Black Prom.” Carrie exists in a fairly closed loop, a singular nightmare of telekinesis gone wrong. 

By now we all know the story of Carrie White. Continuously bullied for most of her life, the quiet teen’s rage finally explodes after a prank sees her elected Prom Queen then “crowned” with a bucket of pig’s blood. Drenched in the disgusting liquid, Carrie responds by using her powers to destroy the school’s gymnasium, killing most of the senior class. Her rage then spreads throughout the small town as she walks home to confront her abusive mother, Margaret. 

Fifty years after Brian De Palma first brought Carrie to the screen, Mike Flanagan has reimagined the harrowing story, updating it for the modern age. In eight episodes, the writer/director substitutes social media for 70s-era bullying while exploring the ecosystem of a 21st-century high school. While much of this modern iteration differs from its source material, Flanagan does follow King’s lead in avoiding major Easter eggs. However, there are a few cheeky references hidden within the teenage angst, some that nod to King himself and others that point to the wider genre. 

Mike Flanagan Regulars Return For Carrie

After eight films and five miniseries, Flanagan has built a crew of faithful collaborators, those adept at capturing his signature blend of empathy and terror. One of these familiar faces is Samantha Sloyan, who stars in Carrie as Margaret White. In 2016, the veteran actress made a brief appearance in Flanagan’s third feature, Hush, as an ill-fated neighbor to the film’s tormented heroine. In the last decade, she has starred in many of Flanagan’s genre projects, including memorable roles in The Haunting of Hill House, The Life of Chuck, and The Fall of the House of Usher.

But perhaps her most powerful performance is as the villainous Bev Keane in the 2021 miniseries Midnight Mass. A devout catholic, Bev dooms her tiny island congregation by blindly following a careless priest. In many ways, Bev could be seen as a precursor to Sloyan’s Margaret White. Both women hide their close-minded cruelty behind a thin veil of good intentions. 

While Carrie’s teen cast are newcomers to the director’s cinematic universe, Michael Trucco, Katee Sackhoff, Rahul Kohli, and Ruth Codd are Flanagan regulars, appearing in a number of projects from Oculus and The Midnight Club to The Fall of the House of Usher and The Haunting of Bly Manor. The show’s most exciting casting is Matthew Lillard as Principal Grayle. The seasoned Scream King first collaborated with Flanagan for a brief but memorable role in his 2024 tearjerker (and King adaptation) The Life of Chuck.

This casting feels particularly exciting considering Lillard’s breakout role as Stu Macher in Wes Craven’s meta-slasher Scream. Remembering that Stu kills his own principal, it’s particularly exciting to see Lillard play Grayle as a compassionate if toothless administrator.  

Careful listeners may also recognize the voice of Flanagan’s most trusted collaborator. Mirroring the novel’s semi-epistolary structure, an unseen narrator can be heard previewing prom night’s destructive arc while detailing historical examples of the TK phenomenon. In episode eight, this voice is revealed to be Kate Siegel, Flanagan’s wife and frequent creative partner. Siegel plays a silent yet terrifying ghost in Flanagan’s sophomore film Oculus before going on to star in Hush. Also credited as a co-writer, the couple mapped out the largely dialogue-free film by blocking scenes in their own home.

Since then, Siegel has been featured in most of Flanagan’s projects with surprising appearances in Gerald’s Game and The Haunting of Bly Manor and an emotional turn in Midnight Mass. Should Carrie continue in future seasons, it’s likely Siegel will lead the adult cast. 

Stephen King Character Referenecs and Adaptation Veterans Hidden Throughout 

Other characters reunite us with alumni from additional King adaptations. Heather Graham adds a bit of rationality to the story’s chaos as the estranged mother of bully Chris Hargensen (Alison Thornton). While not particularly known for horror, Graham appeared as troubled survivor Rita Blakemoor in the 2020 adaptation of King’s The Stand. Though desperate to save her flailing daughter, Mrs. Hargensen has recently left her husband John (Trucco) and moved in with another man.

Gil Bellows plays Chris’ would-be stepfather three decades after his shocking appearance in Frank Darabont’s The Shawshank Redemption. As Tommy, he arrives at the titular prison with proof that Andy Dufresne (Tim Robbins) is innocent. 

Several other names found throughout the series may be familiar to Constant Readers. The social worker who first helps Carrie register for school is named Ms. Piper, honoring the late Piper Laurie who terrified audiences with her operatic performance as Margaret White in De Palma’s 1976 adaptation.

Flanagan’s Carrie (Summer H. Howell) is also assisted by Officer Irving (Jason Tremblay) and Officer Katt (Camille Atebe), nodding to Amy Irving and William Katt, De Palma’s original Tommy and Sue. We also see that as Carrie is exploring her powers, she unknowingly causes a bunch of mailboxes to open on their own, one of them labeled Robinson. Though they do not appear in the series, perhaps this is the home of Jerome Robinson or his sister Barbara, recurring characters in King’s Hodges Trilogy and subsequent Holly novels. 

Arguably most exciting is a younger Snell sibling named Tabby (Ashley Cartwright). This familiar nickname references King’s own wife, Tabitha, a fellow writer and savior of Carrie herself. King has candidly admitted to throwing out his first draft of the 1974 novel, daunted by the story’s spiraling length and complex female characters. It was Tabitha who found the pages in the wastebasket, dusted them off, and started to read. She became interested in the burgeoning story and urged her husband to continue writing, promising to help him write this heavily female world.

The rest is history! Carrie would spark King’s breakout success and the beginning of an unparalleled career. 

Mike Flanagan’s Hidden Callbacks to His Own Films and De Palma’s Carrie

Other landmarks in Flanagan’s Chamberlain, Maine reference his own cinematic world and additional King collaborators. As Carrie walks down Maine Street, we see her pass the Hush Day Spa, nodding to Flanagan’s 2016 home invasion film. Months later, Carrie dances amidst the flames of her destruction in front of the tiny town’s movie theater. The marquee advertises a film festival honoring De Palma titled Retrospective in 35 MM. The doors are flanked by classic posters from the director’s impressive career, highlighting Blow Out and Dressed to Kill. The blood Chris pours on Carrie’s head comes from Sombra Pig Farm, referencing the sinister Sombra Corporation, a conglomerate headed by the Crimson King.

Alongside the Ewen High seniors, a pair of surprising chaperones can be found in the crowd on prom night. Bryan Fuller may now be known for Hannibal, but before reimagining the iconic cannibal, he rebooted King’s original source material. In 2002, Fuller penned David Carson’s Carrie, a two-part special for NBC starring Angela Bettis and Patricia Clarkson. Flanagan’s own version mirrors the writer/director’s shocking conclusion, which sees Carrie escape the fiery prom and drive off into the wider world.

Known for creating the Child’s Play franchise, Don Mancini has no official ties to the King universe, but is a champion of the author’s work. He frequently names Carrie as his favorite film and took inspiration from King’s catalogue when creating Chucky season 3. 

Well before Carrie destroys the gym, another fun Easter egg can be found lining its walls. As Chris and her friends run endless line drills — punishment for their locker room prank — we notice a trio of banners commemorating Ewen High’s successful basketball run throughout the 1970s. It seems the team won the state championship in 1973, ‘75, and ‘77. Missing are the years 1974 (the year King’s Carrie was first published) and 1976 (the year De Palma’s film premiered). Considering the high school burns down in both versions, a basketball championship would be highly unlikely. 

Stephen King Easter Eggs You Might Have Missed

Other references are deeper cuts and thematic nods to King’s catalogue. Episode one sees Carrie experience her first active shooter drill, an unfortunately common occurrence in modern high schools. However, they were virtually unheard of in 1977 when King — writing as Richard Bachman — published the novel Rage. The story follows a troubled teen named Charlie Decker who uses a firearm to hold his class hostage.

While King’s story in no way glorifies Charlie’s actions, copies of the disturbing novel were found in the possession of several subsequent school shooters. After a Kentucky assailant was found with Rage in his locker, King decided to pull it from publication. He would go on to write about this decision in his 2013 essay “Guns.” However, this plotline feels like Flanagan’s own statement on the heartbreaking topic. Shocked by Carrie’s experience, Margaret rushes into the principal’s office and questions this disturbing practice. Though she will emerge as the story’s central antagonist, in this moment she makes a good point.

Much of Margaret’s story is informed by the death of her husband Ralph White (Tahmoh Penikett). Though deceased before Carrie’s birth in the source material, Flanagan begins the series with his death, which leads to the discovery of his daughter’s existence. While grieving this tremendous loss, Carrie begins seeing visions of her late father, often lurking in the shadows of her darkened room.

These visions resemble another shadowy figure in Flanagan’s filmography. His 2017 adaptation Gerald’s Game sees the story’s heroine tormented by the Moonlight Man (Carel Struycken), a monstrous figure who watches the trapped woman from the corner of her own bedroom. Helplessly handcuffed to the bed, Jessie (Carla Gugino) cannot tell whether he is an actual intruder or a harbinger of her approaching death. Ralph serves a similar function here. Are these visions remnants of a troubled relationship or a warning of the horrors to come? 

In a similar moment of foreshadowing, Chris and her new blended family discuss the second half of her senior year, referring to the spring semester as “back half.” While possibly a casual term, “back half” brings to mind another group of King’s powerful kids. The 2019 novel The Institute, and Jack Bender’s series adaptation, see a group of children with psychic powers kidnapped by a covert government agency. Held in a cruel hybrid of hospital and prison, the kids are eventually taken to the ward known as Back Half, where unthinkable torture truly begins. Chris seems to be entering a similar stage of pain, and the “back half” of her own senior year will conclude with a grisly burst of telekinesis. 

Could These Easter Eggs Set Up ‘Carrie’ Season 2?

Frustrated with her crumbling life, Chris takes her rage out on Carrie and Margaret. Along with her delinquent boyfriend Billy (Arthur Conti), she breaks into the White’s house intending to turn picture frames upside down, break small objects, and spit in their mugs. An expert in this type of misdemeanor, Billy first attacks a knick knack shelf. He redirects an elephant figurine but ignores the tiny bird to its right.

This tense moment will likely remind King devotees of a terrifying sequence in Rob Reiner’s Misery. Having escaped his guest room prison, writer Paul Sheldon (James Caan) wheels himself around the deserted parlor of his captor Annie Wilkes (Kathy Bates), inadvertently knocking over a ceramic penguin. It’s this telltale bird that alerts Annie to Paul’s subterfuge, leading to the film’s notorious Hobbling scene. 

In addition to Carrie’s supernatural gifts, Flanagan introduces us to a wider network of telekinetic girls. In her aforementioned narration, Siegel mentions a young woman gifted with pyrokinesis, the ability to start fires with her mind. Constant Readers will no doubt be reminded of Charlie McGee, the protagonist of King’s 1980 novel Firestarter.

Clearly the leader of this shadowy collective, Seigel’s character demonstrates powers of mental domination previously wielded by Charlie’s father. Could Siegel be playing another survivor of The Shop, the government agency responsible for Charlie’s gifts? Should Carrie return for season two, this strange coda promises additional connections to King’s larger world and most memorable characters. 

The post Every Stephen King, Mike Flanagan, and Horror Easter Egg Hidden in Prime Video’s ‘Carrie’ Series, Explained [Spoilers] appeared first on Bloody Disgusting!.

After its North American Premiere at Brooklyn Horror Film Festival on October 21, Split Rock will debut on Shudder on December 25.

Clark Backo (Yaga, The Changeling, Venom: The Last Dance) and Drew Ray Tanner (Netflix’s Riverdale, Boot Camp) lead the cast that also includes Olivia Luccardi (It Follows, The Deuce) and Graham Verchere (The Fall of the House of Usher, Summer of ‘84).

The shot-on-16mm horror movie follows “geologists Lauren (Backo) and Ben (Tanner) as they investigate a strange anomaly discovered deep within the remote badlands. After unearthing an ancient force hidden in the hills, the couple and their team must face a series of ever-intensifying horrors.“

“I am very excited and thankful to be teaming up with Shudder again for the release of Split Rock, my bloodier, and far more ambitious second film,” said director Ryan Glover. “Shudder is home to the most passionate genre audience in the world, and I can’t wait for them to unearth the horrors and tragedies of Split Rock later this year.”

“With Split Rock, Ryan Glover has delivered a meticulously crafted world of psychological tension and haunting performances from its intimate cast.  We can’t wait to share this unsettling tale with Shudder audiences,” said Emily Gotto, Shudder’s SVP of Acquisitions & Productions.

Brian Robertson of Low End (Cursed Films, V/H/S/Beyond, Darkest Miriam), Jefferson Moneo of Prowler Pictures (Flapjax, Welcome to Kittytown) and Krista Dzialoszynski of Observer Effect (The Strings) are producers. Executive producers are Ryan Glover, Kate Melville, Fabiola Caraza, Patrick Hackett, and Daniel Futa, with Joey Montenarello serving as casting director.

Look for a trailer to arrive soon, ahead of this supernatural horror film’s Christmas release.

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Creator Jesse McKeown injects modern anxieties in to a limited series that harkens back to the simpler aquatic creature features of yesteryear, especially Jaws and 1996’s The Beast. It gives ample time to fall hard for the small Newfoundland town that’s already facing extinction before the arrival of a mysterious oceanic beast.

Set in a remote fishing town, Snooks Arm, the series takes place during “Come Home Year,” a Newfoundland tradition that welcomes those who moved away to reconnect with their family and friends for larger-scale reunions and festivities. It’s a perfect backdrop to allow lead protagonist Calvin Penney (Josh Hartnett) to reconnect with his children but with the bonus of a larger pool of potential fodder for the aquatic monster lurking in the very waters that provide the town’s livelihood.

But Calvin is a bit preoccupied struggling to make ends meet; not only is the relocation initiative that resulted in his father’s death in 1986 still an ongoing issue due to dwindling resources, but his ice-fishing business hardships are compounded by the arrival of a massive iceberg filled with contaminants in the harbor. He brings it to local scientist Fonda Howander (Mackenzie Davis) for answers, putting them both on the front lines of a battle against an ancient creature from below, one that’s been there before.

In Jaws-like fashion, Below bides its time, revealing its ultimate threat, building mystery as characters find initial traces of foul play that slowly escalate to the discovery of mutilated bodies, or pieces of them at least. Reported disappearances give way to severed limbs, pieces of blooded scalp, and partially digested moose that stumps the locals. This steady build allows for ample time to get acclimated to Snooks Arm’s many endearing quirks and traditions, while establishing the friction-filled dynamics of the Penney clan. 

Calvin’s close sister Ruth (Willow Kean) acts as the group’s true adult, while his daughter Mary (Ruby Stokes) brings her boyfriend home for the first time to meet dad. Prized son Jay (Rohan Campbell, Silent Night, Deadly Night) uses his gregarious personality to hide his vices and debts, while the son who remained behind with dad, Wade (Charlie Heaton, Stranger Things), struggles to measure up to his dad’s eyes. While the family drama itself is paper thin, it works; there’s a lived-in quality to the Penney family and their bickering that feels authentic and relatable.

It’s also what adds hefty emotional stakes when the slow build of early tension-building, dread, and scares gives way to take-charge action as characters attempt to go on the offense. Snooks Arm is so effectively cut off from the rest of the world that it creates a claustrophobic atmosphere, trapping the residents in place without many options. McKeon keeps viewers on their toes with piecemeal revelations about the beast, and unexpected byproducts of its presence; like the way the contaminated ice disrupts a small town accustomed to plucking ice from the water for everyday use.

This is where McKeown and crew inject the most variety with the horror, yielding a few surprises along the way. It’s also here where Below diverts from its parallel path with The Beast, turning its thoughts instead toward prevalent worries over the ocean’s increasing (and increasingly worrisome) warming waters. It builds to a suitable and climactic conclusion, though one that’s all but abandoned its horror waters by the final episodes.

The brief 6-episode format means lean efficiency that keeps you hooked, but it also means certain peripheral story elements and plot developments are more perfunctory than satisfying.

It’s a minor complaint as it ultimately amounts to simply wanting to spend more time with this hardy bunch. In truth, the creature feature elements are rather straightforward and familiar, though affecting and effective all the same. It’s the richly complex town and its characters that paint a sobering picture of rural communities devastated by the powerful and rich that anchors an entertaining aquatic horror series, one as full of vibrant personality as resilience. It’s also gorgeously shot by cinematographer William Baldy, making it even clearer why this picturesque Newfoundland town is worth wading into the treacherous sea to fight for.

Even better is that McKeon never gets too dour with its eco-messaging; Below isn’t afraid to poke fun at itself either or get playful with its editing and humor. There is a final hook that leaves the door ajar enough for continuation, but as it stands, this cozy, self-contained series is close to perfect as is, an entertaining, compelling, and genre-bending new entry in the realm of aquatic horror thrillers.

Below premieres globally on Netflix today, October 8.

The post ‘Below’ Review: Josh Hartnett Anchors Netflix’s Best Aquatic Horror Offering Yet appeared first on Bloody Disgusting!.

The cosmic horror movie makes its streaming debut on November 6.

In New Group, “High school student Ai sees her world collapse when a strange cult-like mentality gradually turns people around her into mindless followers who can transform simple gymnastics routines into a nightmarish dance of death.“

Written and directed by Yûta Shimotsu (Best Wishes to All), New Group stars Anna Yamada, Yuzu Aoki, and Pierre Taki. Ren Komai, Danhi Kinoshita, Arisa Sasaki, Kano Rogers, Jun Hosoi, Ryo Matsumoto, Tomomitsu Adachi, Natsuko Sakakura, Takashi Shimizu, and Tomoya Maeno also star.

The trailer below definitely captures the absurdist, darkly comical tone seen in Best Wishes to All, which took the concept of happiness to twisted social extremes.

His sophomore feature, New Group, was screened at various festivals including the Fantasia International Film Festival and the Sitges Film Festival.

Daniel Kurland wrote in his 4-skull review that New Group “solidifies Shimotsu’s status as an anarchic and experimental storyteller who cuts to the core of universal topics through extremely unconventional means.” He also writes that it “creates an incredible, unpredictable body horror masterpiece that doubles as an indicting satire of Japan’s society.“

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The Screambox exclusive begins streaming on October 13.

The found footage horror film follows “a skeptical documentary team into the heart of the New Jersey Pine Barrens. Tasked with investigating a series of mysterious vanishings, the crew relies on interviews and field research to uncover the local lore.

But as they venture deeper into the wilderness, the legend begins to close in on them, turning their production into a terrified struggle for survival against something that has been watching them all along.”

Chris Ruppert & Tyler Transue write and direct. Greg Poppa, Eric Melaragni, Austin Green, and Kelly Warren star. The horror film arrives on streaming after making its festival premiere earlier this year at Panic Fest.

Watch the trailer below that calls Blair Witch to mind with its wooded setting and ill-fated documentary team. But teases of a cryptid and the specificity of setting hint toward a different story ahead. The New Jersey Pine Barrens, also known as the Pines, is a protected ecosystem that is the site of many legends, tales, and mythical creatures, from the Jersey Devil to the White Stag. It’s the ideal setting for a horror movie, but less so for the wayward characters venturing into the woods.

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The new season premieres on November 8, 2026.

In Season 1, “Teen genius Luke Ellis is kidnapped and awakens at The Institute, a facility full of children who all got there the same way he did and who are all possessed of unusual abilities. In a nearby town, haunted former police officer Tim Jamieson has come looking to start a new life, but the peace and quiet won’t last, as his story and Luke’s are destined to collide.”

By season’s end, the surviving teens escaped with The Institute hunting them down.

Season two picks up following Luke and friends’ escape from Dennison as they search for a way to end the Institute for good. Meanwhile, The Director enlists a new ally, tech billionaire Nolan Reeves, to help him rebuild, and Sigsby’s life as a fugitive pushes her to seek a way back “in”.

Returning cast includes Joe Freeman as Luke Ellis, Ben Barnes as Tim Jamieson, Mary-Louise Parker as Ms. Sigsby, Simone Miller as Kalisha, Fionn Laird as Nicky, Arlen So as George, Robert Joy as Dr. Hendricks and Hannah Galway as Wendy.

The trailer below also gives the first extended look at newcomer Alfie Allen, who joins season two as Nolan Reeves, an eccentric European tech billionaire and one of the Institute’s financial backers. It’s safe to assume he may have an agenda of his own.

The series hails from director/executive producer Jack Bender (From, Mr. Mercedes), writer/executive producer Benjamin Cavell (Justified, The Stand), and MGM+ Studios. Both filmmakers are no strangers to the world of Stephen King.

“The Institute” season two arrives almost exactly one month after the debut of Prime Video’s “Carrie”, marking the second King series centered around preternaturally gifted teens premiering this fall.

The post ‘The Institute’ Season 2 Trailer: Stephen King’s Gifted Teens Fight Back This November appeared first on Bloody Disgusting!.

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

A college film student’s documentary project uncovers the reclusive life of a tormented musician in Dickerson’s segment. Jihad Brent and Alex Hsu star in “The Music of Mr. Sze” as the documentarian and Mr. Sze, respectively. See both below in the first look images.

One image brings the vibrant hues and imagery of Dickerson’s trademark style, and harkens back to his early cinematography work on films like Def By Temptation. But it’s a shadowy image of Mr. Sze with strangely lit eyes that intrigues most.

Joining Ernest Dickerson on the latest V/H/S are directors Flying Lotus (Ash), Ghost’s Tobias Forge, David Moreau (MadS), RZA, and Renee Zhan, with the film featuring GWAR and effects from Jim Henson’s Creature Shop.

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

V/H/S launched the franchise in 2012, followed by 2013’s V/H/S/2, 2014’s V/H/S: Viral, 2021’s V/H/S/94, 2022’s V/H/S/99, 2023’s V/H/S/85, 2024’s V/H/S/Beyond, and 2025’s V/H/S/Halloween. The tenth installment, V/H/S: SCP, will be the first to head to theaters in 2027.

The post Ernest Dickerson’s ‘V/H/S/Mixtape’ Segment Introduces Tormented Musician In Eerie First Look Images [Exclusive] appeared first on Bloody Disgusting!.

All episodes of “Crystal Lake” premiere Thursday, October 15, only on Peacock.

The series follows single mother Pam Voorhees, who has been unable to shake her grief after her young, sickly son Jason tragically drowned in the town lake almost a year before. When two strangers arrive at Pam’s door digging into her past, a disturbing chain of events is set into motion, leaving the townspeople of Crystal Lake wondering: just who is Pam Voorhees?

Callum Vinson (“Chucky”) is playing young Jason in “Crystal Lake,” which will tell the origin story of the masked slasher who has stalked the grounds of Crystal Lake for decades.

The show’s cast also includes William Catlett (Abigail), Cameron Scoggins (“Nashville”), Devin Kessler (“Godfather of Harlem”), Gwendolyn Sundstrom, Nick Cordileone (“Warrior”), Joy Suprano (“Fleishman Is in Trouble”), Danielle Kotch (Sinister), Christopher Denham (“Shining Girls”), Nancy Nagrant (“The Marvelous Mrs. Maisel”), and Phoenix Parnevik.

Brad Caleb Kane (“IT: Welcome to Derry”) is the showrunner for the series, and describes the series as “a mixtape of genre.”

“Everybody in this world is living in a different genre in their mind,” Kane says, “until they collide with the genre that Pam is in.” Kane clarifies Crystal Lake is “100 percent” still a slasher. What’s more, the series is set in the ’70s.

Though the series will revisit fan-favorites, including Crazy Ralph, the trailer indicates there’s more to Jason’s condition than meets the eye. Based on the clip below, there’s a lot more to his mom, too.

The eight-episode series is set to be directed by Michael Lennox (“Derry Girls”), Celine Held & Logan George (Caddo Lake), and Quyen Tran (“The Pitt”).

 

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Available today and throughout October, viewers can explore a best-in-class lineup of acclaimed new releases, blockbuster franchises, genre-defining classics, and exclusive titles, delivering a month of unforgettable scares for the spooky season.

HBO Max’s Halloween lineup kicked off early last month with the highly anticipated streaming debut of A24’s Backrooms, the studio’s highest-grossing film ever both domestically and worldwide. Viewers can also look forward to the premiere of Evil Dead Burn on October 2, and the new HBO Original Documentary series “The Pet Cemetery Murders: A Ghost Story” on October 11.

To help audiences discover their next scare, HBO Max’s “Horror Comes Home” Halloween hub is spotlighting a variety of specially curated collections and refreshed artwork throughout the month. Programming rails include “Horror Comes Home,” “Trick or Treat,” “Must-Scream Horror,” “A Killer Movie Marathon,“ “Haunted Hall of Fame,” “Creature Features,” “What’s Around The Corner” (debuts 10/2), and more themed homepage collections that celebrate the breadth and diversity of the horror genre. 

In addition, horror fans can now tune into a new virtual channel, “Essential Horror,” which features a curated mix of series and films from the HBO Max horror catalog. 

Below is a list of available curations along with a selection of series and films available to stream on HBO Max’s Halloween pages:  

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If you missed Damian McCarthy’s Hokum in theaters earlier this year, then you’re in luck as it finally arrives on Hulu this month. Other new streaming debuts include The Housemaid on HBO Max, Hungry on Prime Video, and Pinocchio Unstrung on Peacock. Affecting horror documentary Black Zombie heads to Kanopy this month, while unsettling doc Clown Panic lands on Hulu. Tubi brings the gateway Halloween horror with R.L. Stine’s Pumpkinhead 2.

‘Tis the season for franchise marathons, too, and the streaming services are delivering. Scroll on to discover where to watch collections for A Nightmare on Elm Street, Leprechaun, Scream, Friday the 13th, Hellraiser, Children of the Corn, and more. Get ready for a full horror dance card this month.

Here’s what arrives on streaming in October.

HBO Max

October 1
A Nightmare on Elm Street (1984)
A Nightmare on Elm Street (2010)
A Nightmare on Elm Street 2: Freddy’s Revenge
A Nightmare on Elm Street 3: Dream Warriors
A Nightmare on Elm Street 4: The Dream Master
A Nightmare on Elm Street 5: The Dream Child
Coraline
Dr. Jekyll and Mr. Hyde
Final Destination 3
Freaks
Freddy vs. Jason
Friday the 13th
From Hell It Came
House Of Wax
House On Haunted Hill (1959)
Indestructible Man
Isle of the Dead
Little Shop of Horrors
Macabre
ParaNorman
Poltergeist
Scooby-Doo
Scooby-Doo 2: Monsters Unleashed
The Cyclops
The Exorcist
The Leopard Man
The Mummy (1959)
The Mystery of the Wax Museum
The Return of Doctor X
The Seventh Victim
The Shining
Tim Burton’s Corpse Bride
Trick ‘r Treat

October 9
The Housemaid

Hulu

October 1
Barbarian (2022)
Ghostbusters (1984)
Ghostbusters II (1989)
Ghostbusters: Answer the Call (2016)
Soulm8te (2026)

October 2
The Substance

October 3
Hereditary
Midsommar

October 10
Hokum

October 12
Clown Panic

October 18
Companion
Wolf Man (2025)

Kanopy

October 2
Heretic (2024)
MaXXXine (2024)
No Other Choice (2025)
Resurrection (2025)
The Front Room (2024)

October 9
House (1977)
The Astronaut (2025)
Night of the Comet (1984)
Lifeforce (1985)
Dark Shadows (Miniseries) (1991)
Ghost in the Machine (2026)

October 16
Eyes Without a Face (1960)
Burnt Offerings (1976)
Maximum Overdrive (1986)

October 23
The Brood (1979)
Queens of the Dead (2025)
Black Zombie (2026)

October 30
Red Rooms (2023)
Went Up the Hill (2024)

Netflix

October 1
A Haunted House
A Haunted House 2
Crimson Peak
Dracula
Evil Dead
Friday the 13th
Happy Death Day 2U
Hush
I Know What You Did Last Summer
Lake Placid
Mary Shelley’s Frankenstein
The Menu
Ouija
Ouija: Origin of Evil
Psycho
Psycho II
Psycho III
Red Dragon
The Sixth Sense
Split
The Strangers
Underworld: Blood Wars

October 5
The Boogeyman

October 6
Pride and Prejudice and Zombies

October 14
Cocaine Bear

Paramount+

October 1
A Haunted House 
A Haunted House 2 
Blink Twice
Crimes of the Future
Doctor Sleep
Drag Me to Hell
Firestarter
Grizzly Night*
Hansel & Gretel: Witch Hunters
It Follows
Sweeney Todd: The Demon Barber of Fleet Street

*Title is available to Paramount+ Premium subscribers.

Peacock

October 1
3 From Hell
10 Cloverfield Lane
28 Weeks Later
American Psycho
Blade
Blade II
Blade: Trinity
The Boogeyman
Brightburn
Cloverfield
Coraline
The Crazies
The Crow
Darkman
Death Becomes Her
The Devil’s Rejects
Event Horizon
The Fly
Friday the 13th
Friday the 13th: Part II
Friday the 13th: Part III
Fright Night
From Dusk Till Dawn
The Grudge
The Haunting
Hostel
House of 1000 Corpses
Jennifer’s Body
Krampus
The Mummy Returns
The Mummy
The Last House on the Left
Last Night in Soho*
Leatherface
Ma
Mom and Dad*
The Omen
Paranormal Activity
Paranormal Activity 2
Paranormal Activity 3
Paranorman
The People Under the Stairs
Pinocchio Unstrung*
The Prodigy
Red Dragon
The Ring
Rob Zombie’s Halloween
Rob Zombie’s Halloween II
Saw
Scary Movie
Scream
Scream 2
Scream 3
Sharknado 3: Oh Hell No!
The Silence of the Lambs
Silent Hill
Silent House*
The Strangers
Terror Train
Train to Busan
Train to Busan Presents: Peninsula
Van Helsing
War of the Worlds
What Lies Beneath
The Witches
World War Z

October 2
The Fog
Hannibal Rising
The Messengers 2
No One Lives
Pulse

October 4
Night Swim*

October 9
Disclosure Day*

October 19
The Crow*

* = is exclusive to Peacock

Pluto TV

October 1
#211
10 Cloverfield Lane
2001 Maniacs
247 Degrees Fahrenheit
The ABCs Of Death
The ABCs Of Death 2
After Midnight (1989)
After.Life
Alone (2020)
Alone In The Dark
Ambulance, The
Amityville 3-D (1983)
Amityville II: The Possession
Amityville: The Awakening
Amityville: Where The Echo Lives
Among The Shadows
Amulet
And Soon The Darkness (2010)
Angel Heart
Anna And The Apocalypse
April Fool’s Day
Audrey Rose
Barrens
The Bay
The Believers
The Belko Experiment
Below
Beyond Reanimator
Black Christmas (2006)
Black Sabbath
Blacula
Bless The Child
The Blood On Satan’s Claw
Body Cam
Bones And All
The Boogeyma (2005)
Boogeyman 2 (2008)
The Boogeyman 3 (2009)
Breach
A Bucket Of Blood
Bug
The Burning
Burnt Offerings
Cabin Fever
Cabin Fever 2: Spring Fever  (2007)
Candyman III
Candyman: Day Of The Dead
Carrie (2002)
Cellar Dweller
Chained
Children Of The Corn 666: Isaac’s Return
Children Of The Corn II: The Final Sacrifice
Children Of The Corn III: Urban Harvest
Children Of The Corn V: Fields Of Terror
Children Of The Corn: Genesis
Children Of The Corn: Revelation
Children Of The Corn: The Gathering
Clive Barker’s Lord Of Illusions
Cloverfield
Come To Daddy
Cooties
The Cottage
Crawl
Crawlspace
Cube
Cube 2
Cube Zero
Cujo
Cursed
Dark Circles
The Dark Half
Darkness
Day Of The Dead: Bloodline
Dead Bodies
Dead End (2003)
The Dead Zone
Death Of Me
Deepstar Six
Dentist 2, The
Dentist, The
Devon
Diabolic
Disturbing Behavior
Dolls
Don’t Look Now
Down A Dark Hall
Dracula 3000
Dreamkatcher
The Dunwich Horror
Eden Lake
Escape Room
Evil Dead (2013)
The Evil Next Door
The Eye (2008)
The Faculty
The Fall Of The House Of Usher (1960)
Fangoria: Blood Drive
Fangoria: Blood Drive II
Fear Clinic
Feast
Feast II: Sloppy Seconds
Feast III: Happy Finish
Fertile Ground
Flatliners (1990)
Flesh And Bone
Flight 7500
The Fog (1980)
Frankenstein  (2004)
Frankenstein And The Monster From Hell
Friday The 13th (1980)
Friday The 13th – Part II
Friday The 13th – Part III
Friday The 13th Part – IV:The Final Chapter
Friday The 13th Part V: A New Beginning
Friday The 13th Part VI : Jason Lives
Friday The 13th Part VII:The New Blood
Friday The 13th Part VIII: Jason Takes Manhattan
Frogs
From Beyond
From Dusk Till Dawn
From Dusk Till Dawn 2: Texas Blood Money
From Dusk Till Dawn 3: The Hangman’s Daughter
The Front Room
Gallowwalkers
The Gate
The Gathering (2002)
George A. Romero’s Diary Of The Dead
Ghoulies
Ghoulies IU
The Gift (2000)
Ginger Snaps
Ginger Snaps 2
Ginger Snaps 3
Godsend
Goodnight Mommy
Gothic
Gretel & Hansel
The Grudge 3  (2008)
Hannibal Rising
Hansel And Gretel: Witch Hunters
Hatchet
Hell Fest
Hellbenders 3D
Hellraiser
Hellbound: Hellraiser 2
Hellraiser: Judgment (2018)
Hellraiser: Revelations
Hereditary
Heretic
Hex (2022)
High Tension
His Name Was Jason
Hollow Man
Horns
The Hound Of The Baskervilles (1959)
House Of 1000 Corpses
House Of The Dead  (2003)
House Of The Long Shadows
How It Ends (2018)
Howling II: Your Sister Is A Werewolf
I Still See You
I, Frankenstein
Idle Hands
In Fear
It Follows
Jack Brooks Monster Slayer
Jessabelle
John Dies At The End
Johnny Frank Garrett’s Last Word
Joy Ride
The Keep
Kill Theory
Kristy
The Lair Of The White Worm
The Last House On The Left (1972)
The Last Rite
Leprechaun
Leprechaun 4: Lost In Space
Leprechaun II
Leprechaun III
Leprechaun Origins (2014)
Leprechaun V: In The Hood
Let Me In (2010)
Let’s Scare Jessica To Death
Leviathan
Lifeforce
Like Minds
The Little Girl Who Lives Down The Lane
The Little Mermaid
Lords Of Salem
The Loved Ones
Man-Thing
Mara (2017)
Martyrs (2015)
Mary Shelley’s Frankenstein
The Masque Of The Red Death (1964)
Maximum Overdrive (1986)
Maxxxine
May
The Messengers 2 (2008)
The Messengers (2007)
Mid-Century
Midsommar
Mimic
Mimic 2
Mimic 3: Sentinel
Monkey Shines: An Experiment In Fear
Monster Squad, The
Most Beautiful Island
Mother’s Day (2012)
My Bloody Valentine (1981)
My Bloody Valentine (2009)
New Year’s Evil
The Night Listener
Night Of The Comet
Night Of The Demons
Night Of The Living Dead 3D  (2006)
Night Of The Living Dead: Resurrection
Night Train (2009)
No One Lives
Only Lovers Left Alive
Open Water 2: Adrift (2006)
Open Water 3: Cage Dive (2017)
Overlord
P2
Pandorum
Paranormal Activity
Paranormal Activity 2
Paranormal Activity 3
Paranormal Activity 4
Paranormal Activity: The Ghost Dimension
Paranormal Activity: The Marked Ones
Parents
Patrick: Evil Awakens
Pearl: An X-Traordinary Origin Story
Pet Sematary (1989)
Pet Sematary (2019)
Phase IV
Piranha 3dd
Pit And The Pendulum
Poltergeist II: The Other Side
Poltergeist III
The Possession Of Hannah Grace
The Poughkeepsie Tapes
Pretty Boy
Prey (2007)
Pulse (2006)
Pulse II: Afterlife
Pulse III: Invasion
Quarantine
Quarantine 2: Terminal
A Quiet Place Part II
The Rage: Carrie 2
The Reading
Repentance
Repo: The Genetic Opera
Resident Evil
Resident Evil: Apocalypse
Return Of The Living Dead III
Return Of The Living Dead: Necropolis
Return Of The Living Dead: Rave To The Grave
The Ring
The Ring Two
Rise (2007)
Rogue (2007)
The Ruins
Scared Stiff (1953)
Scissors
Scouts Guide To The Zombie Apocalypse
Scream (1996)
Scream (2022)
Scream 2
Scream 3
Scream 4
Scream, Blacula, Scream!
Seance: The Summoning
Secret Window
Shivers
Silent Hill
Silent Hill: Revelation 3d
Silent Night (2012)
Sinister
Sleepaway Camp
Sleepaway Camp 2: Unhappy Campers
Sleepaway Camp 3: Teenage Wasteland
Sleepwalker
Sleepy Hollow
Smile
Solstice
Sorority Row
Species
Species II
Species III
Species: The Awakening
Stephen King’s Graveyard Shift
Stephen King’s Silver Bullet
Stephen King’s Sometimes They Come Back
Stephen King’s Thinner
Stigmata
Strangeland
Student Bodies
Succubus
Supernova
Suspect Zero
Talk To Me
Tamara
Texas Chainsaw Massacre (1974)
The Texas Chainsaw Massacre 2
The Thirst (2006)
Toolbox Murders
The Town That Dreaded Sundown (1977)
The Town That Dreaded Sundown (2014)
Troll
Troll 2
Urban Legends: Bloody Mary
Vacancy (2007)
Vampire In Brooklyn
Vampire’s Kiss
Vampires Of The Velvet Lounge
The Vanished
The Vatican Tapes
Warhunt
Warm Bodies
Waxwork
Waxwork II: Lost In Time
We Are What We Are (2013)
We Summon The Darkness
What Lies Beneath
When A Stranger Calls (2006)
While She Was Out
Wicker Man (1973)
Winnie The Pooh: Blood And Honey
Wishmaster
Wishmaster 2: Evil Never Dies
Wishmaster 3: Sword Of Justice
Wishmaster 4 The Prophecy Fulfilled
Wolf Creek
Wolf Of Snow Hollow, The
The Woman In Black
The Woods (2006)
World War Z
The Wraith (1986)
Wrong Turn (2021)
X (2022)
You’re Next