In total, six brand new horror movies have been released today, on top of the seven brand new ones that had already released on Tuesday. Horror never dies and horror never stops.

Here’s all the new horror that released on Friday, April 17, 2026!

Xochitl Gomez (Doctor Strange in the Multiverse of Madness) and Aaron Dominguez (“Only Murders in the Building”) star as siblings dealing with an eerie playground filled with creepy kids in Hive, a brand new Tubi Original horror movie that’s now streaming on Tubi.

The horror movie follows “a strict, anxious teenager (Xochitl Gomez) who loses the child she’s babysitting and must brave a sinister force hiding in plain sight among the children in the playground. As her world unravels and her grip on reality starts to slip, she must outwit a world where nothing is as it seems, to make it out alive.”

Zenobia Kloppers, Victoria Firsova, Tanya van Graan, Jenny le Roux, and Thulani Nzonzo also star. Felipe Vargas writes and directs, adapting his own short film.

The further you hear it, the closer it is in The Whistler, based on the Venezuelan legend El Silbón. Previously known as The Fields Are Watching, the film is now available on VOD outlets.

The supernatural film stars Diane Guerrero (“Doom Patrol”) and Juan Pablo Raba (“Narcos”).

The story follows a couple, reeling from the loss of their daughter, who unexpectedly inherit a secluded farm. Hoping to start fresh, they instead encounter a cult claiming it can summon spirits from beyond, forcing them to deal with dark forces and their own inner demons.

Diego Velasco (“Orange Is the New Black”) directs from a script he co-wrote Esteban Orozco (“El Chapo”) and Carolina Paiz (“Orange Is the New Black”), based on an earlier screenplay by Nacho Palacios. Indhira Serrano, Laureano Olivarez, Laura Sofía Domínguez, and Norberto Rivera round out the cast of The Whistler.

Writer-director Lee Cronin channels his Evil Dead Rise in The Mummy, a fresh new take on the classic movie monster. It’s now playing only in theaters from Warner Bros.

In Lee Cronin’s The Mummy, a journalist’s young daughter disappears into the desert without a trace. Eight years later, the broken family is shocked when she is returned to them, as what should be a joyful reunion turns into a living nightmare.

Jack Reynor (Midsommar), Laia Costa (“The Wheel of Time”), May Calamawy (“Moon Knight”), Natalie Grace (“1923”), and Veronica Falcón (“Ozark”) star.

The film is rated R for “strong disturbing violent content, gore, language, and brief drug use.”

The psychosexual pop thriller Mother Mary starring Anne Hathaway opened in New York and Los Angeles today before hitting theaters nationwide on April 24 via A24.

David Lowery (The Green Knight, A Ghost Story) writes and directs.

In A24’s Mother Mary, long-buried wounds rise to the surface when iconic pop star Mother Mary (Anne Hathaway) reunites with her estranged best friend and former costume designer Sam Anselm (Michaela Coel) on the eve of her comeback performance.

Michaela Coel, Hunter Schafer, Atheena Frizzell, Kaia Gerber, Jessica Brown Findlay, Alba Baptista, Isaura Barbé-Brown, Sian Clifford, and FKA Twigs also star.

The movie features original songs by Jack Antonoff, Charli xcx, and FKA Twigs.

A Māori woman fights to reclaim her identity in Mārama, a genre-bending Gothic horror tale that marks the feature debut of Indigenous Māori writer-director Taratoa Stappard.

Dark Sky Films and Watermelon Pictures opened the film today at the IFC Center in New York City and the Laemmle Monica Film Center and Laemmle Glendale in Los Angeles.

Stay tuned for a wide release date.

Set in Victorian England circa 1859, a young Māori woman is summoned from New Zealand to North Yorkshire. Upon uncovering her horrific colonial heritage, she is compelled to confront and destroy the titled Englishman who devastated her family.

Māori actor Ariāna Osborne stars alongside Toby Stephens (Die Another Day), Umi Myers (Bob Marley: One Love), Erroll Shand (“Chief of War”), Jordan Mooney (“The Bluff”), Mihi Te Rauhi Daniels, and Turia Schmidt-Peke.

Supernatural horror film Salmokji: Whispering Water had the strongest opening for a Korean horror film since 2024’s Exhuma at the Korean box office, and the film is now playing in select theaters in North America beginning today. Check your local listings.

In Salmokji: Whispering Water, an unidentified figure is captured in a street-view image of Salmokji, a remote reservoir. A reshoot is required to contain the situation — but a sense of dread surrounds the location, and no one is eager to return.

Despite the unease, Su-in leads the crew in place of her senior colleague, who previously vanished after visiting the area. The shoot quickly begins to unravel as crew members experience disturbing phenomena that defy explanation.

As the deep end of Salmokji reveals traces of something lurking beneath the surface, the team is forced to confront a presence that refuses to remain unseen–and a truth that should have never been surfaced.

Written and directed by Lee Sang-min, the film stars Kim Hye-Yoon, Lee Jong-Won, Kim Jun-Han, Kim Young-Sung, Oh Dong-min, Yoon Jae-chan, and Jang Da-ah.

The post Friday, April 17 – These 6 New Horror Movies Released Today appeared first on Bloody Disgusting!.

Some of the biggest names in horror will be back with new novels this year, while rising stars look to make their mark, beloved series continue, and some of the best authors in the game head in some ambitious new directions.

So, from vampires to slashers to witches, here are the 26 horror books we can’t wait to read in 2026.

​Dead First by Johnny Compton – February 10

Through books like The Spite House and Devils Kill Devils, Johnny Compton has confirmed his place among horror’s rising stars. Now, he returns with a new novel about a private investigator drawn into the mystery of an eccentric billionaire who, no matter how hard he tries, can’t seem to die. That’s an amazing hook, and I can’t wait to see what’s lurking in the shadows of this one.

​Dollface by Lindy Ryan – February 24

After breakout hits like Bless Your Heart and Another Fine Mess, Lindy Ryan is shifting gears with this slasher that’s billed as Barbie meets Scream. The story of a horror writer trying to fit in as a suburban mom who suddenly finds herself in the middle of a killing spree targeting her fellow moms, Dollface promises to bring Ryan’s brand of whimsical, witty, incisive horror to a whole new genre-bender.

​Nowhere Burning by Catriona Ward – February 24

Few horror authors working today can claim to grasp the Gothic and the darkly magical as well as Catriona Ward, and this year she returns with one of her most intriguing ideas yet. Nowhere Burning is the story of a pair of runaways who decide to head to a mysterious abandoned ranch, where fellow runaways have set up some kind of secretive haven of their own. But when they arrive, they find there’s a price to pay for their new home. If you want beautiful prose, compelling characters, and mysteries as deep and dark as the mountains at night, don’t miss this one.

​Partially Devoured by Daniel Kraus – March 10

Part memoir, part analysis of one of the most important horror films of all time, Partially Devoured is Daniel Kraus’s ode to Night of the Living Dead and its impact on his life and the horror world beyond. Among his many other novels, Kraus has worked closely with the George A. Romero estate to bring us previously lost Romero projects like The Living Dead and Pay The Piper, so his perspective on this landmark film is not just valuable, but indispensable.

​Wolf Worm by T. Kingfisher – March 24

Whether remixing Edgar Allan Poe or weaving worlds of her very own, T. Kingfisher has a knack for horror novels packed with evocative detail, and Wolf Worm sounds like a can’t-miss continuation of that talent. The story of an illustrator at the end of the 19th century who heads to a secluded North Carolina mansion to work for a famous entomologist, Wolf Worm is a book of dark secrets in the woods, and a dark bargain that could cost our heroine her life. If you’re not on board with Kingfisher’s books yet, this would be a great place to start.

​Wretch by Eric LaRocca – March 24

One of the brightest horror stars of the 2020s so far, Eric LaRocca is known for unflinching prose that digs down into our darkest emotions, and grief remains one of his most productive stomping grounds. That’s why I’m so excited about Wretch, the story of a grieving man who joins a mysterious support group that promises him the chance to see his beloved husband again. Of course, there’s a terrible price, and with LaRocca at the helm, you know you’ll never forget what’s lurking in these pages.

​Bodies of Work by Clay McLeod Chapman – April 7

Clay McLeod Chapman is a writer of astonishing versatility, and his prolific, subgenre-hopping horror output continues in 2026 with this novella about an outsider artist working in secret on a terrifying project. Bodies of Work is the story of a killer who makes “art” from the lives he takes, and what happens when those lost lives start talking back. Whether you’re a longtime Chapman fan or a newcomer, you won’t want to miss what’s bound to be another devastating read.

​The Haunted Houses She Calls Her Own by Gwendolyn Kiste – April 14

Gwendolyn Kiste is a must-read master of modern horror. Her prose is always sharp, her narratives dense metafictional webs that grow stronger with immersive characterization, and her stories move like freight trains. The Haunted Houses She Calls Her Own brings together some of her very best short fiction into one unforgettable collection, so if you like your horror bite-sized, pick this book up and enjoy a story every night until you’re done.

​The Hive by Ronald Malfi – April 14

Whether he’s telling small-town, rural stories or exploding into urban crime-horror, Ronald Malfi always delivers, and this spring he’s back with The Hive. Set in the suburb of Mariner’s Cove, the novel follows suburban residents as they’re overtaken by a strange obsessive force, the boy with a strange power who’s somehow connected to this obsession, and the formation of a kind of hivemind that threatens everything in its path. If you know Malfi’s work, you know he’s a master at taking familiar concepts and spinning them off in new directions, so you won’t want to miss this one.

​Japanese Gothic by Kylie Lee Baker – April 21

Kylie Lee Baker’s Bat-Eater and Other Names for Cora Zeng was one of the best horror novels of 2025, and now she’s back with another, even more ambitious tale. Set across two different time periods in the same house in Japan, Japanese Gothic follows a college student on the run in the present day, and an exiled samurai in the past, merging their narratives for the story of a Japanese folklore-laden haunting that sounds perfect for fans of writers like Cassandra Khaw and Kailee Pedersen.

​I Know a Place by Nat Cassidy – May 5

Over the past five years, Nat Cassidy has made himself an indispensable horror voice through books like Mary: An Awakening of Terror, Nestlings, and When The Wolf Comes Home. Now, experience his short fiction in the author’s first collection, featuring his acclaimed novella Rest Stop and much more.

​Make Me Better by Sarah Gailey – May 12

Sarah Gailey writes haunting books, a phantasmagoria of beautiful prose and evocative character work that you sink into. That makes every book of hers worth savoring, and Make Me Better will be no different. The story of Celia, a lonely woman who heads to a mysterious and secluded island for a festival that promises healing, is a book about the search for community and understanding in one woman’s life, and how far she might go to get it. I can’t wait to find out where this one goes.

​The Dorians by Nick Cutter – May 19

Nick Cutter is one of those horror writers who will always make my skin crawl, no matter what subgenre space he’s playing in. Now, the author of The Troop is back with a new novel about five volunteers who try to stop aging in its tracks, only to come face to face with dark, impossible forces that’ll change them forever in ways they never expected. I cannot wait to find out how Cutter picks apart human bodies in stomach-churning ways this time.

​Headlights by CJ Leede – June 9

CJ Leede’s Maeve Fly is one of the best horror debuts of the past 10 years, and her follow-up, American Rapture, is a masterpiece of American horror. Now, Leede is back with another can’t-miss book, this one following an FBI agent as he returns to Colorado to hunt a killer who leaves dazed, living victims wearing the skins of dead ones. This one’s being compared to Longlegs and The Shining, so strap in!

​It Came From Neverland by Cynthia Pelayo – June 9

Cynthia Pelayo’s novels are unquestionably frightening, but they also defy easy classification. Her books combine fantasy, fairy tale, true crime, horror, and so much more to weave engrossing dreamscapes of prose, and with her latest book, she’s offering a dark twist on a classic children’s story. Set in 1914, this book follows Wendy Darling as she realizes that an entity she thought she was free of returns, an entity that kidnaps children in London, an entity known as Peter Pan. I’m already hooked.

​Dead But Dreaming of Electric Sheep by Paul Tremblay – June 30

Through books like A Head Full of Ghosts and The Cabin at the End of the World, Paul Tremblay has become one of the 21st century’s essential horror fiction voices. His latest book, named in honor of genre legend Philip K. Dick, promises to blend his horrors with science fiction in a tale of a gamer who’s tasked with “controlling” the mindscape of a comatose man with an AI implanted in his head. It’s a topical premise, to be sure, but Tremblay’s prose and knack for the unexpected will make it feel timeless.

​Fabulous Bodies by Chuck Tingle

Internet legend and author of books like Bury Your Gays and Camp Damascus, Chuck Tingle, is back with another essential summer horror read this year, and the premise is instantly intriguing. Fabulous Bodies follows a fashion influencer and sometime grave robber who opts to make off in the night with the body of a newly dead rockstar. But everything changes when, on the drive away from the morgue, the rock star wakes up. What’s happening? How far will this ride get? You won’t want to miss the answers.

​Carry Me to My Grave by Christopher Golden – July 21

One of the most reliably entertaining horror authors working right now, Christopher Golden’s books are page-turning, sumptuous journeys into darkness, and Carry Me to My Grave sounds no different. It’s the story of two siblings who have to deal with the body of their recently dead mother, a woman rumored to be a witch, and the dark forces that awaken across the country when they try to transport their mother’s corpse to her birthplace via train. Horror on a train is a wonderful concept, and Golden playing with that concept sounds like a blast.

​The Minimalist by Kailee Pedersen – August 18

Kailee Pedersen’s novel Sacrificial Animals is one of the best debut works of horror I’ve read in the past decade, which means her follow-up is essential reading. Drawing on Pedersen’s own experiences in the world of classical music, The Minimalist follows the apprentice to a beloved composer who, upon his sudden death, inherits the manuscript of his great unfinished work. Nightmares ensue, and while I don’t yet know what those nightmares are, I can’t wait to find out.

​Clown in a Cornfield 4: Lights! Camera! Frendo! by Adam Cesare – August 18

Adam Cesare’s Clown in a Cornfield series began as an unforgettable slasher starring a terrifying clown, but with the sequels, Cesare has never been content to coast on a formula. The Clown follow-ups are all deep dives into subgenres and concepts all their own, reinventing Frendo the Clown and his dark legacy each time. With the fourth installment, hitting bookstores this summer, Cesare takes his creation to Hollywood, so expect all kinds of meta fun with this one.

​Pictures of You by Josh Malerman – September 8

Josh Malerman’s last novel, the electric Incidents Around the House, is one of the scariest books I’ve ever read. Now the author of Bird Box, Daphne, and more returns with a new novel about, well, a woman who wakes to find herself trapped in a painting. Yes, that’s right, Malerman’s brilliance with high-concept hooks is back in full force, and we’ll no doubt be talking about this book for a very long time.

​Kiss Slay Replay by Rachel Harrison – September 8

Rachel Harrison’s sleek, fiendishly fun horror novels have run the gamut of subgenres from werewolves to vampires to demonic possession. With her latest book, Harrison promises to run through two subgenres at once: Slashers and time loops. Set at a wedding where a masked killer is stalking the venue and the wedding day never seems to end, Kiss Slay Replay promises to be another can’t-miss page-turner from one of horror’s most vibrant modern voices.

​This Movie Doesn’t End the Way We Want by Hailey Piper – September 15

Whether she’s exploring her own invented cosmologies or playing in establishing subgenre sandboxes, Hailey Piper is quite simply one of the best horror writers working right now. In 2026, she turns her finely honed craft on cursed movie narratives with this novel. It begins in 1994, when three friends go out to see a movie, and only one friend leaves the theater. Three decades later, the same movie still torments that friend, and the day when they finally confront each other again is near. I’m a sucker for cursed film narratives, and I’m sure I’ll end up devouring this one.

​Incarnate by Alma Katsu – September 22

Alma Katsu built her reputation in the horror world through evocative, tactile historical horror. Now, the author of The Deep and The Fervor is taking on one of the foundational stories of the modern horror landscape: Oscar Wilde‘s The Picture of Dorian Gray. In this reimagining, Katsu follows a coder who’s created a deepfake person so convincing she’s a global superstar, but when someone threatens to expose the secret, everything starts to unravel.

​Crone by Keith Rosson – September 29

Keith Rosson’s blend of crime and horror is intoxicating, producing novels that move like a freight train, and Crone is the latest in that line of incredible books. The story of a former detective turned reluctant mob enforcer who’s still searching for his lost daughter, it’s Rosson’s take on witches in horror fiction, with a whole lot of hardboiled fun thrown in for a ride steeped in mystery and darkness.

​Milkteeth by Caitlin Starling – October 20

Caitlin Starling wrote one of the best horror novels of 2025 with the darkly fantastic The Starving Saints. In 2026, she’s taking on vampire fiction with this story of vampiric broodmother who takes on a frightening new scion while fighting to understand her own immortal body’s monstrous evolution. Starling excels at body horror, the supernatural, and finding meaning in the darkest parts of us, so this should be a must-read amid the recent new boom of vampire fiction.

What horror reads are you most looking forward to in 2026?

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Back in 2015, The Hive received a limited release courtesy of Nerdist, but for the last several years, it hasn’t been available to watch literally anywhere. It’s not even on DVD!

As of this week, The Hive can now be streamed on various digital platforms:

• Amazon Prime
• iTunes
• Google Play
• Microsoft
• TubiTV
• The Roku Channel

In the film, which blends Evil Dead and Memento, “The producer of Scream welcomes you to Camp Yellow Jacket, where camp counselor Adam must piece together how he survived a mysterious outbreak… and how he and his campers will survive the counselors that didn’t.”

The Hive is a smart and original new take on the summer camp premise, a unique experience that establishes David Yarovesky as a filmmaker worth keeping an eye on. He balances a couple different sub-genres, as well as humor along with horror and genuine sentimentality, mixing up a fun hybrid that mostly works pretty damn well. Be sure to give this one a watch.

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Written and directed by Jeff Kopas, The Hive stars Shenae Grimes-Beech from TV’s “90210”, alongside Kenneth Mitchell, Don Mckeller, and Gil Bellows.

“The Hive follows an estranged woman (Grimes-Beech) who returns to her family’s fly-in hunting lodge after a decade in order to assist her siblings with their dying father, only to find herself caught in a terrifying nightmare.”

“Director Jeff Kopas channels Roman Polanski in this riveting female psycho thriller,” said Carlos Rincon, Head of Acquisitions at Spotlight Pictures.

The Hive is produced by Jeff Kopas, Ryan Reaney, and Robert Budreau with executive producers Marina Cordoni and Doug Taylor, who also co-wrote. The film is in the final stages of post-production and is set to screen for buyers at AFM.

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“Personal Jesus” appears on MSI’s latest album Pink. Pick up the bundle via Merchnow.

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“The Hive tells the story of Adam, a teenage camp counselor who wakes inside a boarded up cabin, with absolutely no memory of who he is or where he is. The only clues as to who he is and what’s happening are messages Adam has scrawled for himself onto the walls and disturbing changes to his physiology. As he begins to piece together the events that led him to his strange imprisonment, he realizes that the only memories he does have are not his own, and they may be the key to his survival.”

The film, from producer Cary Granat (Scream) and directed by Dave Yarovesky, stars Gabriel Basso (Kings of Summer, Super 8), Kathryn Prescott (MTV’s Finding Carter, Skins), Jacob Zachar (Greek) and Gabrielle Mann (Vampire Diaries, Paranormal Activity: The Marked Ones).

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The ever-growing Nerdist Industries label has gotten into the distribution game with The Hive being their first effort, and it seemingly pushes all of the buttons that it knows its audience are fans of: zombies, lots of gore, an attractive cast, and a hook of a concept. Freshman director David Yarovesky’s film, which made a big splash at Comic-Con this year, throws you into a dank room with Adam Goldstein (Gabriel Basso)—of course he doesn’t remember what his name is, or anything else for that matter—as he tries to figure out what’s going on before a parasite completely takes over his body (in case the stakes weren’t already high enough).

It’s a bit of a rough start heading into The Hive, as we’re greeted to the all-too familiar set pieces in films of this nature of Adam going through his wallet, looking at photos, and slowly recalling his life in order to get himself out of this puzzle. The walls have been decked out to act as some sort of REMEMBER board, as notes like DON’T LET ANYONE IN NO MATTER WHAT and MONSTER are splayed across the place. Of course by the end of the film Adam has filled up every inch of these walls accordingly with memory vomit. The plot thickens as Adam discovers a number of terrible rashes on him that look like an exit wound mated with a Facehugger’s egg sac, as well as the corpse of someone who presumably was suffering from the same thing he is. There’s also a pretty prominent black light motif going on in the place too, just to crank up the visual weirdness factor a little more.

Through many of Adam’s flashbacks we witness his burgeoning relationship with Katie (Kathryn Prescott) and it’s a surprisingly charming courtship between the two of them. There are a number of sweet bonding moments between them (there’s a particularly cute one involving notes) that gives some actual weight and legitimacy to their relationship. It very much works in The Hive’s favor that there is a love story coursing underneath all of it, and that it even raises a rather strong treaty on the bonds of friendship. There are many moments where we see the insidious mentality of “the hive” parasite trying to rip apart this group of friends as literally a singular collective consciousness is put into competition with a body of individual minds to see who is stronger. If you squint really hard here you can see some poignant things being said about free will versus a mass-produced mentality.

I also appreciated that a film that largely seems to be marketed as a straight zombie flick is actually all about collective consciousness and the interconnectedness of all minds. It’s a welcome dimension to this sort of outbreak story that I haven’t seen explored before. Rather than just broaching the area, they really dig into the concept and get as bonkers with it as possible.

It’s kind of an exciting turn then when the film introduces the idea that Adam isn’t just regaining his memory, but in fact someone else’s as well. This is actually an interesting take on the material and a nice subversion to the usual way this sort of stuff tracks. You’re then getting presented with two narratives through all of this, the one that got Adam here in the first place, and the one that’s happening between Subject 14 and Dr. Baker, who were studying the virus beforehand. The collective telepathy that the virus provides acts as a solid means of exploring this idea, while keeping the structure of all of this relatively fresh.

In spite of the film starting at the “end” with Adam, it’s more of an in media res sort of situation than a full-on Memento riff. We still basically get to see Adam’s story play out sequentially leading up to the beginning of the movie, there’s just a lot more spliced in between to remix the narrative in a way that tries to be inventive. It gets points for the effort, and some of the construct helps and is aided by how it’s being told (it also stylistically makes sense, reflecting the state of Adam’s mind when the film begins), but I’m still not convinced it was absolutely necessary. Especially when as the film goes on you’re spending more and more time in these flashback sequences and less with Adam alone in the present. It’s like they wanted the set-up in order to give the film an interesting hook, but then once it’s established they increasingly run away from it. I had heard that the film stylistically doesn’t have any shots that are longer than ten seconds—a smart way of reflecting Adam’s fractured mental state and short-term memory—but if that is going on here it’s never noticeable, nor does it feel like a film that’s edited any differently than normal. In which case it might also be an example of more being less with this film.

In a similar sense, there’s much that The Hive fumbles that holds it back from achieving greatness. Much of Adam hollering to an empty room for answers feels tired and cliché as soon as it begins, and he certainly doesn’t stop there. The “wormhole” effect whenever Adam pieces together a memory feels wholly unnecessary and a visual trick that’s more awkward than connective. There are also plenty of clunky contrivances throughout the script, like Adam conveniently establishing that he has a phobia of being stuck in a room by himself (due to a traumatic experience getting lost in the woods when he was younger), and lo and behold, here he is trapped in his very worst fear on top of everything else. Katie also awkwardly mentions that her grandfather had Alzheimer’s in what’s meant to have a larger resonance in comparison to what’s going on with Adam and the virus now. It just feels obvious and shoehorned in with nothing really gained from it other than an unearned moment of shouting, “Oh my God!” over a false revelation.

The Hive however is at its strongest when it actually pulls away from the flashy carnage of the zombie idea and instead focuses on the science that got them there. There’s some truly brutal material here with brain surgery and experimentation that should get under your skin in the right way. The information that we’re presented about what the purpose of this virus is and how it’s trying to be controlled is really engaging material. I’d actually be interested in seeing a sequel—now that this baggage is all out of the way—pushing forward the story that Dr. Baker is dealing with, as opposed to focusing on the victims. There are some fascinating ideas there.

It takes some time to get to this stuff though, and The Hive definitely has a slow start to the scares (and there are some really painful moments in the first half hour, in particular). There are repeated moments of blowing out the soundtrack to build some sort of fear, but the effect is more annoying than frightening. It’s not really until the second half of the film that things really start to heat up, but it’s a satisfying second half and one that’s worth trudging through the weeds to arrive at. The film builds to a certain confidence and individuality (ironically enough) where all of this begins to gel together, even if it is just doing its best impression of The Exorcist and The Thing for the bulk of its second half. There are still some decent scares that are achieved though, with there being some very unsettling material once you see this virus fully take over Jessica (Gabrielle Walsh) and begin doing its work, or the wonderful set piece where Subject 14 counts down to Dr. Baker’s end. It also doesn’t hurt that the symbiote parasite that causes the virus doesn’t look that much unlike the black oil from The X-Files.

As the film expands on all of this and heads into its final act, there’s definitely a renewed energy and driving force behind it as we learn that Adam is momentarily in a fugue state of sorts with the virus, meaning he’s only got a limited time to put the rest of this together before his individuality is lost completely and he’s infected irreversibly. There are moments within The Hive that work very well, and it’s a promising first effort from director Yarovesky, but it ultimately ends up feeling half-baked in spite of it tackling on a deeper than usual story.

‘The Hive’ begins playing in select theaters September 14th.

The post [Review] ‘The Hive’ Dresses a Tired Concept Up in a Fancy Structure, But Still Falls Short appeared first on Bloody Disgusting!.

The indie flick gained attention at Fantastic Fest and will be in theaters nationwide for one-night screening event on September 14th, and available on digital platforms later this fall.

The colorful poster was conceived and painted by LA artist Van Saro. The artist’s graffiti work first appeared on the side of buildings in Vancouver in his native Canada when he was a teenager. Now working in LA and working in oil, Saro has adapted his street-art infused style to herald the coming of nightmarish terrors.

“The Hive tells the story of Adam, a teenage camp counselor who wakes inside a boarded up cabin, with absolutely no memory of who he is or where he is. The only clues as to who he is and what’s happening are messages Adam has scrawled for himself onto the walls and disturbing changes to his physiology. As he begins to piece together the events that led him to his strange imprisonment, he realizes that the only memories he does have are not his own, and they may be the key to his survival.”

The film, from producer Cary Granat (Scream) and directed by Dave Yarovesky, stars Gabriel Basso (Kings of Summer, Super 8), Kathryn Prescott (MTV’s Finding Carter, Skins), Jacob Zachar (Greek) and Gabrielle Mann (Vampire Diaries, Paranormal Activity: The Marked Ones).

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The film, which premiered at last year’s Fantastic Fest, stars Gabriel Basso as a counselor at Camp Yellow Jacket. The place has descended into chaos, and Adam wakes up in a boarded-up cabin with no memory of who or where he is. His only clues are the notes he’s scrawled for himself on the walls and the disturbing physical transformation he must overcome. And the only memories he has are not his own.

Kathryn Prescott, Jacob Zachar and Gabrielle Walsh co-star in The Hive, which Yarovesky wrote with Will Honley.

The company plans a fall release for The Hive in theaters and digital.

Check out the first look at the film below.

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In the film, “When veteran 911 operator, Jordan (Halle Berry), takes a life-altering call from a teenage girl (Abigail Breslin) who has just been abducted, she realizes that she must confront a killer from her past in order to save the girl’s life.” I also recently spent some time on set and you can read that report right here. Abigail Breslin, Justina Machado, Tara Platt, Evie Thompson, David Otunga, Michael Linstroth, Michael Eklund and Morris Chestnut also star in the film.

The Call is now rated “R.” Head inside for the interview!

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In The film, “ When veteran 911 operator, Jordan (Halle Berry), takes a life-altering call from a teenage girl (Abigail Breslin) who has just been abducted, she realizes that she must confront a killer from her past in order to save the girl’s life.”

Abigail Breslin, Justina Machado, Tara Platt, Evie Thompson, David Otunga, Michael Linstroth, Michael Eklund and Morris Chestnut also star in the flick directed by genre fav Brad Anderson (Session 9) and written by Richard D’Ovidio (Thir13en Ghosts) The Call will be released March 15th, 2013.

Head inside to check it out! You can take ‘The Call’ on March 15th!

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Abigail Breslin, Justina Machado, Tara Platt, Evie Thompson, David Otunga, Michael Linstroth, Michael Eklund and Morris Chestnut also star in the flick directed by genre fav Brad Anderson (Session 9) and written by Richard D’Ovidio (Thir13en Ghosts).

I recently spent some time on the film’s set in Thousand Oaks, CA – head inside for the report!

I drive into the parking lot of an unassuming corporate park in Thousand Oaks, CA. You know the kind of place I’m talking about. A lightly wooded area, adjacent to the suburbs, that houses tons of office buildings that all look alike. Sort of like Office Space actually.

I’m at the right address, I know that. But the building has so many entrances I’m sort of confused as to which one I should use. Eventually I’m like, “whatever. I’m sure this place has a lobby so I’m just going to walk in and figure it out. Nothing could possibly go wrong. Right?”

Wrong. I enter through the most wrong door possible and almost land on the set of the film! By “almost” I mean I emerge from the doorway only to stand under a piece of scaffolding on a narrow walkway that the cast and crew use when they don’t want to be in the shot. Oh, and I almost bump right into Halle Berry as I do so. Not in a “oh hey” way, either. No, I was one more emboldened and confused step from flat out knocking her down, which would be no way to begin things. As it is, she didn’t even notice, continued on her path and was all the better for it.

The set for The Call (which was still called The Hive when I visited) is massive. They’ve built an entire 911 call center floor in the middle of this anonymous looking office building. Dozens of call desks manned by supporting cast and background players are organized in its expanse. I’m not sure if all 911 call centers are this sleek, but the look is certainly cinematic. Huge widescreen TV’s play fake news reports while the performers recreate what I assume is the typically urgent milling about that goes on in these places.

I meet up with several of my fellow journalists and we are guided up to the building’s second floor. It’s an open-air lobby so we have a good vantage point to see the entire set from up there. The cameras have just started rolling on an important scene.

Halle Berry is seated at her desk when an urgent call comes in. If you’ve seen the film’s trailer you know just how urgent. Abigail Breslin’s character has been kidnapped by Michael Eklund and is calling from the inside of a car trunk. The camera dollies across the floor as Berry lays out some very specific instructions in regard to keeping calm and and trying to remain safe. It’s a little hard to make out every bit of dialogue from our perch above, but there’s no mistaking the sense of urgency here. They shoot the scene several times as director Brad Anderson guides Berry through the moment. It’s a longish take, well over a minute, and there’s a lot of lines. What’s remarkable is that Berry is able to nail incredibly fast and specific dialogue in take after take without a hitch. I get the feeling that Anderson has what he needs early on and that he continues filming because she’s on a roll and there’s a chance he might get something even better.

From there we head into a large cafeteria in the rear of the building for a chat with Michael Eklund, who plays serial killer “Michael Foster” in the film. Immediately after he sits down I’m sort of shocked at how mild mannered and reserved he is. I mean, is this the same guy that was so full of bluster in The Divide?

Eklund begins to, softly, open up about his character. “I guess you could call him the monster of the film. Though I don’t like to think of him as a monster. The conversation I had with Brad Anderson, it was important for both of us to portray the serial killer of the film as an average guy. Your ordinary Joe. Someone who could live next door to you. In most movies they portray the serial killers as monsters. Grisly, twitchy eyed freaks. In reality, these guys you just pass by on the street. You might bump into one in the grocery store and you don’t even know.”

There’s also an existing template for this guy in the real world. “I based Michael Foster on two serial killers. Well known guys. Richard Cottingham and Andrei Chikatilo, who were very interesting guys themselves. The common denominator between them and my character is that they were family men. They had wives and kids and a life outside of what they were doing.”

What’s the process like to get to that dark place? “Hmm. It’s an interesting process. Every movie is different but for myself I kind of use the method technique. A lot of substitution from real life. There’s a lot of my own personal stuff going on, obviously not the same [stuff] as Michael Foster. But there’s an addiction that he has [to killing]. Once you make the choice that your character is evil and bad then you’re going in the wrong direction because these guys don’t believe that they’re bad guys.”

Right after Eklund gets up screenwriter Richard D’Ovidio takes a seat and opens up about his inspiration for the film. “My wife was listening to an NPR segment and she heard an operator talking about her job and they played a bunch of calls. She brought it up at dinner and we were talking about how when you see one of these calls, you never get to see the other side of it. And they’re having to envision what’s going on with the people they’re talking to and that can send chills up your spine.”

It’s a movie about a call center, how do they make sure it’s not just static the whole time? “Every 10 pages you’ve got to take it in another direction.” As far as research goes, “Halle went down and hung out with the operators and we’ve actually got a few operators [onset] as well.”

D’Ovidio then went on to describe the real call center the film is based on. “The call center in Downtown LA, the windows are bullet proof. There’s a moat of water around the outside of the building so it can withstand an 8.5 earthquake. They have two backup generators. They tell everyone where to go so if they go down, the city is pretty much on hold.”

We also catch up with David Otunga, a WWE wrestler who is making his first feature appearance as Officer Devans in The Call. Otunga’s sort of a fascinating guy, and not just because of his successful transition from wrestling to film. Prior to his career in the WWE he was an attorney who graduated from Harvard Law. He practice in Chicago for about a year until he decided he wanted to be in entertainment, which I’m guessing is a fairly rare thing to successfully manifest. As he puts it, even though he’s in a Brad Anderson/Halle Berry movie, “if things don’t work out I can always go back to practicing law.”

After our interviews conclude we’re given a tour of the various car trunks that are used in the film, and they’re even more claustrophobic than you’d expect. Abigail Breslin has to spend a good chunk of the film in one of these, so you’d think they’d open it up a bit for comfort’s sake and then use a wide angle lens to tease out the tightness. But nope! They’re super small. And they back up the level of detail that I saw recreated onstage in the call center earlier.

If this attention to intensity and detail is present in other aspects of The Call, I suspect we may have a taut thriller on our hands on March 15th.

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In The film, “ When veteran 911 operator, Jordan (Halle Berry), takes a life-altering call from a teenage girl (Abigail Breslin) who has just been abducted, she realizes that she must confront a killer from her past in order to save the girl’s life.”

Abigail Breslin, Justina Machado, Tara Platt, Evie Thompson, David Otunga, Michael Linstroth, Michael Eklund and Morris Chestnut also star in the flick directed by genre fav Brad Anderson (Session 9) and written by Richard D’Ovidio (Thir13en Ghosts) The Call will be released March 15th, 2013. Check back for my set report next week and head inside for a better look at the pic!

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The newly released official synopsis reads thusly, “ When veteran 911 operator, Jordan (Halle Berry), takes a life-altering call from a teenage girl (Abigail Breslin) who has just been abducted, she realizes that she must confront a killer from her past in order to save the girl’s life.”

Abigail Breslin, Justina Machado, Tara Platt, Evie Thompson, David Otunga, Michael Linstroth, Michael Eklund and Morris Chestnut also star in the flick directed by genre fav Brad Anderson (Session 9) and written by Richard D’Ovidio (Thir13en Ghosts) The Call will be released March 15th, 2013. Check back for my set report next week and head inside for a better look at the pic!

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Well, Sony TriStar feels pretty good about their thriller The Hive as the Halle Berry starrer will now open in the March 15, 2013 slot as The Call.

Co-produced by WWE Films, the pic is set against the backdrop of a 911 emergency center, fast-paced suspense pic follows a 911 operator who must face her own fears in order to save a teenage girl from a serial killer.

Abigail Breslin, Justina Machado, Tara Platt, Evie Thompson, David Otunga, Michael Linstroth, Michael Eklund and Morris Chestnut also star in the flick directed by genre fav Brad Anderson (Session 9).

Here’s our full 2013 release schedule for Sony.

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Scriped by Rich D’Ovidio , “Set against the backdrop of a 911 emergency center, the fast-paced suspense pic follows a 911 operator who must face her own fears in order to save a teenage girl from a serial killer.”

Justina Machado, Tara Platt, Evie Thompson, David Otunga and Michael Linstroth all round out the indie cast. WWE recently came aboard to co-finance and produce alongside Troika Pictures.

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Scriped by Rich D’Ovidio , “Set against the backdrop of a 911 emergency center, the fast-paced suspense pic follows a 911 operator who must face her own fears in order to save a teenage girl from a serial killer.”

Tara Platt, Evie Thompson, David Otunga and Michael Linstroth all round out the indie cast. WWE recently came aboard to co-finance and produce alongside Troika Pictures.

Update: Halle Berry was rushed to the hospital on Tuesday after she suffered a minor head injury on set, says THR. The actress was shooting an action scene for the upcoming thriller The Hive in Los Angeles when she was injured, The Hollywood Reporter has confirmed. She was taken to the hospital and has since been released. “Halle Berry suffered a minor head injury while shooting a fight sequence on the set of her film,” Berry’s rep said. “She was taken to the hospital as a precaution, but she checked out healthy and was released. She’ll continue with production as planned.”

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The thriller, to be directed by Brad Anderson (Session 9, The Machinist, Transsiberian), was written by Rich D’Ovidio (Exit Wounds, Thir13en Ghosts) and based on a story by Rich D’Ovidio, Nicole D’Ovidio and Jon Bokencamp.

“In the film, an emergency call center operator (Berry) takes a call from a teenage girl (Breslin) who has been abducted and carried away in the trunk of a car. The kidnapping plays out in real time as Jordan and Casey work together to track down the killer.”

Principal photography is scheduled to begin July 6 in and around Los Angeles.

The Hive is being produced by Troika’s Michael Helfant, Robert Stein and Bradley Gallo, WWE Studios’ Michael Luisi and Jeff Graup. William Gallo, Philip M. Cohen and Chip Rosenbloom are executive producers.

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Per Variety “Abigail Breslin, the Oscar-nominated ‘Little Miss Sunshine’ star who just wrapped the crime drama ‘Perfect Sisters’, will continue to explore dark material, as she’s set to join Halle Berry in Troika Pictures’ thriller ‘The Hive’.”

In the film, “Set against the backdrop of a 911 call center, fast-paced suspense pic will find Berry playing a 911 emergency operator who must face her own fears in order to save a teenage girl from a disturbed killer.”

Rich D’Ovidio wrote the script, which is based on an original story by Nicole D’Ovidio, Jon Bokencamp and the scribe. Robert Stein and Michael Helfant will produce for Troika Pictures, whose Bradley Gallo will co-produce. Jeff Graup will also produce the pic, while Philip M. Cohen and William Gallo will exec produce.

Sony Pictures Worldwide Acquisitions has domestic rights, with foreign sales being handled by Sierra/Affinity. Production is skedded to start in late June in Los Angeles.

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While earlier this month it looked like Halle Berry was doomed to VOD with the release of the shark thriller Dark Tide, the Oscar-winning actress has joined another genre film that she’s been in talks for since October.

After the prolonged negotiation, Variety reports that X-Men star Berry is set to topline Troika Pictures’ thriller The Hive, which Brad Anderson will direct this summer.

“Set against the backdrop of a 911 call center, fast-paced suspense pic will find Berry playing a 911 emergency operator who must face her own fears in order to save a teenage girl from a disturbed killer.”

Rich D’Ovidio wrote the script, which is based on an original story by Nicole D’Ovidio, Jon Bokencamp and the scribe.

Robert Stein and Michael Helfant will produce for Troika Pictures, whose Bradley Gallo will co-produce. Jeff Graup will also produce the pic, while Philip M. Cohen and William Gallo will exec produce.

Sony Pictures Worldwide Acquisitions has domestic rights, with foreign sales being handled by Sierra/Affinity. Production is skedded to start in late June in Los Angeles.

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“Set against the backdrop of a 911 emergency center, fast-paced suspense pic follows a 911 operator who must face her own fears in order to save a teenage girl from a serial killer.”

Rich D’Ovidio (Exit Wounds) wrote the script, which initially had Halle Berry attached before she dropped out due to personal scheduling issues, though several top actresses have expressed interest in the part.

Said Anderson: “This script has two elements I always look for in a thriller — strong, believable female characters and a smart, very dark and very creepy story that will definitely resonate with large audiences.”

Production is skedded for late spring.

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CS is reporting that Joel Schumacher – hot off the heels of Trespass – has confirmed hopes of landing Halle Berry for the lead role in The Hive, his latest genre outing that centers on an emergency operator who must confront a killer from her past to save a young girl’s life. No other details were available.

Berry first entered the horror foray with Gothika for Warner Bros. back in 2003. It was her first role following her Oscar win. She can also be seen in the indie Dark Side alongside Olivier Martinez. John Stockwell directs the film that pits Berry against some vicious sharks.

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From a script by Rich D’Ovidio (who penned the Thir13en Ghosts redo for Dark Castle and Warners), the pic “centers on an emergency operator who must confront a killer from her past to save a young girl’s life.”

Schumacher is best known in the horror world as the director of the 1987 The Lost Boys, and most recently returned to the genre with the direct-to-video title Blood Creek. He also helmed the bizarre Batman sequels, Batman Forever and Batman & Robin, along with the totally badass 8MM.

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