Golem.AI (2025) - Horror Film Review

This past weekend I had bad insomnia, so while lying wide awake in bed around 03:00 on a Sunday morning, I decided I might as well make some use of my time and watch a horror for review. The Rebecca Wahls directed and Alec Seymour written Golem.AI is an indie found footage movie in the style of something like Unfriended or Host; the whole film playing out from the perspective of a PC monitor screen. The IMDB page classes it as a horror, while the press release leans more into it being a comedy horror. The question wasn't so much which of these it would feel more like, but rather, would this low budget horror be any good?

The plot takes place back in the time of Covid and nationwide lockdowns. Two former friends who had drifted apart are reunited online when studious Alec (Seymour) contacts the abrasive Dylan (Dylan Hares) to ask him if he wants to play some online video games together. They decide to play an old multiplayer FPS shooter that they used to love, but after the game fails to work on their new machines they give up on that idea. Unknowingly, trying to play the game has unleashed an unfolding night of terror for the pair, with both men seeing a shadowy figure in the background of the respective webcam footage they are looking at. Alec first assumes immature Dylan is playing a prank on him, chiding him for breaking lockdown rules for a silly joke. Slowly, both come to realise something sinister is at play, it appears they have woken up a digital ghost, who has decided to haunt the pair for a perceived past wrong they apparently committed. 

At 65 minutes, this thankfully didn't have much of a chance to outstay its welcome. Try as I might, I just couldn't work out if the film was meant to be purposely funny, or if that was an accident of its creation. From the moment Dylan appears on screen he was very irritating to watch. I don't know why he was given the direction, but from the moment he appears he is pulling weird gurning facial expressions for no reason at all. Even when he is the sole character on screen he is pulling these odd exaggerated expressions, something that was increasingly distracting for me. I didn't think either of the two core actors were amazing, with the duo occasionally struggling to carry the film. I liked some aspects of the characters, Dylan being a former man-child living in his mom's basement, is trying to leave that more toxic past behind, even if he is still living in a basement, albeit, somewhere else. At some point in the past, Alec came out as gay, Dylan of course ribs him for this, but makes a point not to be actually homophobic, especially defending when he is accused of having used gay slurs against his friend. Alec is the more serious of the two, his backstory being that he has recently split up with his live-in long term boyfriend. Alec and Dylan's shared history is them having once been toxic players on the lobbies of the old FPS they used to play.

The horror here failed completely for me, falling flat time and time again. There was a large amount of weak jump scare attempts that were signposted from miles away, leading to annoyance rather than scares. Not much variety of horror really happens either, with both characters freaking out far more than was required when sheets of printed Hebrew letters start appearing around their apartments. When the characters do come under attack, any injuries sustained take place off scene. The entity is represented by some weak VFX, maybe purposely so as this is a digital ghost, but made it not seem a part of the locations it was haunting. Then there was the entity's voice, so guttural and distorted that I couldn't really hear what it was saying very well. The actual idea for the evil was unique enough, and made for the part of Golem.AI that worked the best, earning an extra rotting head on my review's final score.

As a straight horror this failed, and as a comedic horror this also failed. It felt like the film could never decide if it wanted to be taken seriously or not. Not remotely scary and barely entertaining, but not boring enough that it helped me with my insomnia. Golen.AI had its UK digital debut on 12th October 2026.

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Wounds (2026) - Horror Film Review

Psychological horror film, Wounds was the first film watched for review this past weekend, and was a good start to my blogging time. Directed and co-written by Ron Krauss (Alien Hunter), this vaguely meta story featured some great looking makeup effects and prosthetics, though the same couldn't be said for some of the VFX.

Caleb (Jack Kilmer - Lords of Chaos) is a young SFX makeup artist who has been given the opportunity by his studio owning uncle - Jefferson Price (Eric Roberts - Heretics, Devil's Knight) to do the SFX on a low budget vampire horror film being made. Caleb is struggling with this, unable to achieve the realistic effects that he wishes for. Jefferson warns him that if the film is a failure, it could lead to the closure of the studio, and in turn, Caleb losing his home (he is living in a small apartment in the studio complex rent-free). Under pressure, he goes for a walk one evening and witnesses a man being stabbed to death. This event inspires Caleb, who returns home and recreates a throat slash that he had practised on the corpse of the stabbed man. This new effect of his is a hit with the studio, and he comes to realise that for each of the effects he is working on for the film, he is going to have to first act it out on an actual person. He becomes seen as an effects genius within the film crew, but the pressure of the job, and his gory extra circular activities start to weigh on the young man, having a negative effects such as hallucinating about his victims, and seeing blood everywhere he goes. It seems only a matter of time before Caleb's sanity leaves him completely.

The practical makeup effects and prosthetics here looked good on camera, both when used for the kill scenes, and when used as effects for the film within a film being created. The mix between these two parts was done by transitioning the real kills into the fake with some nifty use of editing to achieve this.
Caleb was a loner from the start, not the easiest protagonist to like, but his passion for horror came across well. Kilmer does an admirable job, towards the end I didn't feel his more unhinged performance worked as well as the earlier more measured one. Being obsessed with films, there were plenty of clips from iconic horror films shown as part of his research. It was fun to see Nightmare City, Night of the Living Dead, Scanners, and Videodrome among the classics being watched. Paris Jackson (Scream: The TV Series) plays Caleb's potential love interest, Ginny, with the boy becoming obsessed with her, adding another point of strain to his fracturing mind. I'm used to seeing the prolific Roberts in smaller roles in indie films, so it was nice to see him having a larger role for a change, here playing a character with the third most screen time, and someone who adds more pressure for Caleb by being so demanding of him.

As great as the practical effects were, this wasn't the case for the VFX work. This mostly comes into play during the hallucination sequences that sees room filling up with seas of blood. Something about these looked a bit off though, and didn't really look to fit into the sets as something that looked real - a shame when the practical effects did look so great. The kill scenes here were a lot better, and had some variation to them - throat slashes, a stake through an eye, a vicious hammer attack, and a lovely looking facial burn. A story like this needed to sell violence, and it worked.

For all its dark themes, Wounds remained entertaining, the somewhat implausible story stopped things from feeling too bleak. This was a love letter to the craft of making horror films. The film within a film sections were fun, such as the fake-start that begins the film. It was also neat that a whole bunch of clips from other horror films were shown. I liked the bait & switch ending which subtly subverted expectations, ending a decent horror on a suitably twisted point. Wounds had its world premiere on October 8th at Screamfest LA.

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Never Let Go (2024) - Horror Film Review

It was near when I stopped going to the cinema on a regular basis that I saw the trailer for horror film - Never Let Go. Directed by Alexandre Aja (Crawl, Horns) and written by KC Coughlin and Ryan Grassby, the film had an interesting premise, but also didn't do too much to not make it seem obvious where this was all heading.

Momma (Halle Berry - Catwoman, Gothika) lives in a remote and secluded woodland home with her young twin sons; Nolan (Percy Daggs IV) and Samuel (Anthony B. Jenkins - Stranger Things). As far as Momma is aware they are the last humans left alive, due to a demonic apocalypse that took place many years in the past - demons possessing  humanity and forcing them to kill their loved ones. Her parents had prepared for this calamity however, and had retreated to the woods where a special house was built, the very wood it was made up of was blessed to prevent the demons being able to enter it. By tying ropes to themselves (which in turn are tied to the foundations of the house), the three are able to venture out into the woods to scavenge for food and other supplies without the demons being able to touch them. After a harsh winter almost completely depletes their meagre supplies, the three begin to slowly starve. Nolan was already sceptical of his mother's claims of the outside world being so dangerous, and this event leads to him beginning to suspect more and more that her beliefs are wrong, and that they can't possibly be the only ones left alive.

A few years back I saw Shadows, that film had an extremely similar story of a mum and her two children living in a remote location believing the world had essentially ended (in that one it was believed that sunlight had became deadly). So similar was the feel that it took me a small while to get over the thought that I had already seen Never Let Go. If it hadn't been for that one, this would have felt more unique, but instead it goes through similar plot points, and the story plays out in much the same way. There was a tiny cast here, with mostly the three protagonists carrying the film forward. I admit to not having the best opinion of Berry, I think it comes from never having seen her in any decent films. At best was Gothika which was good, but not amazing.. Despite that I enjoyed her performance here. I was even more surprised that the two child actors were decent, they were enough that they could carry large chunks of the movie entirely on their young backs. I had expected Berry to be front and centre, but she is missing for large parts of the movie, especially in the film's second half. Nolan and Samuel may be twins but they are near polar opposites. Nolan is distrusting and suspicious of his mother's claims, while Samuel takes everything she says as gospel. From the start the film is set up to make it seem like Momma is crazy, after all, she is the only one out of the three who is able to see the possessed humans wandering the woods. There is a little effort to balance out this feeling, such as nightmare sequences the boys have, but by the last act it really seems clear as to the reality of their situation.

Set entirely in woodland this had charm to its look. I loved the design of the old house with its hand carved symbols and words everywhere. Such a dilapidated look to it that the place almost seemed like part of the woodland. The effects for the possessed humans were great, I especially liked the old woman with the forked tongue. These possessed could speak, but had the look of zombies to them, carrying the wounds that led to their original deaths. The soundtrack was passable but nothing special, with the exception of the old song that recurringly plays out on the family gramophone.

Never Let Go didn't blow me away, but it wasn't bad. I enjoyed it's story even if it was very familiar, and the acting was much better than it had any right to be. Not scary, and it was too obvious where this was going, but I never found myself clock watching at all during the 100 minute runtime. Never Let Go is currently streaming on Netflix, though is leaving the service on 13th October 2026.

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Erie (2026) - Horror Film Review

Not a sub-genre of horror I want to be watching all the time, but I do confess to a fondness for a found footage film every now and again, especially when they happen to be good. The Alison-Eve Hammersley directed and co-written found footage Erie (in her feature length directorial debut) has a lot going for it. The footage looked authentic and the central two leads were not at all bad. The only wrinkle in this was a late film decision that almost derailed the whole thing.

Beginning in a familiar way, you are treated to white text on a black background explaining that there had been a mysterious rise in suicides in the area of Pennsylvania, and that the following footage was recovered from two camcorder tapes that were found on one of these suicide victims. It is the 90s and siblings Stella (Carly Stewart) and Oscar (Grant Carter - EverythingNowShow) have returned to their hometown to investigate the out of nowhere suicide of their sister, Iris (Aimee Paxton) a year previously. Unhappy with the police investigation into the death, Stella has taken it upon herself to do her own investigation, hoping to both gets answers for her sister's death, while at the same time making a documentary that she hopes will assist with her aspirations of becoming a journalist. Her ace in the hole is that unknown to the police, she has the last moments of Iris caught on camera (something the film opens on), and that has given her clues she otherwise might not have known about. Her search leads the two first to the home of an odd man named Red (Markiplier lookalike Ryan W. Garcia - Helldivers II voicework), and then to the woods where Iris took her life.

The two tapes making up the found footage is presented as if unedited and in a cohesive forward path. It is presented in a old style square format, with a grainy look  that felt authentically nineties, and all characters and locations also look of the time, giving a nostalgic feel. To add to the illusion, there are snippets of footage that the pair have recorded over, such as childhood moments of the two, which creepily appear at key moments, as if the tape was encountering errors. Stella is mostly front and centre with Oscar filming her and the footage is shown as raw, multiple takes of Stella talking to the camera, and her brother's humorous teasing of her (such as purposely shooting her out of focus or shooting with objects obscuring her view) added a spark between the two. Classic brother and sister things that I could easily identify with. Stewart was great in her role, and while Carter had a more melodramatic and occasionally cheesy performance at times, was still also decent. Garcia was fantastic in his supporting role as Red, coming across as both amusingly as well as uncomfortably weird, with it feeling possible there might be more to him than meets the eye. The small cast helped things feel more real and insular, and the effective look footage really added a lot to the atmosphere.

Then there is an odd third act decision. With no fanfare, Erie suddenly stops being a found footage horror and transitions to a traditionally shot horror for its final 25 minutes, all pretence of being real footage abandoned with a more familiar widescreen look, and characters being filmed a out of film cameraman. This abrupt change took me by surprise, and it was a good ten minutes before I had gotten over this and was able to get back into the story being told. It felt a shame as it had been working out well as a found footage. I understand why this decision was made, with an actual explanation for everything being disclosed somewhere that wouldn't be seen on the in-film found tapes, but I found (footage) myself thinking about how these details could have naturally fitted into the core film style. After I had recovered from this change in direction, I did get back into the story, and came to like this final part. Even if large amounts of it were a character slowly hobbling through dark woodland. The explanation did feel a little silly at first, but I came to appreciate it and it did make for some genuinely unsettling moments, and the red herrings were appreciated.

The choice to blend found footage with normally created footage just about worked, though personally I would have preferred things had stuck to just the one format. Nonetheless, this was a good horror that had some horror filled moments. Erie had its world premiere at Beyond Fest on October 1st.

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The Flesh People (2026) - Comedy Horror Film Review

The final film watched for review this weekend was a real curveball. The Flesh People is an indie horror that featured some jet black humour. Written and directed by Keshav Srinivasan, it was a twisted modern day New York based version of the type of story that sees two oddballs existing together.

Ricky (Jorge Carrión Álvarez in his film debut) is an American immigrant who is in the country to get a medical degree. However, not long before film's start, he has been kicked out of medical school after three years due to getting caught stealing drugs. Needing a place to stay in New York, he has become the roommate of Geraldine (Louise Heller); a lady in the second half of her life, a former stage actress who lives in a rundown apartment in a poor part of the city. The disparate pair discover they have a similarity with the nihilistic outlook of life they share. Both are frauds in their professions, and both are prepared to go to extreme lengths in anything they attempt. Their friendship becomes very co-dependent the longer they spend together. This leads to increasingly deranged situations.

The film goes to some grim places, but never looses the black humour at any point. I liked this began with a present day section before the film then moves back in time to show how that (bloody) present came to be. The situations increasingly got more dark, following a natural path with its incremental nature. The odd friendship between the two leads is the core of the story, with the majority of the 105 minute film being based inside their lived-in apartment. Over wild drug trips, the pair come up with various plans to improve their finances. From performing back-street medical procedures, to selling meat from a questionable and gruesome source, there soon comes a police presence due to their illegal activities. By the end things have gotten all too crazy, leading to a suitably zany ending. The escalation was fun and the infrequent outdoor scenes were always lovely to see.

Make-up effects such as injuries sustained looked great on camera, with some scenes that had me feeling a little queasy. It was great to see the hallucinations of the characters during the drug trip scenes, the most pure horror part of the movie. There was a gradual body count as the film progresses, with some fun kill scenes that included parts where the camera follows the path of the murder weapon, these were pretty neat looking. The plot wasn't designed to be deep and involved or full of twists and turns. Instead it felt more like a claustrophobic gaze at these two lost characters who have just happened by unlucky fortune to come into each others lives. The characters go from situation to situation at a regular pace, which does lead to some of these situations sometimes feeling like a bunch of disconnected skits rather than a continually running story.

The Flesh People featured very well cast duel protagonists. I found some scenes a bit too gross for my liking, though this was an entertainingly depraved jet-black comedic odd-ball movie.

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Soul Snatchers (2026) - Horror Film Review

Religious thriller, Soul Snatchers keeps the supernatural element very close to its chest. So much so that at times I began to suspect that there wasn't even one actually there. This Julio Roman (Fuera de tinieblas) directed and co-written movie often felt more like a Biblical parable unfolding in present day, rather than a realistic story.

As children, Daniel and older brother, Saul witnessed their mother being kidnapped in broad daylight as she evangelised on a remote Puerto Rico based island. Now grown up, the two - Daniel (William Oliver) and Saul (Luis Sebastián Borges - Toxic Shark) have returned to this island alongside their evangelist father, Emmanuel (Cameron Arnett - Nefarious), to try and help the poor there with the power of Christianity and music. In their way however is the island's almost warlord like Mayor. The mayor rules the island with an iron fist, keeping law and order with his small army of enforcers. When their musical instruments are stolen, Daniel against his father's wishes, decides to ask the mayor for help. The help is given, but comes at a cost, with Daniel getting seduced by the power the mayor wields. As Daniel falls to temptation and leaves his family, Emmanuelle believes that love will bring him back home one day.

There was lots here to make this feel more like a fable than a real story. Daniel is the walking embodiment of gullible, all too quick to believe the outlandish lies of the comically evil mayor and his goons. Hot tempered and impatient, his fall to the 'dark side' was entertaining, even if it seemed to happen far too quickly. Along the way, he is asked to beat a defenceless man, gets spiked with a hallucinogenic drug, and too abuses the power he has been given. The mayor was fantastic, sadly, I didn't catch the actor's name, so can't credit him. He put on a wonderful performance, over the top, flamboyant and unpredictable, effortlessly stealing all his scenes. The mayor's spiritual opposite; Emmanuel was also a fun character, albeit in a different way. Full of the love of God, he was extremely peaceful and devout. He also is able to perform literal miracles with his belief in the Lord, early on the film he returns the sight to a blind boy purely from prayer! In a world where it appears God does exist, then too shall the demonic. A slight part of the movie, mostly insinuated than shown, but this part does culminate in a fun horror scene that I really wished more of Soul Snatchers had included.

This is a thriller rather than a horror, the focus on the division between the good and the bad guys. There were a few fight scenes and a couple of on-screen deaths, but these were few and far between. The fact the story had a fable type feel actually made me enjoy it more. Sometimes good and evil really can be plain black and white without any grey areas. Most impressive for the film were the gigantic cast, it felt like nearly every scene was populated with huge groups of background characters. Perhaps a little heavy handed with its message of love and forgiveness, but I was still rooting for the protagonists to win, even if the bad guys were so entertaining.

I liked Soul Snatchers more than I expected to. The mayor actor, Arnett, and Oliver were great in their roles, and the film world felt like a living place due to the abundance of people in the movie. Personally, I wish the horror element had been featured more, but I did enjoy a feel good ending for a change. Soul Snatchers had its digital UK premiere on 31st August thanks to Seven Tales.

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The Dead Don't Die (2019) - Comedy Horror Film Review

I've been in a zombie kind of mood more than usual these past few weeks, and so when a scheduled screener for a review didn't pan out, I decided to check out instead the Jim Jarmusch (Stranger Than Paradise) written and directed comedy zombie film; The Dead Don't Die. My decision to watch it was based more on hearing it was a bad and boring film then any high hopes, so I wanted to see if that was as boring as had been made out, especially when discovering it was stuffed to the brim with notable actors.

The world is in a bad place. Knocked off its axis, Earth is experiencing ever increasing natural disasters. Not that this is something that is bothering the residents of the small sleepy town of Centerville, who are too caught up in their small town dramas. That is until they get a disaster of their own, with the dead inexplicably returning to life and crawling out of their graves. With the town soon overrun, and events spiralling out of control, the local police force comprised of Chief Cliff Robertson (Bill Murray - Zombieland, Hamlet, Ghostbusters), Officer Ronnie Peterson (Adam Driver - Star Wars: Episode VII - IX), and Officer Mindy Morrison (Chloë Sevigny - Russian Doll, Antibirth), decide to head out on a routine patrol. Despite the overwhelming odds, the trio hope to bring law and order back to their town.

The Dead Don't Die may not be as dull as I was led to believe, but it wasn't without its issues. The comedy is quite dry, so much so that it took me about 45 minutes to realise that yes, this was supposed to be a comedy horror film. It is full of long empty scenes of characters chewing the fat, odd and meandering conversations that at times felt ad-libbed. Murray felt like he was bored in his central role, his character serious and calm, but he never stood out. Sevigny fared worse, a generic 'straight man' role that saw her character panicking and crying throughout the film as opposed to the unfazed duo of Murray and Driver's characters. Every time Mindy spoke it made the film that little bit worse. Driver really was the saving grace, his almost sociopathic pragmatic character took to the zombie apocalypse like a fish to water. I loved his role as Ronnie, and it was him arriving to a crime scene in a ridiculously small smart car that was the first moment here to make me smile. He was a constant delight with his dead cold outlook, and much humour was made of the viewer expecting him to finally react and show emotion, but that reaction never coming, even when he is slicing the head off of a recently killed potential love interest he is still all business. Away from him, the humour really is hit and miss, some parts are so bad as to be distracting. A prime example is late in the film when Cliff asks Ronnie why he has been so certain all along that they will fail to stop the outbreak. This leads to a weird fourth-wall breaking scene where Ronnie explains that he has read the film's script, and so knows how the story will end. This bizarre scene went on far too long, it felt tonally out of place, and it was a bad explanation for what had been a running joke with the character.

There were too many subplots going on, with the film following about seven different stories unfolding. In addition to the police patrol there were three teenage inmates at a juvenile detention centre that were seemingly the only inmates there. Their story was so uninteresting that I honestly can't even remember what the resolution of their part of the movie was. Then there is the off-putting strange Scottish mortician, Zelda Winston (Tilda Swinton - We Need to Talk About Kevin, Doctor Strange). She spends the film casually walking around town killing undead with a samurai sword while making painfully unfunny puns. The same applied to Hermit Bob (Tom Waits - Mystery Men), another character who spent the film visiting various locations. He acted as the in-movie narrator, always happening to be in the background of pivotal scenes to give more information to the viewer. Hermit Bob was totally pointless, adding nothing whatsoever to his scenes. At least the hardware store owner and his friend added a lovely traditional zombie siege story. Sure it was generic, but otherwise The Dead Don't Die would have been missing that trope of zombie films. Even more subplots come with racist farmer - Frank Miller (Steve Buscemi - Ghost World, Reservoir Dogs); another pointless one, and a trio of city folk stuck in the area while travelling through (including popstar Selena Gomez). There was just too much going on, when this should have been something more focussed on just a few storylines. Different subplots rarely intersected with one another and felt disjointed.
The backdrop of the world heading towards disaster was also odd. It seemed to only be there as an excuse why much of the film takes place during daytime, and why no ones mobile phones or radios worked.

It took half an hour for zombies to appear, and then it is just the two of them (including Ziggy Pop in a cameo). Roughly another 30 minutes later and this finally felt like a proper zombie film. There were finally plenty of scenes full of streets of stumbling undead. I was all there for the stereotypical scenes of people being attacked by the ghouls, my highlight of this. Special effects, especially make-up effects were great, and it was an interesting decision to have zombie leak black dust rather than blood when they take damage. More than a few exciting fight scenes against the zombies, and it was novel to have a zombie child make an appearance, still a rare thing for a zombie film to include.

There was potential with The Dead Don't Die, but it would have need a bit of work to transform this. It could have worked as a more serious and traditional zombie film, especially with so much humour falling flat in the current version. I would have also stripped out a lot of the needless subplots, to focus on the more essential ones. I don't get why this was so full of notable actors, it wasn't needed, especially when with the exception of Driver, none of these famous people stood out and did anything interesting. One actor cannot save a film, it was too patchy in its execution to be classed as a good film, but there were plenty of great, if stereotypical zombie scenes here. For me who loves generic zombie stuff, that was one part of the whole that really appealed. The Dead Don't Die is currently streaming on Disney+.

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Teenage Sex and Death at Camp Miasma (2026) - Comedy Horror Film Review

I had heard that the Jane Schoenbrun (We're All Going to the World's Fair) written and directed Teenage Sex and Death at Camp Miasma was a dark comedic horror and that it starred Gillian Anderson (The X-Files). That was the extent of my knowledge of this movie heading to the cinema with my best friend to watch it. There was humour, it was suitably dark, and it did star Anderson, but the movie used the concept of horror films to tell its dark romantic story, rather than the horror be the focus.

Hannah Einbinder (Hacks) stars as Kris; a gay up and coming film director who has been given the chance to revitalise a long running slasher film series called - 'Camp Miasma'. The film's trans villain - Little Death (Jack Haven) is seen as problematic for a modern audience, and so the film has been given to Kris, hoping that a gay director will appease critics of the film. Being a huge fan of the original entry, with one particular scene being pivotal to her gay awakening as a child, Kris has decided to track down the film's original final girl, Billy (Anderson), an actress who since that role has became very reclusive. Kris plans to travel to Billy's remote property and try and convince her to come back to the series for a role in the latest entry. Arriving, she is surprised to see that Billy lives at the same location that the first Camp Miasma was filmed at. Kris becomes entranced with the mysterious and strange Billy, and as the days of her visit pass, she becomes more and more taken with the former actress. Also going on in the background - Camp Miasma's slasher; Little Death, might exist in the real world, and might be looking to kill.

I had imagined that this would be a slasher that took place in a meta-way, much as what happened with The Final Girls. It was slightly similar here, though with characters not falling into a horror film (though there is a bit of that), but in a hallucinogenic way falling into the creation of a horror film. Peppered throughout the main movie are scenes from the film within a film - Camp Miasma. It had a filter to give a suitably seventies look, but the directing was pure modern day on how it was shot, and kills were shown in an artsy and stylish way. I enjoyed these film clips, and they integrated into the real story in very purposeful ways. Much of the horror here was from the clips of the film, and so lose any power due to knowing it wasn't real. That isn't to take away from the pleasure of the very violent kills. Little Death is a diminutive white overall wearing trans-person who wears a metal box on their head, and wields a huge spear. During the many lovely looking kill scenes, he tears limbs and heads off of victims, as stylised fountains of over the top red gore spurting out the bodies. These scenes were great fun to watch, the highlight being a protracted massacre scene that focuses the camera directly on Little Death, swinging away as he slashes his way through a room.

The film had a trippy vibe, with the real world blending with the fake. Exterior locations often use obvious painted backgrounds, and characters from the film are encountered in the real world, making for some surreal moments. Unexpectedly, the core of the story is a lesbian love story, with Kris discovering a sexual awakening. It included long (non-graphic) sex scenes of the two leads, which included some nudity. Horror films were key to the plot, but not really the point of the film, being there more as an allegory for desire. Kill scenes are done in a way that aren't designed to create fear, and the protagonists never felt like they were in any threat The humour here isn't a constant, but there were moments that made me laugh out loud, with Dylan Baker (Immortal, Fido) shining in a tiny role as someone Kris is speaking to on a Zoom call - the comedic highlight of the film that had the audience laughing.

Teenage Sex and Death at Camp Miasma was a good film even if it never felt like it was too much for me. This isn't a slasher, not even a meta-one, and that is perfectly fine, it never said it was. Instead, its a dark gay romantic arty story of self discovery, that nonetheless includes plenty of references to classic slasher films, with everything from Friday the 13th, Halloween, Sleepaway Camp and A Nightmare on Elm Street brought up at one point or another. Just be prepared for some weirdness along the way.

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Bad Karaoke (2026) - Comedy Horror Film Review

Bad Karaoke is a comedy horror co-directed and co-written by Chris Lightbody, with Robert J. Steinmiller Jr also directing. The film is the directorial debut of both men, and with its story about a cursed karaoke machine resonating with me, I was eager to see if this bloody horror with its musical numbers, could possibly live up to its potential?

A cover-band made up of Emily (Lexi Underwood), Noah (Case Walker - The Other Two), singer Hannah (Kat Cunning), and drummer Logan (Kevin Clayette - Neighbours) have headed to a remote AirBnB alongside Hannah's girlfriend, Ava (Jenna Karan - Goon of the Lagoon) and Logan's best friend, Matt (Jonathan Jason Green - 13th Sign). They have a wedding gig the next day, but this evening they plan to party with lots of drugs and alcohol. Enroute to the place they are staying, they visit a local bar, where Melissa is gifted an old karaoke machine which the barman seems all too eager to be rid of. He was eager for them to take it as the machine had been linked to a horrifying incident, and now is cursed. When the friends turn it on in the evening, they fall into a deadly karaoke session where the punishment for a bad performance is a gory supernatural death. The only way for any of the friends to survive the night is to put on the performance of a literal lifetime.

Comedy in horror can always be something tough to get right, thankfully the comedy on offer here mostly lands well more often than not. Dialogue between the characters was witty and the central threat was dumb enough that it was hard to take it too seriously. Emily and Noah are set-up to have unsaid feelings for each others, but this wasn't a source of much tension, with the whole group of friends getting on surprisingly well. Outside of farcical moments such as Mark deciding to cook some food in the midst of all the unfolding terror, there isn't really much conflict to be found here, something that helped with the film's non-straight faced vibe.

In an inspired move, each of the death scenes here is prefaced by a musical number featuring the next potential victim, almost turning Bad Karaoke into a musical horror. Each subsequent song seemed to have more effort and heart put onto it, with singing broken up by music video-lite moments of characters transported to different locations while they sing. Reasonably early on, the machine is believed destroyed, but its power means that any electronic screen it can carry on its session with, its program appearing on phone and car screens. One amusing example was a character sat on a toilet, who is suddenly forced to perform, as his friends offer support from the other side of the locked toilet door. Kills are very bloody, there is no shortage of gore here, with the central location splattered all over in blood. The deaths are supernaturally caused and did look quite cartoonish with the use of CG to do things such as swell up one victims head before it pops. The kills were very hit and miss with how they looked, it is easy to dismiss the silly looking artificial kills as part of the comedy horror, but I feel this was the weakest part of the movie regardless. The plot was basic, but I appreciated the flashback sequence that completely explains how the machine came to be cursed; it all leads to a fun and surprisingly heartfelt finale.

Bad Karaoke is of course a silly concept, and it means that this always feels more comedic than horror filled. Both are combined so strongly that neither overshadows the other. Stupid, but entertaining, there might be some dodgy CG special effects here, but I had a good time with it. Bad Karaoke had its world premiere at FrightFest on August 30th.

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Tenebris (2026) - Horror Film Review

Tenebris (Latin for 'darkness') is a found footage thriller that attempts to show a story solely from the perspective of a doorbell camera. Co-directed and co-written by Miguel James and Ricky Martinez, this is their feature length debut for both, if you count a 50 minute movie as feature length. The low budget indie thriller had a solid central idea, but could it stick to that constraint for the duration?

Tito Medrano stars as Andy; the world's most dullest man, who decides after a messy break-up to return to his mother's town to sort through her belongings after she dies. He moves into a non-descript suburban home, where unknown to him, 13 months previously the former tenant vanished in quite suspicious circumstances. When Andy learns that a teenage boy had been stabbed to death in the area, and that this boy had actually knocked at his door seeking help, but Andy hadn't heard him, he decides to turn into a neighbourhood vigilante. In addition to his doorbell camera, he sets up a second camera in his back yard, as well as placing cameras throughout his home (for some reason). With these, Andy hopes to capture footage of the unknown killer (Martinez), so that he can then pass this onto the police.

The idea of a story shown exclusively from a doorbell camera is not a completely new one. In fact, British dark comedy horror anthology TV series Inside No.9 had already done this with it's season 9 episode 'Mulberry Close', an episode that was a better use of the idea than what was done with it here. This starts off interesting enough. The film primarily show the street outside Andy's home, with footage edited so that only things of note are appearing on camera. In the early part, there did seem to be some misdirection, with multiple scenes of nothing happening at all, but it all followed a day and night cycle that was easy to parse. Scenes of nothing in particular happening I figured where to flesh out the short film, and to add more weight to the world. So when an apparently grinning boy runs up to Andy's house, rings the doorbell and then runs off, I honestly figured this was a comedic interlude, just adding some life to the neighbourhood by having a child play 'cherry door knocking'. Not appreciated was that this teenager becomes the motivation for Andy moving forward, with his grin more like a grimace of fear (unfortunately not reflected in the used footage). Knowing he could have saved the boy, this propels dullard Andy into action. I briefly had a thought that Tenebris might be a slasher film, with the killer only appearing whenever he chases victims past Andy's home. That would have been cool, but wasn't the case.
It is around this point that Tenebris makes the cardinal sin of removing the one thing that made it stand out. For reasons unknown, Andy has such 'main character' energy that he decides to put cameras all around his home interior. The monotone man so sure of his own importance that he must assume at some point the killer will be inside his residence. From here, the film becomes very generic and familiar, the story moved from outside to inside, and feeling very stale, even finding space to include a night vision scene. The core novel thing about this film was the doorbell camera, so to nearly entirely remove this from the film's back half was a serious misstep.

It never helped that the protagonist had all the charisma of a sack of potatoes. Mostly we see him talking on the phone, where he speaks emotionlessly about the issues in his life. He shows little more zest for life when he decides to start making video diaries of his snooping. The personality vacuum sucked all energy out of the film, but he was in good company. Acting throughout felt a bit off, with Andy often seeming like his lines were being read from a sheet of paper in front of him. Sole highlight was the comically creepy next-door neighbour. A joy each time he appeared on screen with his refrain of telling Andy he is lonely and that they should meet-up. As for the antagonist, I had hoped for something supernatural or at least scary, instead we get a pint-sized normal looking guy whose identity I immediately clocked. His outfit of hooded coat and goggles looked goofy, and zero intimidation factor from him. By the time the killer, Andy, and another character are having a very slow paced, poorly choreographed fight, I was done with this, the battle giving the impression of a playfight on a playground.

Tenebris was frustrating as it clearly had potential, but seemed to lack the courage to stick to its most unique idea. I never understood why halfway through this became something so much more generic. Suspect acting, a wafer thin story, and a general lack of fresh ideas did not make for a compelling found footage thriller. Tenebris came to horror streaming platform BloodStream on August 18th.

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A Cold Season (2026) - Horror Film Review

A Cold Season is an indie horror that has one toe dipped into the darkly comedic. Written and directed by Christian Jude Grillo (Neighbor, Intruder), this psychological thriller falls neatly into the Christmas sub-genre. Mixing that thriller with elements of a slasher, the film is shown from the viewpoint of an unreliable narrator, and attempts a mid-film rug pull that puts into question everything that has came before.

Starting in medias res, the film opens on Jacob (Andrew Hunsicker - Epidemic, The Listing) being interviewed in what appears to be a police station on the first of January 2027. Asked to provide an explanation for what events led him to be in this situation, the majority of the film then works as a flashback, taking place over several weeks during the Christmas period. During this time, the grumpy  loner is carrying on as normal, though that normal includes murder as it seems that he is secretly racking up a small body count. The flashback starts with Jacob looking down on a frozen corpse before kicking snow over it, and in addition, he seems to be carrying another corpse wrapped in a blanket in the back of his truck. All of this without context for what has happened. His motivations may be unclear, but as the days pass and he begins to get more reckless with his choice of victims, it seems that capture for him is certain.

I had the vaguest sense of American Psycho watching this, an ever present feel that what was being shown might not be completely accurate. The audacious actions of the anti-hero protagonist  made it feel like there was no way he could have been getting away with things like he was. Jacob is the centre of this thriller, so much so that the film sticks with him the entire 80 minute runtime, everything shown from his perspective, the only cutaways being to sensationalised news reports that are often shown playing while Jacob dozes on his sofa. The character is not a good person, but he wasn't completely unlikeable. Gruff, sullen and a definite loner, he fits the small town snowy locale well, without sticking out as someone different. His interactions with elderly neighbour, Julie (Clair O'Neil - Human Hibachi 2) show his altruistic side, and he even has a half decent relationship with his son. In a film like this you would expect him to be estranged, maybe as a reason for his bitterness, but it is just a large distance that separates them. A lot of the dark humour came from the juxtaposition of light and dark, such as the recurring jovial Christmas ditties that play as Jacob drives around with a body on the back of his truck. The most surreal part of A Cold Season has Jacob hallucinating a shades wearing Santa (also played by Hunsicker), a character who pops up a few times playfully chiding the killer for how sloppy he is becoming with his choice of victims.
There never seemed a decent explanation for why he was killing. A messy breakup lives rent-free in his head, maybe being a catalyst for Jacob's misery, but you are just led to believe that the man is just crazy. To be fair, a big twist at the end of the second act explains away some of this. The third act taking place after the initial police interrogation scene was a big departure in vibe, interesting direction to go in for sure, but it wasn't a smooth fit, feeling different in tone, likely on purpose.

Not the most action filled movie, there are still a couple of kills that take place on screen, and are suitably Christmas themed. Without many special effects, and with little to no blood shown, visually this was a little tame, but kills did look good, such as one that takes place lit by the flashing lights of a police car. The snow and feel of it being winter (this was literally filmed in freezing temperatures on isolated mountain locations) worked with the story of isolation and grief that Jacob carries with him.

A Cold Season was an enjoyable indie thriller, though one that could have fused its two disparate sections together more neatly. Jacob made for a protagonist who was hard to identify with, always an element of mystery that kept the viewer at a distance from understanding just what makes him tick. With much of the film on his shoulders, Hunsicker does a compelling performance, long scenes of him alone never resulting in the plot stalling, instead this is like a window into Jacob's troubled mind. A Cold Season releases domestically in the US on November 10th 2026 via MVD Entertainment Group.

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Carry the Darkness (2025) - Horror Film Review

Written and directed by Douglas Forrester in his feature length directorial and writing debut, Carry the Darkness encapsulates a nostalgic time for me, I look back on the 1990s fondly, so a horror set in 1993 appealed, even if by dealing with the issues of moral panics in America (in this case the real-life Satanic panic), it wasn't one whose coming of age story resonated with me. Adding to this small town horror of a social outcast are elements of the supernatural, though these never dominated the film, maybe to the film's discredit?

Travis (Joel Meyers - Harry Potter and the Cursed Child Broadway stage play) is an angst ridden teenager, who plays up the role of the rebellious teen outsider that the townsfolk have painted him as. Bitter at life in general, him and his unexpected best friend, the studious Jordan (Jaden Gant), spend their free time looking for ways to get high; as a means to escape from the insular community they are a part of. While exploring an abandoned building out in the woods (looking for a new place to hang-out when taking drugs), Travis discovers a strange room that feels like it shouldn't be there. While there, he encounters a doppelganger of himself, who promises with a corrupted voice that he can give Travis the power to right the perceived wrong he feels he has been dealt in life. When he decides that he doesn't want the assistance of this being, it turns its attention to his new friend, and potential love interest; troubled Stacey (Helen Laser -  In Sound Mind video game voicework), seeing that she would be more open to its sinister offer.

Did I enjoy Carry the Darkness? Yes I did, even with a somewhat pathetic protagonist. He was fun to watch; sure he is a walking parody of an angsty teen, complete with long black coat, Satanic T-shirts and his brooding persona, but he wasn't entirely unlikeable. There was something of the poser to him, hiding his fear of not knowing his place in the world by acting like the ultimate rebel. This became a little bit endearing, with the sense that he is a good person under this act. He treats his best friend well, and despite arguments with his mother he still is shown to respect her, and the people he does act out against deserve it in one way or another. What Travis, Jordan and Stacey have in common is that their teenage characters are played by actors obviously a little older than teens. Meyers covers this up with his wild eyed stares and jittery movements, making Travis seem like a fabricated character rather than a believable one, or at least one who has drank far too much coffee.

Splitting the story, there is also a subplot about the local law enforcement investigating a series of strange murders in the area, with them eager to place the blame at Travis' feet without having proof. In this part, Hollis Fox plays the Fox Mulder coded Detective Jillian Carter; the sole responsible adult to suspect a more supernatural explanation for what is going on.

Those supernatural elements are not heavy, relegated to key scenes. This led to feelings that not much was really going on horror-wise, two thirds drama, one third horror. Scenes with the doppelganger looked great, fitting into the dark and grimy locations it resided at. This being didn't really do much more than talk, and was used sparingly. The core story felt far more coming of age. Travis having recently experienced the freedom of being able to drive his mother's car, finding a love interest in the equally angst filled Stacey (who comes across as a more authentic rebel), and recurring encounters with the high school jocks who are not his biggest fans. The supernatural story is left to the viewer to decipher and felt a little ill-developed, suggestions the being returns in IT fashion every 30 years, and that it lives in a type of dimension made up of the subconscious memories of its victims, but never really explained. Then, as effective as the ending felt, I can't say I completely knew what was happening during it.

Carry the Darkness leans heavily into its early 90s setting, and having the story set to the backdrop of a moral panic (that is reflected in interviews and on screen news stories), brought things together well. I would have liked for the horror part of the movie to be more front and centre. As key as it undeniably was, I was always left wanting more than what was shown. Carry the Darkness came to horror streaming platform BloodStream on August 14th, which is to be followed by a multi-platform rollout from The Horror Collective.

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Silent Night, Deadly Night (2025) - Horror Film Review

I had heard there was a remake of cult classic eighties Christmas horror; Silent Night, Deadly Night, but I can't say I had been in any rush to check it out. I did enjoy the original, even if it was a bit of a strange movie, and the anti-hero protagonist was a bit of an oddball. It turns out that rather than a straight remake, this new Mike P. Nelson (Wrong Turn) directed and co-written version of Silent Night, Deadly Night is a reimagining. Would this be garbage, or is garbage day to be found elsewhere?

As a young child, Billy witnessed his parents be viciously murdered by a maniac wearing a Santa outfit (Mark Acheson - 1922), who ends up killed in the process. Now grown up, the young man (Rohan Campbell - Halloween Ends) has some troubling quirks. Whenever Billy wears a Santa outfit he gets an intense urge to kill, and he also has a voice in his head (also Acheson) that constantly tells him to punish bad people. This is no twisted trauma born of his experience as a child, instead it is something more supernatural. The voice is able to accurately identify evil people just by Billy looking at them. Each Christmas period, Billy is compelled to kill one person every day over advent, with the voice stating this will prevent innocents being killed in their place. Always on the move, Billy arrives in a new town where he gets a job at a toy store. It is here he falls for his colleague, and daughter of the store owner; Pamela (Ruby Modine - Happy Death Day 2U, Happy Death Day). His feelings for the girl have him pondering if maybe he could somehow give up his bloody life crusade, but may be powerless for that to happen.

I have to admit, even after hearing this reimagining was a pretty good horror I was still sceptical. The changes made here were really all for the better, at least at making the anti-hero protagonist less weird, and with motivations slightly more understandable. There was scope for the voice in Billy's head to be misleading the boy, tricking him into killing innocents, but time and time again that is shown not to be the case.  Delphine (Sharon Bajer - Orphan: First Kill) is a case in point. It seems she is just a typical 'Karen' rather than anything more sinister, then later revealed she is the cartoonishly evil leader of a group of Nazis! That part made for a fun mid-film massacre sequence that was over the top and deliriously entertaining. Some touches to the style of the movie channelled Quinten Tarantino, with title cards introducing each new target of Billy's, leading to a small montage of red tinted images of the villain in close up. I liked how relatively normal Billy was. I may have detested Halloween Ends, and the character Campbell played in it, but it wasn't his fault that film was so badly written, here, he fits an almost identical role much better. Modine was also great as Pamela, a character with a violent streak towards injustice that had her as almost a counterpart to Billy, she had a great scene at an ice rink.
By having the victims of Billy be genuinely bad people, and with the voice in his head so sincere and fatherly, he became an anti-hero I was rooting for. This diverges from the original, introducing a subplot about missing children that later becomes more important.

There are many many kills and all featured lovely looking practical effects. You get decapitations, severed limbs, axes embedded in heads, and even a disembowelment. Many of the iconic kills from the original are replicated here, albeit in different context, and mostly in the form of a montage sequence showing Billy's past kills. I did love the practical effects, even if occasionally the victim being attacked did have the look of a dummy to them.

I was very pleased with Silent Night, Deadly Night, and wasn't prepared for how much I was into this by the time the end credits roll. It isn't a film that takes itself too seriously, or abides by real life rules too much (how on Earth was Billy getting away with all these ill-prepared murders over the years without being caught?). Still, by the end, I was almost leaping off my chair in excitement at what was going on, even if it were hardly surprising. In this reimagining there is no younger brother, there is no mindless rampage, and the inclusion of the supernatural made this feel like a different film. Sure, you might need to switch your brain off somewhat, but this was a surprisingly entertaining Christmas slasher. Silent Night, Deadly Night is currently streaming on Netflix.

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