Christopher James 10/8/25 Christopher James 10/8/25

(FANTASTIC FEST) The Supernatural Watches From The Shadows With “SHELBY OAKS” (2025)

Every year, Fantastic Fest drops a few titles that make me grateful for the sleepless nights, the caffeine-fueled rewatches, and the long hours spent covering movie remotely from my dark little corner of horror journalism. One of the movies that added an extra dose of fear to my week was Chris Stuckmann’s “Shelby Oaks.” I was lucky enough to catch it while covering Fantastic Fest from afar, and even through the screen, the experience felt like being dragged into a waking nightmare. By the time the credits rolled, I was sitting in a pool of goosebumps, wondering when exactly the line between fiction and reality had dissolved right in front of me.

THE BREAKDOWN:

“Shelby Oaks” begins like the kind of slow-burn true crime documentary you might scroll past on a quiet evening. One that when you try to go to bed after, you find yourself wide awake, heart pounding, and checking your door locks by the halfway point. What makes it so unnervingly effective is that it wants you to think you know what you’re watching. You settle in for what looks like a cleverly constructed mockumentary. The ascetic of the grainy footage, the missing-person narrative, the eerily believable talking heads. Then out of nowhere with precision worthy of a magician, Stuckmann pulls the rug out from under you. What starts as a true crime investigation soon mutates into a supernatural horror film that will have you clenching your couch cushions in sheer terror.

At the heart of “Shelby Oaks” is Mia (Camille Sullivan), a woman spiraling into obsession over the disappearance of her sister, Riley (Sarah Durn), who once ran a YouTube channel called The Paranormal Paranoids. Years ago, Riley and her team vanished while investigating their local abandoned amusement park. From the opening frames, the movie plays like a found footage mystery wrapped in a documentary format. There’s a grounded, almost journalistic tone to it. It is so convincing that for the first twenty minutes, you might actually forget you’re watching a scripted film. Stuckmann, making his feature directorial debut, nails the authenticity. Every shaky frame, every awkward pause in an interview, every outdated VHS clip feels unsettlingly real.

Then something shifts (subtly at first). Mia’s interviews grow more erratic, the sound design starts to hum with unease, and the footage begins to feel haunted. Not by ghosts, but by guilt, grief, and something darker waiting just out of sight. By a certain point before the title screen, “Shelby Oaks” has transformed. The documentary facade crumbles, and what replaces it is a descent into supernatural horror so tense and claustrophobic it feels like the walls themselves are closing in.

The brilliance of “Shelby Oaks” is in that seamless transition. I very much enjoyed the way it uses the trust we give documentaries to make us more vulnerable to fear. Stuckmann doesn’t treat found footage and traditional narrative as competing forms. Instead, he fuses them together until you can’t tell where one ends and the other begins. It’s like watching “The Blair Witch Project” slowly evolve into “The Conjuring” without losing its indie soul. That hybrid style not only revitalizes both sub-genres, but it also gives the movie a psychological depth that lingers long after the final frame.

Camille Sullivan is extraordinary as Mia. Her performance anchors the entire movie, bringing emotional realism to an increasingly surreal story. She embodies obsession in all its messy, self-destructive forms. She is desperate, paranoid, and heartbreakingly human. As her reality unravels, so does ours. Brendan Sexton III and Michael Beach add strong support, grounding the movie with performances that make the story feel painfully believable. There’s no camp, no wink to the audience. Everyone plays it straight, and that sincerity is what gives “Shelby Oaks” its power.

Visually, Stuckmann’s assured storytelling and tight direction announce him as a new force in genre filmmaking. The cinematography walks a razor’s edge between polished and chaotic, using darkness not as a gimmick but as a canvas. The camera lingers in corners a little too long, dares you to keep looking, and weaponizes silence with unnerving confidence. The movie doesn’t chase cheap jump scares; it builds dread through tension, texture, and imagination. When the supernatural does strike, it’s with such conviction that it feels like a logical but horrifying. It leaves the conclusion to the psychological buildup well with how the scares are executed.

Adding to its mystique is the movies’s backstory. “Shelby Oaks” isn’t just another horror release; it’s the most-funded horror movie in Kickstarter history, boasting over 4,500 backers and the support of executive producer Mike Flanagan (“Doctor Sleep,” “Midnight Mass”). That independent spirit radiates through every frame. You can feel the creative freedom, the refusal to conform to studio expectations, and that’s exactly what makes it so refreshing. This is horror made by someone who loves the genre, understands its psychology, and knows that the best scares come from emotion, not spectacle.

The overall tone of the movie is a haunting cocktail of grief and fear. It’s about the ghosts we create through obsession, and how chasing answers can sometimes open doors we were never meant to find, but also what may lurk in the shadows or come back to provide haunts from the past. The concept of belief as a summoning power and the idea that the imaginary can become real if we feed it enough fear is what gives “Shelby Oaks” an existential edge. It’s a story that doesn’t just scare you; it examines why we’re drawn to being scared in the first place.

Despite its emotional depth and slow-burn atmosphere, this movie still delivers pure, pulse-pounding terror. Stuckmann’s handling of the supernatural is masterfully restrained. So much so in fact that the horror isn’t shown so much as it’s felt. The third act is a whirlwind of disorientation and dread, the kind that has you questioning whether what you’re seeing is real or a manifestation of shared hysteria. It’s deeply unsettling, deeply effective, and deeply satisfying.

By the time the credits roll, “Shelby Oaks” has done something remarkable: it’s reinvented what a hybrid horror film can be. It’s not just found footage or narrative; it’s a fully realized fusion that blurs boundaries and heightens emotion. Stuckmann’s debut is confident, chilling, and hauntingly mature, showing that the arrival of a filmmaker who doesn’t just know horror but speaks its language fluently.

When Altitude releases “Shelby Oaks” in UK and Irish cinemas October 29th. Audiences are in for something special. It’s a movie that crawls under your skin, takes root in your brain, and whispers to you long after you’ve turned off the lights. For a debut feature, it’s shockingly polished. For horror fans, it’s a revelation.

So yes, catching “Shelby Oaks” remotely for Fantastic Fest may not have had the communal thrill of an in-person screening, but when the shadows in my living room started to look a little too deep or I heard a slight tap on my window, I realized that watching it alone was the perfect way to do so with the lights off and every creak in my house making me wonder what may be peaking around the corner.

Whether it’s slashers in the woods, ghosts in the attic, or killers in the cornfield, ILHM Reviews brings you the frightful horror flick recommendations worth watching. Follow us on Instagram, be sure to listen to the the "I Love Horror" podcast and remember that if you’re a true fan of horror, every night can be a FRIGHT NIGHT!

Christopher James 10/3/25 Christopher James 10/3/25

EXCLUSIVE: TERROR FILMS RELEASING Shares New Clip For “GRAVEYARD SHARK” (2025)

Terror Films Releasing has shared an exclusive clip with I Love Horror from their new horror comedy “Graveyard Shark”. The movies seems to be a wild, gory, and full of twisted humor. Directed by Matthew A. Peters, “Graveyard Shark” takes the shark movie out of the ocean and into the graveyard, proving that nowhere is safe from a good bite.

Originally self-released in late 2024, “Graveyard Shark” found new life after teaming up with Terror Films Releasing. The company is known for discovering unique indie horror and giving it the audience it deserves. With “Graveyard Shark”, they have found something wonderfully strange. The movie will blend haunted graveyard chills with outrageous creature-feature energy, offering fans the perfect mix of horror and laughs.

WHAT TO EXPECT:

The story follows a woman investigating the disappearance of several teens in a cursed cemetery. Her search leads her to something worse than ghost. What could it be? Well more than you expect. It is a land-stalking shark born of blood, betrayal, and pure nightmare fuel. It is equal parts horror and comedy, packed with chaos, gore, and a wink to classic monster movies.

The exclusive clip shared with I Love Horror teases that madness perfectly. A fog-covered graveyard sets the scene before the ground suddenly erupts. A shark fin slices through the dirt, followed by a burst of carnage and panic. It is funny, frightening, and impossible to look away.

With Terror Films Releasing behind it, Graveyard Shark is ready to rise from the grave and bite into cult status. Stay tuned for the full reviw, and get ready because this shark doesn’t swim, it stalks.

Christopher James 10/3/25 Christopher James 10/3/25

(FANTASTIC FEST) “V/H/S HALLOWEEN” (2025) – The Found Footage Treat We’ve Been Waiting For

The “V/H/S” franchise has always been about controlled chaos. It is all encompassing with grainy tapes filled with cursed images, unhinged characters, and shaky cam terror that somehow feels more dangerous because of its rawness. From its beginnings, the series has been a cornerstone for found footage fans, offering a grab bag of short, punchy nightmares that hit differently from the polished dread of mainstream horror. It has not only been a favorite hybrid genre with found footage and horror anthology among horror fans (including myself), but a lot of the time makes you wanting more. This justifies why there are so many movies in this franchise. While some don’t always hit the mark, this new one may have gotten the horror fans right back to getting ready to be glued on the edge of their seats.

While doing my remote coverage for Fantastic Fest, I got a chance to watch “V/H/S Halloween”. With this movie, Shudder has delivered what might be the most complete and satisfying anthology yet. For the first time in franchise history, every segment works so well that for me to pick a favorite feels impossible. Each short brings something essential to the table, forming a perfectly sinister mosaic of what makes found footage, and Halloween itself, so beloved. It is the same feeling you get when watching “Tales From the Crypt”, you can’t just choose a favorite episode.

Anna Zlokovic kicks things off with “Coochie Coochie Coo,” (after the wraparound feature the that we will get to later) a bizarre and surreal descent into nightmare logic. Zlokovic wastes no time setting the audience off balance, creating a piece that is as absurdly funny as it is deeply unsettling. It’s the kind of short that leaves you unsure whether to laugh nervously or cover your eyes, and that tension makes it unforgettable. In a franchise that thrives on unexpected turns, “Coochie Coochie Coo” feels like a Halloween dare come to life. Zlokovic definitely put the bar high right off the bat with this movie and I am there to see everyone do the same with their segments.

Paco Plaza, the director behind the iconic “REC,” returns to found footage with “Ut Supra Sic Infra,” and it’s as unnerving as you’d hope. Co-written with Alberto Marini, the short dives into occult horror with a chilling authenticity. Plaza knows how to make ritual and superstition feel tactile, as if you could reach into the screen and touch the candles or smell the incense. What makes the piece shine is how it avoids bombast, building dread through stillness and atmosphere until the final reveal leaves you rattled. If Halloween is a time when the veil between worlds feels thin, Plaza’s segment slices right through it. I of course can’t forget to mention that they have accomplished making my stomach churn like no other horror movie has in quite awhile. When you see it you will know (and for those who have seen it, you get the pun).

Then comes Casper Kelly’s “Fun Size,” and if you’ve seen Kelly’s viral sensation “Too Many Cooks,” you already know he can turn kitsch into nightmare fuel. Here, he takes the innocence of trick-or-treat candy and flips it into something grotesque and hilarious. It’s a perfectly nasty bit of horror comedy that understands how ridiculous and frightening suburban Halloween traditions can be. Kelly walks the line between absurdity and terror with precision, and the result is a short that you can’t stop talking about once it’s over. The amazing combination of horror, practical effects and overall fear that makes you feel that following the rules of Halloween (as well all know is important from “Trick ‘r Treat”) will keep you alive.

Alex Ross Perry’s “Kidprint” might be the most restrained piece of the anthology, but it’s no less haunting. Told with the eerie patience of a ghost story whispered around a campfire, it taps into the primal fear of children disappearing without explanation. Perry shoots it like a lost urban legend captured on VHS. With the grain and distortion of the footage only adding to its uneasy realism. It is gruesome, chilling and will take you on one hell of a thrill ride. The ending lingers in your head, less about spectacle and more about the quiet horror of something that feels too real to be fiction. It will make you second guess what terror lurks in your own town.

“Home Haunt,” directed by Micheline Pitt-Norman and R.H. Norman, is destined to be a fan favorite. It captures the Halloween ritual of backyard haunts and amateur horror shows with a meticulous eye for detail. Living in a world where the days of door to door trick or treating is becoming a quick night of “Trunk or Treating” (seriously what the hell is that about?), this segment reminds you that we may have lived in one of the best eras for the spooky season. It makes you reminisce about being that kid who grew up visiting neighborhood haunted houses will feel an immediate pang of recognition, right before the short plunges into darker and bloodier territory. The Normans build tension through layers of theatricality, constantly toying with the audience’s sense of what’s part of the performance and what’s deadly real. The result is a short that feels like stepping into a funhouse mirror and realizing too late that the reflection wants to kill you. It is a hauntingly frighting haunted house experience that will make you glad you’re watching it from your living room and not being one of the patrons experiencing the haunted house for yourself.

Finally, Bryan M. Ferguson’s wraparound of the entire movie “Diet Phantasma,”. It is a hyper-stylized fever dream that sears itself into your brain. It’s garish, aggressive, and unapologetically strange. The kind of short that makes you wonder if the tape itself is haunted or all too realistic insight to the lengths a corporation would go. Ferguson’s style leans into the surreal, but beneath the neon-soaked visuals is a sense of real menace. It’s the perfect way to have the cut backs to the anthology. It has a way of leaving you breathless and a little dazed, as if you’ve just survived a Halloween night you’ll never forget.

What makes “V/H/S Halloween” truly special is how seamlessly the segments complement each other. This isn’t a grab bag where some shorts shine while others drag; it’s a cohesive celebration of everything that makes found footage so enduring. The immediacy of handheld cameras, the distortion of VHS tape, the sense of stumbling across something you shouldn’t be watching These are the building blocks of the franchise, and here they’re used with fresh creativity by filmmakers who clearly love the format. Each director leans into a different facet of Halloween: the absurdity, the rituals, the nostalgia, the fear of the unknown. Together, they create a viewing experience that feels like a full-on Halloween night condensed into one movie.

For longtime fans of “V/H/S,” this entry feels like a reward. For newcomers, it’s the perfect introduction, balancing the series’ trademark grit with a level of polish and vision that shows how much life is still left in the format. Anthology horror is notoriously uneven, but “V/H/S Halloween” defies that reputation, proving that the right mix of voices can create something far greater than the sum of its parts.

Halloween has always been about masks, rituals, and stories we tell in the dark. “V/H/S Halloween” captures that spirit better than any anthology in recent memory. It’s creepy, it’s funny, it’s unnerving, and most of all, it feels alive. Just when you think you know what kind of horror it’s going to deliver, the next tape rolls and yanks you into a completely different nightmare. That unpredictability is the beating heart of both Halloween and found footage horror, and here they merge into a perfect storm.

“V/H/S Halloween” isn’t just another installment. It’s the franchise at its absolute best, a masterclass in why short-form horror can be so effective, and a reminder that the scariest stories are the ones that feel like they could have been taped in your own neighborhood. When the static clears and the credits roll, you’ll be left with the rare anthology where every segment feels vital. This movie will easily be part of people’s Halloween watch lists and one I will very much enjoy during my own Halloween night viewings. “V/H/S Halloween” is now available on Shudder. Make sure you hit play and enjoy this thrilling treat of horror.

Christopher James 9/23/25 Christopher James 9/23/25

(FANTASTIC FEST) “THE CRAMPS: A PERIOD PIECE” (2025) Is Horror, Hilarity, & Hormones Unleashed

Some movies feel like they were meant to rattle you, amuse you, and dare you to think differently about things you’ve taken for granted. Premiering at this year’s Fantastic Fest, “The Cramps: A Period Piece” does all three with a wicked grin and a splash of gore, all while wrapping itself in a deliciously vintage style that feels transported from another era of cinema. From its opening credits, which flicker and glow like something torn straight from a technicolor dreamscape, this movie doesn’t just tell you a story, it pulls you into an alternate world where reality bends, bodies ache, and horror collides with comedy in the most unexpected ways.

At its heart is Agnes Applewhite, played by newcomer Lauren Kitchen in her first feature role, and what a debut it is. Agnes is a blossoming young woman suffocated by the sanctimonious expectations of her family, particularly a mother who clings to tradition like it’s a holy text and a sister wound so tightly she squeaks when she walks. Kitchen, who exudes both innocence and an undercurrent of rebellion, carries the movie on her shoulders with remarkable ease. For a first-time film actress, she delivers the kind of performance that feels fully lived-in, quirky, vulnerable, and, when the horror elements kick in, startlingly raw.

SYNOPSIS:

“Agnes Applewhite (Lauren Kitchen) gets a job as a shampoo girl at a lively beauty salon, which goes against the wishes of her traditional family including her sanctimonious mother and tightly wound sister. As she begins this newfound journey to find her true self, she suffers from debilitating menstrual cramps, which blur the line between reality and nightmare for her and those around her. Part comedy, part fantastical horror and wholly unforgettable, Brooke H. Cellars' THE CRAMPS: A PERIOD PIECE takes the audience on a mesmerizing trip where John Waters' irreverence meets the macabre stylings of Mario Bava, all wrapped in the dreamlike allure of Federico Fellini”.

It’s no small feat to headline a movie, let alone one that demands the emotional extremes that “The Cramps: A Period Piece” does, but Lauren Kitchen proves she’s up to the task. She makes Agnes both endearing and exasperating, a character caught between personal discovery and physical torment. Her ability to toggle between sharp comedic timing and harrowing physicality is the glue that holds the film together. Watching her unravel as reality distorts under the weight of her cramps is equal parts hilarious and unsettling, which is exactly the point.

The movie is brimming with eccentric supporting characters, from the flamboyant salon regulars to the oddballs orbiting Agnes’ family life. These side players add layers of humor and texture, often stealing scenes with outrageous behavior that could have felt cartoonish in lesser hands. Instead, they round out the world with a vitality that makes every frame worth studying. The ensemble is outrageous without ever tipping into parody, walking that fine line that horror-comedies so often stumble over.

What immediately sets this film apart is its commitment to a vintage aesthetic. From the very first credits, it feels like a lost grindhouse or arthouse curiosity that somehow slipped into our timeline. The cinematography embraces saturated colors, heavy shadows, and bold framing choices, evoking everything from Mario Bava’s gothic surrealism to Federico Fellini’s dreamlike flourishes.

This isn’t just a stylistic gimmick; it’s a fully immersive choice that amplifies the story’s fantastical edge. The beauty salon itself feels like a candy-colored carnival ride, a place of liberation for Agnes that also doubles as a surreal stage for her most grotesque and nightmarish visions. The effect is intoxicating. You don’t just watch the movie, you feel yourself being transported into its heightened, hyper-stylized universe. By the time the opening credits dissolve, you know you’re not in Kansas anymore.

Much has been said about the John Waters energy in “The Cramps: A Period Piece”, and yes, the irreverence is there. The movie gracefully embraces camp, flamboyance, and an utter disregard for polite storytelling. Although, to say it’s merely a Waters homage would be underselling what Brooke H. Cellars has accomplished.

This is not a derivative film. It’s its own beast. It is a female-led, unapologetically weird, and laced with a horror streak that digs its claws deep. The menstrual cramps aren’t just a gimmick; they’re a gateway to explore pain, repression, and personal liberation through a blood-soaked, darkly comedic lens. It’s daring to frame something so ordinary yet stigmatized as a source of terror and absurdity, and Cellars clearly does it with confidence.

Brooke H. Cellars may be making their first feature here, but their pedigree in shorts is undeniable. With eight films under her belt since 2018, she has honed a style that thrives in both horror and comedy. Her award-winning short “The Chills” proved she could turn a clever script into festival gold, and “Violet Butterfield: Makeup Artist for the Dead” cemented her as a filmmaker with both vision and bite. That short didn’t just travel the festival circuit conquered it, collecting awards from Berlin to Overlook.

With “The Cramps: A Period Piece,” Cellars graduates to the feature stage without losing an ounce of her eccentric charm. What makes this leap so impressive is how assured the movie feels; the tone never wavers, the visuals remain arresting, and the balance between horror and humor is razor-sharp. This is a filmmaker who knows exactly what she wants to say and how to say it, and Fantastic Fest was the perfect venue for that voice to be heard loud and clear.

At a festival as eclectic as Fantastic Fest, where wild, boundary-pushing genre films battle for attention, “The Cramps: A Period Piece” stands tall as one of the year’s most memorable premieres. Its blend of outrageous comedy, stylish horror, and fearless storytelling fits perfectly into the festival’s tradition of celebrating the bold and the bizarre.

Fantastic Fest has long been a launchpad for filmmakers who refuse to color inside the lines, and Brooke H. Cellars joins that growing lineage with confidence. Much like past breakouts that have redefined what genre cinema could look like, this film asserts itself with a singular voice. One that is unapologetically female led, deeply personal, and wildly inventive. The decision to explore something as taboo as menstrual cramps through the lens of horror comedy feels exactly like the kind of risk Fantastic Fest was built to nurture.

By premiering here, the movie doesn’t just find its first audience, it finds its tribe. Fantastic Fest has always championed voices on the fringes, and this year, it gave the stage to a filmmaker turning cramps into chaos, comedy into terror, and vintage style into something entirely new.

“The Cramps: A Period Piece” is the kind of movie that sneaks up on you with its audacity and sticks with you because of its artistry. Lauren Kitchen makes a stunning debut, Brooke H. Cellars proves herself to be a filmmaker to watch, and the supporting cast keeps every corner of this world buzzing with life. The vintage cinematography, the surreal tone, and the brazen subject matter combine into something you won’t soon forget.

Its premiere at Fantastic Fest feels more than fitting, it feels like destiny. Festivals like this exist to unearth movies that challenge norms and thrill audiences in equal measure, and “The Cramps: A Period Piece” has all the makings of a future cult classic. It’s outrageous, it’s beautiful, it’s hilarious, and it dares to turn something universal yet stigmatized into a work of horror-comedy art. Fantastic Fest gave it a stage, and from here, its legacy as one of the year’s boldest indie debuts is just beginning.

Christopher James 9/23/25 Christopher James 9/23/25

(FANTASTIC FEST) “DOLLY” (2025): A Final Girl’s Fight Against Horror’s Next Icon

Fantastic Fest has a reputation for unearthing the next big thing in horror, and this year’s lineup might have just revealed a future icon in Rod Blackhurst’s “Dolly”. While other titles arrived with the usual anticipation and buzz, “Dolly” quickly became the word-of-mouth sensation of the festival. It is a gnarly, blood-soaked survival tale that manages to feel both reverential toward its horror lineage and shockingly fresh. This isn’t just another masked killer movie. This is a movie that will gleefully crawls under your skin, rips it open with ferocious strength, and dares you to keep your eyes on the screen even when every instinct is screaming to look away.

The movie’s story follows Macy, a young woman who is abducted by a deranged, monster-like figure intent on raising her as their child. The movie is billed as “a daring blend of New French Extremity and 1970s American horror,” and that description couldn’t be more accurate. The result is a nightmare stitched together from two of the genre’s most brutal traditions: the nihilistic cruelty of French shock cinema and the raw, dirty grit of American exploitation. It’s a premise that feels simple on paper, but under Blackhurst’s direction, it transforms into something ferocious, relentless, and unforgettable.

Fabianne Therese deserves every ounce of praise that’s been sent her way since the movie’s premiere. Horror has always thrived on its Final Girls, but Therese makes Macy stand apart. She isn’t just reactive, running and screaming from danger; she’s methodical, sharp, and tough as nails. The performance balances intelligence with vulnerability, making her survival feel earned rather than forced. When she squares off against Dolly in the movie’s escalating set pieces, Therese commands the screen with a kind of controlled chaos that instantly cements her place among the genre’s best heroines. Horror fans will walk away remembering Dolly’s porcelain and emotionless face, but they’ll also be buzzing about Therese’s resourceful, steel-nerved performance.

Another standout of this movie is of course Dolly herself. The design alone is a masterstroke of nightmare fuel. With the porcelain doll mask gleaming under dim light, the stiff and frilly outfit smeared in blood, the towering presence that turns domesticity into terror. If Leatherface made us terrified of chainsaws and Ed Gein-inspired flesh masks, Dolly does the same for porcelain toys and the aesthetics of a large collection of dolls. There’s a surreal quality to watching this hulking figure holding a headless corpse or mannerisms in a warped, childlike cadence while committing atrocities. It’s grotesque, unnerving, and most importantly, memorable. Horror thrives on its villains, and Dolly feels like the kind of character who could fuel sequels, prequels, and endless Halloween costumes.

Of course, a movie like this can live or die on its gore, and “Dolly” doesn’t skimp for a second. From the moment Macy is dragged into the nightmare house, Blackhurst unleashes a symphony of splatter. Gore from Macy fighting back or a head crushing kill are staged with gleeful excess. Bloody mush spill onto the floor with squishy sound design, and every stabbing, slicing, and bludgeoning lands with impact. It’s a reminder that practical effects, when handled by skilled artists, carry a texture and weight that CGI never can. The violence here isn’t just gratuitous, it’s artful in its execution, blending New French Extremity’s raw savagery with ‘70s horror grit. By the finale, the walls of the house feel soaked in history. Each blood splattered mark on clothing or Dolly’s fingers are another stroke in this movie’s deranged masterpiece.

The supporting cast deserves just as much attention as the carnage. Seann William Scott, often remembered for comedic roles, is a revelation here. He throws himself into his character with a grim determination, spending much of the runtime buried under practical effects makeup. The result is a layered performance that feels both terrifying and oddly sympathetic, a nod to the tragic complexity of death like Billy Hitchcock from “Final Destination”. It’s not just the casting of a known face in cinema, but a genuine showcase of Scott’s range as an actor. Horror fans will likely be shocked at just how effective he is in this space.

Ethan Suplee makes an outsized impact in a smaller role. Without giving away too much, his brief appearance leaves a crater in the story. Suplee carries an intimidating presence that crackles with physical menace. Even in the limited screen time he has, he demonstrates why his career has endured across genres throughout the decades. Watching Scott and Suplee in this bloody sandbox feels like a gift among the fans who have followed their work. It is a reminder of how seasoned actors can elevate material, turning what could have been stock roles into something magnetic.

Of course, I would be a fool not to mention Max the Impaler, a performer whose larger-than-life screen presence blends seamlessly with the grotesque tone of the film. Their contribution to the cast adds another layer of unpredictability, ensuring that “Dolly” never feels like it’s leaning too heavily on familiar faces. Every actor here seems fully committed to Blackhurst’s vision, no matter how depraved or demanding the role.

Cinematography is another area where “Dolly” flexes its horror fueled muscles. Blackhurst and his team embrace shadow and claustrophobia, turning the remote house into a character of its own. The set design is immaculate: decaying wallpaper, flickering lights, cracked dolls staring from shelves, and hallways that feel like they’re closing in on Macy with every step. Each frame is saturated with tension, balancing grime and beauty in a way that recalls the best of exploitation horror while feeling distinctly modern. The camera never shies away from brutality, but it also lingers on small details. The crack in Dolly’s mask, Macy’s trembling hands gripping a weapon, blood soaking into any place it lands that builds atmosphere beyond the splatter.

Costume design deserves equal praise. Dolly’s porcelain mask is destined for horror legend status, but the accompanying doll-like outfit frills, bows, and makes the figure unforgettable. The juxtaposition of innocence and grotesquerie is perfectly unsettling. It’s easy to imagine horror fans clamoring for replicas and cosplays within the year. Like Michael Myers’ mask or Ghostface’s iconic white face with black hood, Dolly’s attire is simple yet iconic. It is the kind of instantly recognizable silhouette that fuels a franchise.

What makes “Dolly” feel truly special, is how it positions itself within horror history. It wears its influences proudly. New French Extremity’s brutality, ‘70s slashers’ rawness, and even a dash of modern survival horror, but it never feels derivative. Instead, it builds on the past to carve out something new. That’s why the buzz at Fantastic Fest has been so intense. Among a lineup of daring genre experiments, “Dolly” stands out not just for its gore or shocks, but because it feels like the birth of a new horror icon. Competitors may have delivered polished scares or clever gimmicks, but few films at the festival inspired the same mix of awe and dread that this one did.

By the time the credits roll, audiences are left rattled, exhilarated, and maybe even eager for more. “Dolly” doesn’t just suggest the potential for a franchise; it practically demands it. There’s too much lore hinted at, too much raw terror bottled in that porcelain mask, for this to be a one-and-done horror movie. Horror fans are always searching for their next great villain, and with Dolly, they may have found it.

In the end, “Dolly” is more than just another genre exercise, it’s a blood-soaked announcement that Rod Blackhurst has arrived as a major force in horror filmmaking. With phenomenal performances, unrelenting gore, unforgettable visuals, and a villain tailor-made for nightmares, it’s the kind of movie destined to be talked about for years. If Fantastic Fest prides itself on showcasing films that will leave the competition trembling, “Dolly” has set the bar frighteningly high.

Christopher James 9/19/25 Christopher James 9/19/25

(FANTASTIC FEST) “COYOTES” (2025): Bloody, Brutal, & Brilliant

Fantastic Fest has long been the mecca for horror fans who crave the unexpected. Every September in Austin, the festival brings together the wildest voices in horror, science fiction, and boundary-pushing cinema. It does this simply by giving indie filmmakers a stage to unleash their boldest visions. This isn’t just about seeing movies; it’s about celebrating the unruly spirit of the horror genre itself. Fantastic Fest doesn’t just showcase movies, it nurtures them, amplifying stories that might otherwise get lost in the noise of big studio releases. There’s an electric charge in the air every year with it. However, this year has the spark belonging to “Coyotes”.

Directed by Colin Minihan, with a story by Daniel Meersand & Nick Simon and Tad Daggerhart, and a screenplay by Tad Daggerhart & Nick Simon. “Coyotes” is a vicious, hilarious, and blood-soaked thrill ride that knows exactly what it wants to be. The cast includes Justin Long, Kate Bosworth, Mila Harris, and Brittany Allen (who composed the movie). The entire cast delivers amazing, committed performances that make this horror-comedy thrive. While covering the movie remotely via a screener for this review site, I could still feel the energy radiating from every scene through my computer screen. I will say this, if it plays this well at home, I can only imagine how much fun it was seeing the Fantastic Fest audience laugh, squirm, and scream together.

SYNOPSIS:

“After a Santa Ana windstorm knocks out power in the Hollywood Hills and crushes the family SUV, the Stewarts — Scott, Liv, and their precocious daughter, Chloe — are stranded in their hillside home with no cell service, no escape route, and just enough Spam to start a riot. But the real problem? Coyotes. Not the scrappy, skittish kind that dig through your garbage and steal your cat — but smart, organized, murder-flavored coyotes. Led by a scar-faced alpha with serious beef, the coyote pack starts picking off neighbors like its happy hour at an all-you-can-eat casino buffet.

As wildfires rage on one side and a bloodthirsty canine death cult circles the other, the Stewarts — armed with nothing but a flashlight, an old iPad, and some questionable decision-making skills — must band together and transform from cozy suburbanites into blood-smeared survivalists. ‘COYOTES’ is a savage, satirical survival thriller where nature bites back — and this time, it brought friends. Welcome to the apex of the food chain. It’s going badly.”

From its first frame, “Coyotes” shows it isn’t here to be restrained. Colin Minihan, whose work I’ve followed since “Grave Encounters” (who also recently announced for a remake starring Justin Long), directs with precision and flair. He seamlessly blends beauty with terror. There are scenes where the wildfire embers reflecting in animal eyes, flashlights slicing through dark hallways, and quiet moments before violence that feel almost intimate. Minihan also edited the film himself, keeping the pacing sharp and tension high. As he said in his statement via a press release from Aura Entertainment, “COYOTES isn’t trying to be cool. It’s trying to bite. And hopefully, leave a mark.” Personally, I will say that from seeing this movie for myself, it absolutely does.

“Coyotes” balances horror and comedy effortlessly. Minihan captured it best: “This movie is sharp, fast, and unafraid to go for the jugular and the laugh.” The humor never undercuts the scares, and the scares never mock the humor. Instead, they work together to create a frenetic survival story that is both absurd and terrifying.

The gore is unapologetic and creative. Practical effects recall the best of 1980s splatter films, with inventive and shocking kills. A bedroom sequence stands out, crafted to stun even the most dedicated horror fans. Tension builds meticulously, with every sound amplified and every shadow threatening, before detonating into an unforgettable burst of violence. Horror lovers will discuss this scene long after the credits roll.

The cast elevates the story further. Justin Long delivers one of his most compelling performances in years, fully inhabiting Scott’s panic and unpredictability. Kate Bosworth matches him with ferocity and presence, grounding Liv in a survival instinct that empowers most mothers, all while embracing chaos. Their dynamic, as Minihan said, is “pure fire.” Mila Harris as Chloe, brings charm and intelligence, avoiding typical child character pitfalls. Let’s also make sure not to leave out the amazing performance by Brittany Allen, who plays Jules. Not only did she do a superb job at acting in this movie, but she also composed the score. The way she scored the movie was so well done that it gave it heartbeat and rhythm that syncs perfectly with her performance.

Minihan’s rejection of self-serious horror drives the movie’s tone. “Somewhere along the way, people forgot that horror could be fun and still have soul. ‘COYOTES’ is a course correction,” he said. The movie proves this by being bold, direct, and unflinching, embracing its premise without apology. Even while watching this movie at home for coverage of the festival, the movie’s energy was palpable. It had me laughing, wincing, and on edge all at once, proving the effectiveness of its horror-comedy blend. The pacing, performances, and relentless tension make it a standout in the indie horror landscape.

In the end, “Coyotes” embodies everything Fantastic Fest champions: bold, wild, and unrestrained storytelling. “Coyotes” from Aura Entertainment will have its theatrical release on October 3rd. An experience that will leave audiences being thrown headfirst into chaos. This is a movie that refuses to be polite. It is a relentless thrill ride that keeps you on edge, laughing one moment and recoiling the next. Most importantly, it reminds us of the fact that nature still has the power to terrify, creating new fears we haven’t experienced in years.

Whether it’s slashers in the woods, ghosts in the attic, or killers in the cornfield, ILHM Reviews brings you the frightful horror flick recommendations worth watching. Follow us on Instagram, be sure to listen to the the "I Love Horror" podcast and remember that if you’re a true fan of horror, every night can be a FRIGHT NIGHT!

Christopher James 9/14/25 Christopher James 9/14/25

TERROR FILMS RELEASING Celebrates 10 Years With New Slate Of Films

Terror Films Releasing is turning ten, and what a bloody good decade it’s been. From unleashing the fan-favorite "Hell House LLC" franchise to introducing fresh carnage with newer titles like "Meathook," they’ve carved out a reputation for bringing unforgettable horror to the screen. For me, they’ve been more than just a distributor, they’ve been a driving force in my own journey through horror, making it possible to discover films, meet incredible filmmakers, and share those experiences with fellow fans. Working with them has always been a thrill, as they consistently champion indie voices and give filmmakers the platform and recognition they deserve. On a personal note, without people like Sarah Clingenpeel, I wouldn’t have had such incredible opportunities to review their films or connect with the wonderful talent behind them. So let’s not just celebrate the ten-year anniversary of Terror Films Releasing, let’s celebrate the dedicated people behind the scenes who make sure horror fans like us always have something wicked to look forward to. Be sure to let me know on my socials which Terror Films Releasing title still haunts your watchlist long after the credits rolled?

FROM THE TFR PRESS RELEASE:

With Halloween season looming, horror fans will be looking for new indie horror films to sink their teeth into—and TERROR FILMS RELEASING is serving up a tasty slate in October, releasing a new film every week. Land sharks, aliens, killer food, a new “Hell House”, and a TFR original anthology are all on the menu as the boutique genre distributor quickly approaches its 10-year anniversary.

10/3/25 – “GRAVEYARD SHARK” (Horror, Comedy)

Initially self-released in late 2024, the filmmakers decided to team with TFR to give this shark a bigger bite. Directed by Matthew A. Peters, the film centers around a woman hunting down the truth after several teens vanish in a haunted graveyard—only to find herself facing a land-walking shark born of blood, betrayal, and something inhuman.

📺 Official Trailer: https://youtu.be/iyLaECN6GX4

10/10/25 – “TERROR TALES: POETRY & DEATH VOL. 1 “ (Horror Anthology)

Almost 10 years after launching the label in late 2015 with three original films, TFR has teamed with The Ninth House to produce this original anthology featuring six spooky short stories. Expect a nefarious bowler, invisible creatures, a possessed doll, and more, with segments directed by Thomas Simon, Ian Kyle, Jack Dignan, Jason Sheedy, Michael Squid, and Franke Merle.

📺 Official Trailer: https://youtu.be/fGM-XrBtfqk

10/17/25 – “JABBERJAW” (Found Footage, Sci-Fi, Horror)

Directed by Luke Genton (The Bone Box), the film follows a young woman who goes camping with her best friend to escape her abusive partner. While documenting their journey on a video camera, a mysterious stalker in the woods makes her question if it’s her abuser who followed them—or something far more sinister and otherworldly.

📺 Official Trailer: https://youtu.be/PjKh_BFNlIQ

10/24/25 – “HAUNTED HOUSE OF PANCAKES” (Horror, Comedy)

Directed by Nathan Dalton, the story follows a waiter and student who must fight for survival after an evil waffle maker transforms all the food in a local diner into killer creatures out for revenge against its patrons.

🍳 Exclusive Amazon Prime Window: https://bit.ly/4gE71mh
📺 Official Trailer: https://youtu.be/N0KBecrk9P4

10/30/25 – “HELL HOUSE LLC: LINEAGE” (Paranormal Horror)

Fresh off its limited U.S. theatrical release—and additional theaters in Mexico, the Caribbean, and Eastern Europe—the fifth installment of Stephen Cognetti’s “Hell House LLC” franchise begins streaming exclusively on Shudder.

📺 Official Trailer: https://www.youtube.com/watch?v=xlT-G6iJNK4

With the exception of Hell House LLC: Lineage, TFR will premiere all films on their official YouTube AVOD channel Shocks & Docs, with a wider rollout to platforms including: Chilling, Creepy Popcorn, Scare Network TV, Kings of Horror, Watch Movies Now, Apple TV, Google Play, Amazon, Tubi, The B-Stream, Mometu, Panic TV, and more.

Check out the official trailers and the full-page promotional banner, set to appear in the October Edition of Scream Magazine—courtesy of Terror Films Releasing and stay tuned to my reviews of these upcoming movies.

Christopher James 9/11/25 Christopher James 9/11/25

AURA ENTERTAINMENT Uncages the Beast With “COYOTES” Trailer/News

Justin Long has quietly transformed into one of horror’s most talented power players. He has been turning what was once a boyish charm and comedic chops into a weapon for chaos. Over the last few years, he’s carved out a reputation as a performer who can pivot from sly humor to genuine terror in the space of a breath. His team-up with his brother Christian Long at last year’s Fantastic Fest for the “V/H/S Beyond” segment “Fur Babies” (a personal favorite of mine from that movie) showed he’s not only game to star in nightmares, but to create them too. He has easily been able to lean into grotesque absurdity with gleeful precision as easy as Freddy Kruger slips on his razor knifed glove. Now, with a slate of new horror projects on the way, Long feels less like a guest in the genre and more like a permanent resident. One who keeps finding fresh ways to shock and entertain. The real question is can everyone else keep up with him in horror’s fast lane?

I recently received news that a trailer dropped of the upcoming indie horror movie from Aura Entertainment called “Coyotes”. Not only will this amazingly looking horror movie be premiering at this year’s Fantastic Fest, but it will also have a theatrical release on October 3rd. “Coyotes” stars Justin Long (“Barbarian”), Kate Bosworth (“Superman Returns”), Brittany Allen (“What Keeps You Alive”), Mila Harris (“Mary”) and Norbert Leo Butz (“A Complete Unknown'“). It is directed by Colin Minihan, best known from his work on “Grave Encounters” (one of my personal favorite found footage movies). A press release the official “Coyotes” marketing team was recently sent to me with more information on the movie. Here is what I found out. starting with the synopsis of the movie:

FROM THE PRESS RELEASE:

But the real problem? Coyotes. Not the scrappy, skittish kind that dig through your garbage and steal your cat — but smart, organized, murder-flavored coyotes. Led by a scar-faced alpha with serious beef, the coyote pack starts picking off neighbors like it’s happy hour at an all-you-can-eat casino buffet.

“COYOTES” is a savage, satirical survival thriller where nature bites back — and this time, it brought friends. Welcome to the apex of the food chain. It’s going badly.”

Director Colin Minihan had this to say about the movie:

“I read the first draft of “COYOTES” and started laughing out loud. It had bite. It had chaos. And most importantly, it had fun. I was sitting with Britt, flipping pages, both of us wide-eyed and saying, “Okay, this is f***ing nuts.” That’s when I knew I wanted in.

At the time, there were actual coyotes stalking our old dog in the Hollywood Hills. Every night felt like a horror movie. That real-world weirdness synced perfectly with the script’s energy. It wasn’t trying to be clever, or cool, or some kind of elevated genre exercise. It just was—wild, tense, funny, and totally unpredictable. A horror-comedy-action beast that actually had the nerve to entertain.

I’ve spent the last decade watching horror get more and more self-serious—movies that think they’re profound because they don’t actually say anything. Ambiguity has become a crutch. Somewhere along the way, people forgot that horror could be fun and still have soul. “COYOTES” is a course correction.

This movie is sharp, fast, and unafraid to go for the jugular and the laugh. No social media screens. No hollow metaphors. Just characters who feel real, thrown into a story that knows exactly what it is and never slows down to apologize for it.

Justin Long gives what I genuinely think is his best performance since Barbarian. He’s unpredictable, grounded, and completely dialed in. Working with him was a blast. And Kate Bosworth brings this ferocious, lived-in energy that elevates every moment she’s on screen. She’s unafraid to get weird, to go dark, to lean into the chaos—and it makes the film so much stronger. Watching her and Justin bounce off each other was pure fire.

And getting to make this with Brittany Allen—my wife, my creative partner, and a total badass—was a gift. She plays Jules with a rare kind of emotional precision, but she also scored the entire film in our home studio at night while our kid slept upstairs. She gave the film its rhythm and heartbeat. That magic is in every scene.

I also edited the film myself—not out of control, but out of instinct. This kind of movie only works if you keep the tone razor-sharp and the energy moving. Every cut needed to feel deliberate, alive, and a little dangerous. “COYOTES” isn’t trying to be cool. It’s trying to bite. And hopefully, leave a mark.”

Not only am I sold on getting more horror from Colin Minihan and Justin Long, but the fact that this one leans into horror-comedy launches my horror fan anticipation into overdrive. “Coyotes” looks like the kind of indie horror chaos worth howling about, and the trailer promises it shall be a bloody good time we can all sink our teeth into. Aura Entertainment brings it to theaters October 3rd, so rally, horror fans! This seems like it is going to be one to show up for. If you’re catching it early at Fantastic Fest, spread the word and let the rest of us know just how wild this beast gets. I’ll be bringing you a full review and interviews from the my coverage of Fantastic Fest soon… so sharpen those claws and stay tuned.

Christopher James 9/7/25 Christopher James 9/7/25

A Pop Star’s Worst Nightmare Comes Alive In “BORDERLINE” (2025)

There’s something uniquely enticing about how modern horror and thriller cinema has begun to embrace the 1990s. The decade that gave us glossy music videos, campy slasher revivals, and the golden age of tabloid celebrity has taken on new life in contemporary dark comedies. The 90s are no longer just nostalgia, they’re a joyous mood. It is a lens through which modern filmmakers explore our obsession with fame, identity, and dangerous delusion.

Recently I got the chance to enjoy the dark comedy thriller from Jimmy Warden called “Borderline”. It was produced by Margot Robbie and Tom Ackerley’s LuckyChap Entertainment, captures this atmosphere with ease. It doesn’t mimic or parody the 90s, it simply breathes it, wrapping its stalker-thriller premise in the strange neon glow of a pop era that never quite faded away.

Synopsis

“The movie follows a dangerously persistent stalker (Ray Nicholson) who invades the home of a ‘90s pop superstar (Samara Weaving) with grand delusions of a wedding. With her life on the line and help from her loyal bodyguard, she must escape the stalker’s sinister grip before they tie the knot.”

“Borderline” also stars Eric Dane (“Grey's Anatomy”), Jimmie Fails (“Nickel Boys”), Alba Baptista (“Warrior Nun”) and Patrick Cox (“Aquaman”) as a wonderful foundation to the main cast.

I went into “Borderline” with curiosity and a bit of excitement, given Warden’s history as the writer of “Cocaine Bear”, a movie that thrived on chaos and sharp humor. What I found was a completely different kind of ride. It was still wickedly funny, but far more intimate, tense, and polished multi genre work of entertainment . Watching it unfold, I felt that rare mix of nervous laughter and genuine suspense, the sort of experience that makes a dark comedy thriller really sing. What makes “Borderline” instantly compelling is its perfect on-screen pairing of Samara Weaving and Ray Nicholson. The movie thrives because of their chemistry (mainly through the eyes of Nicholson’s insanity). Weaving, no stranger to survivalist dark comedy thanks to “Ready or Not”, slips seamlessly into the role of a famous pop superstar whose glamorous veneer is cracked by fear and resilience. She’s electric, managing to be both vulnerable and razor-sharp, turning what could have been a clichéd damsel role into a layered, clever performance. Not to mention the amazing and random duet scene that happens mid movie.

Ray Nicholson is her equal in every way, bringing a disturbingly charming energy to the stalker at the movie’s center. He plays his character with conviction, not as a cartoonish villain but as a man so deluded that his menace comes wrapped in sincerity. That makes him unpredictable and riveting to watch. Every line delivery feels like it could veer into comedy or danger, often both at the same time. Together, Weaving and Nicholson create a cat-and-mouse dynamic that’s as intoxicating as it is nerve-racking. Their push and pull elevates “Borderline” far beyond its logline, turning it into a showcase of two performers feeding off each other’s sharpest instincts.

While their performances dominate, the supporting cast adds a crucial foundation. Eric Dane, as the bodyguard who refuses to back down, delivers a performance that anchors the movie with gravitas. Dane’s presence brings a sense of looming protection, but also humanizes the spectacle with a grounded sense of loyalty. Jimmie Fails, Alba Baptista, and Patrick Cox round out the ensemble with memorable turns that enrich the story rather than clutter it. Each actor is used with precision, creating a well-balanced environment that never lets the focus drift from the central conflict yet still feels lived in.

One of the movie’s greatest strengths is Jimmy Warden’s direction and writing. With this being his debut to directing, he is startlingly confident, as he should be with this project. He has a knack for pacing, knowing when to hold tension until it’s unbearable and when to puncture it with biting humor. His script walks a delicate line between satire and thriller, never tipping too far in either direction. That balance is crucial, because “Borderline” wants us to laugh at the absurdity of celebrity obsession while also feeling the genuine terror of being trapped with someone whose love is indistinguishable from violence.

The aesthetic choices reinforce this. The movie creates a 90s atmosphere without leaning into kitsch or parody. Instead of blasting audiences with some hidden references and surroundings throughout the start and finish of the movie. Warden evokes the decade in subtler ways that work wonders. The design of the pop star’s home, the way the stalker clings to an imagined version of fame, the faded echoes of music culture from that era. It’s a haunting reminder of how the 90s shaped our current celebrity worship, and how those nostalgic fantasies can become dangerous prisons.

Visually “Borderline” is striking without being ostentatious. The cinematography lingers just long enough to make us uncomfortable, often framing Nicholson in ways that highlight both his charm and his instability. The use of space provides an enjoyable troupe to the home invasion setting. It is claustrophobic but never monotonous. It transforms a glamorous sanctuary into a suffocating cage, mirroring the protagonist’s fight for autonomy. The color palette leans into contrasts, oscillating between warm, alluring tones and cold, invasive shadows, keeping the audience as unsettled as the characters.

What elevates “Borderline” into must-see territory is how seamlessly it blends genres. As a thriller, it’s tense and unpredictable, always dangling the possibility of violence just out of reach until it strikes. As a dark comedy, it’s sharp and knowing, poking fun at the absurdity of parasocial relationships without losing sight of their danger. As a character study, it digs into obsession, fame, and the cost of living in the spotlight. Very few films manage to juggle these modes without collapsing into tonal confusion, but Warden orchestrates it like someone who’s been directing for years.

The humor is particularly biting. There are moments where Nicholson’s stalker says something so bizarrely earnest that you can’t help but laugh, only to feel the laughter catch in your throat when you realize how dangerous his mindset truly is. Weaving’s ability to volley back with sarcasm or fear covering irritation makes those exchanges even more effective. It’s the kind of comedy that doesn’t undercut the stakes but intensifies them, reminding us how close humor and horror really are.

By the final act, “Borderline” becomes a full sprint, twisting through violent confrontations and razor-edged dialogue without losing its bite. The escalation feels earned because the groundwork has been carefully laid with every strange laugh, every uncomfortable pause, every uneasy glance between Weaving and Nicholson builds toward an ending that feels both inevitable and shocking.

Ultimately, “Borderline” is not just a directorial debut worth noticing, it’s a statement as to how dark comedies of the modern age can pair well within the horror/thriller genre. Jimmy Warden proves he’s more than just the writer of a viral cult hit, delivering a movie that’s confident, funny, a little scary, and resonant. LuckyChap Entertainment once again demonstrates its ability to back bold, original projects, adding this alongside “Barbie” and “Saltburn” as evidence of its eclectic, fearless slate.

This is a must-see dark comedy thriller. It is the kind of movie that sticks with you long after the credits roll (which the credit scenes are also highly entertaining). It’s proof that the 90s still haunt our cultural imagination, and that obsession, when pushed to its limits, can be as funny as it is terrifying. For fans of sharp writing, unpredictable performances, and the thrill of watching two actors ignite the screen together, Borderline delivers in spades. “Borderline” arrives on digital platforms on September 8th, and it deserves a place at the top of your watchlist.

Whether it’s slashers in the woods, ghosts in the attic, or killers in the cornfield, ILHM Reviews brings you the frightful horror flick recommendations worth watching. Follow us on Instagram, be sure to listen to the the "I Love Horror" podcast and remember that if you’re a true fan of horror, every night can be a FRIGHT NIGHT!

Christopher James 9/4/25 Christopher James 9/4/25

SHUDDER ACQUIRES PSYCHOLOGICAL GOTHIC THRILLER “HONEY BUNCH”

Shudder announced today that they have acquired “HONEY BUNCH”, the psychological gothic thriller from filmmaking duo Madeleine Sims-Fewer and Dusty Mancinelli, ahead of its North American Premiere at the 2025 Toronto International Film Festival. Written and directed by Sims-Fewer and Mancinelli, “HONEY BUNCH” stars Grace Glowicki (DEAD LOVER), Ben Petrie (BLACKBERRY), Jason Isaacs (“The White Lotus”), Kate Dickie (THE WITCH), India Brown (“Invasion”), and Julian Richings (BEAU IS AFRAID). The deal includes rights in the U.S., Australia, and New Zealand. HONEY BUNCH is slated to debut on Shudder in 2026.

From The Press Release:

”HONEY BUNCH”, inspired by Sims-Fewer and Mancinelli’s longtime partnership, marks the duo’s sophomore feature following their acclaimed debut “VIOLATION”, which was released by Shudder and premiered at the 2020 Toronto International Film Festival before screening at Sundance and SXSW. After its world premiere at the 2025 Berlin International Film Festival, “HONEY BUNCH” will make its U.S. premiere at Fantastic Fest later this month.

In “HONEY BUNCH”, when Diana (Glowicki) wakes from a coma with fragmented memories, she and her husband (Petrie) seek experimental treatments at a remote facility. As the procedures intensify, their marriage is put to the test and Diana begins to question her husband’s true motives.

"We are thrilled to continue our collaboration with Shudder with the release of HONEY BUNCH. The film reveals a different side to us as filmmakers, and Shudder are exactly the right partners to present it to audiences,” said directors Sims-Fewer & Mancinelli. “HONEY BUNCH celebrates the terrifying, painful, yet intimately rewarding struggles of what it takes to sustain a relationship. It's a twisted love story. Not a fairytale. We can’t wait for viewers to experience our weird, macabre film in the way only Shudder can deliver."

“HONEY BUNCH delivers high-stakes suspense while surprising with a tender love story that demonstrates a skilled balancing act,” said SVP of Shudder Acquisitions and Production Emily Gotto. “Madeleine Sims-Fewer and Dusty Mancinelli have proven they know how to deliver unforgettable storytelling, and with their sophomore feature they deliver an experience that’s both emotional and entertaining, anchored by incredible performances. We can’t wait for audiences to experience it.”

“HONEY BUNCH” is produced by Becky Yeboah, Sims-Fewer & Mancinelli for Cat People, and Rhombus Media. Executive Producers include Niv Fichman, Fraser Ash, Kevin Krikst, Ben Petrie, Tenille Shockey, François Dagenais, William Woods, Aram Tertzakian, Nate Bolotin, Maxime Cottray, Todd Brown, Adrian Love, and Mike O’Leary. XYZ Films financed the film in conjunction with IPR.VC and is handling worldwide licensing outside of Canada. The deal was negotiated by Emily Gotto for Shudder with Nate Bolotin and Pip Ngo for XYZ Films on behalf of the filmmakers.

Stay tuned to ILHM Reviews for coverage for this movie and others coming to Fantastic Fest this month!!

Christopher James 9/3/25 Christopher James 9/3/25

TERROR FILMS RELEASING Brings Psychological Scares With “SCHISM” (2025)

Psychological thrillers are often just as terrifying as the blood-soaked slashers that dominate horror cinema, sometimes even more so. A masked killer might lunge from the shadows and make us jump, but a story that claws its way into the mind and distorts perception can leave a deeper, longer-lasting scar. These movies do not simply scare us with what we see; they frighten us by forcing us to question what we think we know. Reality becomes fluid, trust evaporates, and every detail is suddenly suspect.

I recently had a chance to watch Terror Films Releasing & Thor Moreno’s new release, “Schism”. This movie thrives in an unsettling that utilizes on distortion, paranoia, and fractured truths, pulling its audience into a headspace that is as unstable as its protagonist’s.

“Schism” tells the story of Nola Riggs, portrayed with startling intensity by Cait Moira. Nola is a young woman grappling with mental illness while confined inside a psychiatric facility, a place that quickly reveals itself to be far more sinister than its sterile halls suggest. At its core, the movie is about one woman’s struggle to separate reality from hallucination, clarity from paranoia. Yet Moreno ensures that the audience experiences that struggle right alongside her. The narrative is not a clean, straightforward path as it bends and breaks, doubling back on itself in ways that confuse and unnerve. There are moments when it feels impossible to keep a firm grip on the story, and that is exactly the point. The confusion is part of the movie’s design, immersing the viewer in Nola’s fragmented psyche.

Cait Moira carries this movie with a performance that is both fearless and vulnerable. Her ability to swing between calmness, rage, confusion, and paranoia gives “Schism” its unpredictable heartbeat. One moment, her voice is steady, her gaze vacant, as though she is clinging to her sanity by the thinnest thread. The next, she erupts with sudden fury, her presence filling the room like a lightning strike. Then comes the paranoia with furtive glances, shifting posture, a tremor of dread that seeps into every gesture. Moira doesn’t play Nola as a collection of symptoms; she embodies the fragility and volatility of someone whose world is collapsing in on itself. Without her gripping performance, the movie’s deliberate disorientation might overwhelm the audience. Instead, she gives us something to hold onto, even as the floor constantly shifts beneath our feet.

The setting of the psychiatric facility amplifies this emotional whirlwind. Though Nola is not physically alone, the facility is designed and filmed in a way that magnifies isolation. Endless hallways stretch like mazes, sterile rooms feel more like cages, and even when other patients appear, they seem to emphasize her solitude rather than diminish it. The environment becomes an extension of Nola’s fractured state, a physical manifestation of her imprisonment both within the walls and within her own mind. The location is more than just a backdrop. The island and giant house it is a character, one that traps and suffocates as effectively as any antagonist. The small scenes of Nola walking through the house at night by candlelight are some of the most creepy moments in the movie. It leaves a lot to the audience’s imagination, without the filmmakers having to rely on simple, yet overused jump scares that most modern movies overuse.

Much of the movie’s dread comes from Moreno’s creative choices as writer and director. His filming style is deliberately claustrophobic, favoring shadows and disorienting perspectives. The camera lingers where it shouldn’t, blurs details we want to see clearly, and refuses to provide easy answers. Lighting is stark and unsettling, often suggesting hidden dangers lurking just beyond visibility. The writing mirrors this approach, scattering fragments of information without context, daring the viewer to assemble meaning from chaos. Moreno makes no attempt to coddle the audience. He wants us disoriented, frustrated, even paranoid, because those emotions mirror what Nola feels every step of the way.

The cinematography heightens that unease. Shots are composed with an almost suffocating intensity, trapping Nola in the frame as if the walls themselves are closing in. The pacing of edits mirrors the instability of the narrative that sometimes dragging in tense silence, other times cutting in jarring bursts that mimic mental collapse. Moreno and his cinematography team understand that fear is not only about what is seen but how it is seen. The visual design creates a constant sense of dread, where even stillness feels threatening.

While Cait Moira is the undeniable centerpiece, the supporting cast adds dimension to Nola’s fractured world. Annette Duffy, Hunter Phoenix, and Jesse Moreno populate the facility with presences that feel both familiar and menacing. They contribute to the movie’s atmosphere of mistrust every interaction leaves us wondering if these characters are allies, enemies, or figments of Nola’s imagination. Their performances avoid melodrama, instead adding subtle tension that keeps the audience guessing about everyone’s true intentions.

What makes “Schism” such a distinct experience is its willingness to be difficult. Many thrillers of this kind offer breadcrumbs, leading viewers toward a neatly wrapped conclusion. Moreno resists that temptation. He forces the audience into the same fractured headspace as his protagonist, letting confusion simmer until it becomes its own form of terror. At times, this approach can feel challenging, even alienating. Yet when the film’s threads finally begin to tie together, the payoff is powerful. The ending reframes everything that came before it, rewarding the audience for enduring the maze of uncertainty.

There is also an underlying darkness that lingers long after the movie ends. The sense of dread is not simply born from jump scares or sudden violence, but from the way the movie destabilizes the viewer. It is unnerving to realize how quickly trust can erode, how fragile perception can be, and how isolating the mind can become. “Schism” is not content with surface-level scares. It wants to haunt its audience on a deeper level, leaving them unsettled long after the credits roll.

In the end, “Schism” is a divisive horror movie, and that is by design. Some horror fans may find its twisting narrative frustrating, while others will appreciate its uncompromising dive into paranoia and disorientation. What cannot be denied is the craftsmanship at work. With Cait Moira delivering a powerhouse performance and Thor Moreno guiding the story with relentless tension, the movie succeeds in creating a psychological nightmare that feels both suffocating and strangely beautiful. For fans of horror that challenges perception and toys with the mind, “Schism” is more than worth the watch. It may not be universally loved, but it will not be easily forgotten.

Terror Films Releasing will premiere the movie across multiple platforms on September 5th, 2025, including Chilling, Scare Network TV, Kings of Horror, Watch Movies Now, Shocks & Docs, TFR’s official AVOD YouTube channel, and many more. Be sure to check out the movie for yourself on the official release date.

Christopher James 8/28/25 Christopher James 8/28/25

Check Out The Sinister September Releases For FOUND TV

Welcome to Sinister September! A month where the Found TV app becomes a vault of forbidden footage and cursed tapes, each one daring you to press play. These are not just movies, they are fragments of terror pulled from places we were never meant to see, abandoned houses, shadowed forests, and the minds of those who never made it back. Every release is a new descent into fear, where reality blurs and the camera will keep rolling long after it should have stopped. Watch carefully, some things were never meant to be found.

MARK YOUR CALENDARS FOR THESE RELEASES:

September 1: “Name the Demon” (2024) The story of David, in an effort to save his possessed wife Anna. This is the remaining footage that was painstakingly put together to help tell the story of this horrific night.

September 5: WORLD PREMIERE AND FOUND ORIGINAL “The McKinney Family Home Videos 2” (2025) Another tape is uncovered documenting the inner workings of The Church of the Holy Mother, it's leader Diana, and their God head Lilith.

September 9: “Yamidouga 4” (2012) Volume 4 in the ultimate horror video collection. The occult, the grotesque, the gruesome madness and criminal behavior of man and of course spiritualism.

September 11: “The Devil’s Door” (2022) A film crew follows a human trafficker to a tunnel for a pick-up of two illegal immigrants. When the tunnel is opened, an evil escapes leaving a trail of blood and death in its path. The crew fights to escape from a nightmare. The Devil’s Door where evil crossed the border. Only in Canada and the US.

September 15: WORLD PREMIERE “Paranoia Tapes: The Movie” (2025) YouTuber Clyde finds 'Jack Hunter's PARANOIA TAPES,' leading to terrifying scenarios tied to the number twelve. With friend Jack, they confront a malevolent force, racing to unravel a dark secret in 'Paranoia Tapes TWELVE.

September 19: “Shadows of Bigfoot” (2023) In the shadowy confines of Blackwood Forest, filmmakers exploring Bigfoot myths face their worst fears when a vengeful monster emerges, turning their project into a chilling fight for survival.

September 23: “Yamidouga 5” (2013) The pursuit of fear continues as we bring you volume 5 in the ultimate horror video collection.

September 25: “Conjuring Tapes” (2025) While sorting through their late friend's belongings, two women discover VHS tapes showing them in haunting, unfamiliar scenes, each one drawing them into the grasp of a mysterious, malevolent entity.

September 29: “Ghost Webcam” (2023) A young man under house arrest and his friends are haunted by an unknown force after logging onto a website that broadcasts images from a haunted room. Only in Canada and the US.

Christopher James 8/26/25 Christopher James 8/26/25

Game Show Meets Gore With The FRIGHT FEST 2025 “YOUR HOST” (2025)

In the crowded landscape within the world of modern horror, it takes a bold, yet creative idea to make audiences squirm in their seats, laugh nervously, yet immediate realize you’re in for one terrifying ride. This movie does just that by delivering a brutal blend of suspense, dark comedy and unrelenting gore-fueled terror lead b a sadistic gameshow host. Recently I got the chace to check out one of Frightfest 2025’s newest submission, “Your Host”. It is directed by DW Medoff and written by Joey Miller. The movie stars Academy Award-nominee Jackie Earle Haley, Ella-Rae Smith, Jamie Flatters, David Angland and Joelle Rae.

Synopsis

“Four 23-year-old friends go on a birthday retreat to a luxury cabin, while partying, they find a VHS Camcorder filming them from the woods. During the night they are drugged in their sleep by a man in all black who stays hidden in the shadows...but when they wake up, they find themselves in an abandoned factory transformed into a gameshow-like torture room.

Their captor is a deranged host in an orange-velvet suit with a terrifying mask who forces the friends to play games and hurts them if they lose. In a twist of fate, it seems this is not random abuse. The host has a connection to one of the friends and he keeps it a secret. He gives them all a chance to admit it was them, to set three free and kill the one. When his target victim doesn’t come clean, the brutal games continue. To survive, they must play unique and deadly games that only a psychotic gameshow host would invent. The host laughs as the friends betray, hurt, and eventually start to kill each other. But the only way to escape...is to win.”

The thrill of “Your Host” lies in its relentless pace and unflinching commitment to tension. Each sadistic game feels like a meticulously designed nightmare, blending psychological pressure with brutal physical consequences. One moment, contestants are forced to answer trivia questions where every wrong answer can cost flesh or bone. Where the next, they’re staring down spinning “Wheel of Pain”, praying luck keeps them intact. These sequences are staged with a cruel elegance, keeping viewers on edge as the rules shift, the stakes climb, and alliances crumble. The unpredictability of the challenges, each more inventive and horrifying than the last ensures the audience never has a moment to breathe.

The gore only heightened the experience for me as I watched this. The story is really what got me hooked. The gore does well as it walks a fine line between shocking and artful. Practical effects deliver bone-snapping realism without tipping into gratuitous excess, grounding the violence in gritty authenticity. Then at the center of it all stands Jackie Earle Haley as The Host (the crown jewel of terror in this movie), a sadistic showman who revels in orchestrating the chaos. His unsettling blend of charm and menace fuels the intensity, turning every game into a performance and every scream into applause. It’s this balance of brutal spectacle and captivating villainy that makes “Your Host” a pulse-pounding ride from start to finish.

Jackie Earle Haley is phenomenal in this movie. He is captivating, charming yet severely terrifying. As The Host, he controls the screen with unnerving charisma that completely kept my attention every time he was on my screen. He moves between playful jabs and sinister threats effortlessly, laughing at his victims one moment before unleashing horrors the next. Haley doesn’t play The Host as a mindless monster; he’s a showman of suffering, reveling in the spectacle while carrying the weight of a deeply personal grudge. Every gesture, every line of dialogue is layered with menace and a strange, magnetic charm that makes him impossible to look away from.

Ella-Rae Smith, Jamie Flatters, David Angland, and Joelle Rae deliver strong performances as the four trapped friends, though the movie’s story intentionally makes them hard to root for. As the games escalate, their true personalities emerge as selfish, greedy, scared, and manipulative. The tension between them becomes as dangerous as the games themselves. By the time the shocking finale arrives, the audience fully understands why these characters were never meant to be heroes, and why The Host had his sights set on them from the start.

Director DW Medoff leans into a gritty, claustrophobic style that makes the abandoned factory feel alive. The rusted pipes, flickering lights, and sinister game setups that look like they were designed by a madman with a budget. The way he directs his vision of the gore is visceral but never gratuitous. Each violent moment has weight, amplifying the psychological tension of the games. Practical effects and sharp editing create sequences that are shocking without feeling cartoonish, a rare feat in modern horror. This of course is due to a perfect partnership with writer Joey Miller and his phenomenal writing talent to make this story one for the record books in horror.

I won’t give any spoiler of course, but the ending hits hard. The final reveal about The Host’s connection to one of the friends changes the entire feel of what I thought when I watched it and everything that came before. The last act is brutal, emotional, and satisfyingly cruel, just exactly what you want from a horror film that thrives on moral ambiguity.

“Your Host” isn’t just another survival horror flick with a game like gimmick. It is a sharp, stylish, and darkly entertaining ride that thrives on its villain’s twisted charisma. Jackie Earle Haley’s performance is reason enough to take the time out of your busy day to day life of being an adult (or adulting as people say for some odd reason), sit back and enjoy this wonderful horror movie. You’re in for a cinematic adventure of a gritty atmosphere, inventive games, and shocking ending make this a standout release.

If you’re looking for a horror film that mixes sadistic games, intense gore, and dark humor, “Your Host” delivers a blood filled, sadistic satire that I couldn’t stop recommending to fellow horror fans. This twisted survival thriller stands out and one you don’t want to miss. So, the question is, when are you going to spin that wheel of pain and watch it for yourself?

“Your Host” from Benacus Entertainment in association with RNF Productions recently had it’s world premiere this year’s Frightfest and will be available worldwide October 14th on multiple platforms.

Christopher James 8/22/25 Christopher James 8/22/25

Found Footage vs. Narrative: Why “Hell House LLC: Lineage” Will Haunt You

Every horror fan has that franchise that is high on their list of favorites. It is one we rewatch, one that we constantly suggest people to watch and excitedly rush to a horror con in hopes to meet the people from the movies we enjoy. I fell in love with Terror Films Releasing’s “Hell House LLC” franchise the first time I watched it. Within minutes I was sitting on the edge of my seat as this made me feel like this franchise is going to be a nerve-rattling masterpiece of found footage horror. The Abaddon Hotel wasn’t just a spooky setting. It was a trap, a mystery, and a living, breathing entity that watches anyone foolish enough to walk through its halls. From the iconic shot of the creepy clown turning its head to the creepy girl in the background in Paul’s bedroom, these movies delivered scares that thrived on a terrifying but subtle atmosphere.

For years, this franchise stood as one of the best examples of how found footage could still be terrifying in an age when the sub-genre often felt overplayed. It gave the impression of raw authenticity, as though someone had stumbled onto forbidden footage and should never have pressed play. That immediacy is a big part of why I love found footage so much. It’s intimate, claustrophobic, and unnervingly voyeuristic.

So, when I learned that “Hell House LLC: Lineage” would move away from the found footage format and embrace a traditional narrative style, I felt a pang of worry. Could this franchise that is so rooted in the charm of its amateur camera work, pull off such a bold shift without losing its identity? Turns out, not only could it, but it did so with style, confidence, and some of the scariest moments the series has ever unleashed.

The first three Hell House LLC movies thrived on the illusion of authenticity. Found footage horror works because it locks the audience into a limited perspective, forcing us to see only what the camera sees. That means every shadow might hide a threat, and every slow pan feels like a potential heart attack waiting to happen.

The original film built dread through subtlety. Simple things like a door slightly ajar, a figure barely visible in the background, the knowledge that the characters were often filming their own demise without realizing it. In “Hell House LLC II: The Abaddon Hotel”, the mythology deepened, and the cameras became more than just tools; they were witnesses cursed to capture the hotel’s secrets. By the time we reached “Hell House LLC III: Lake of Fire”, the franchise had become a love letter to the format itself. Simply by embracing static cams, handheld chaos, and flickering night-vision shots that dared you to blink at the wrong time.

The franchise also helped revive interest in found footage at a time when audiences were growing tired of the gimmick. It reminded horror fans that the style could still feel innovative when paired with a strong mythology and carefully constructed tension. That is why the transition to narrative filmmaking in Lineage felt risky. Found footage had been part of the franchise’s identity from day one. Removing it could have been like pulling the batteries from a flashlight in a haunted basement. Sure, you can keep walking, but are you sure you want to?

What surprised me was how natural the shift felt. The mythology has always been the real backbone of these movies, not the camera format. Abaddon Hotel’s legends, rituals, its cursed history, and its connection to the living and the dead is what keeps me coming back. Lineage leans into that mythology with a sense of freedom the found footage approach sometimes restricted. All while taking a terrifying look into the domino effect of revenge can cause.

Instead of worrying about who’s holding the camera, the movie focuses on what the camera can reveal. Narrative filmmaking lets us see more of the world beyond Abaddon while keeping the hotel’s menace front and center. The result is a story that feels bigger, bolder, and shockingly more immersive than ever before.

One of my concerns (which to be honest I barely had any since in my opinion Stephen Cognetti can do no wrong) going in was that changing formats would dilute the established lore, making Lineage feel disconnected from the franchise’s roots. Thankfully that small fear was unfounded within the first couple of minutes into Lineage. The movie understands the sacred ground it walks on, both literally and figuratively.

The ghostly feel of the Abaddon Hotel still looms large, carrying the same sense of dread that made the first three movies unforgettable. We’re reminded that this isn’t just a haunted house; it’s a cursed legacy. A place where reality bends to accommodate evil. The narrative format doesn’t erase that history, it gives the filmmakers new ways to explore it, letting the camera linger on spaces we’ve only glimpsed before or adding depth to the chilling mythology of those who came before. This approach also allows the story to feel like a true conclusion. Even one that respects everything that came before it while daring to go places the franchise has never gone.

Here’s the part that really blew me away. “Hell House LLC: Lineage” has some of the most terrifying moments in the entire franchise. Especially coming from someone who still can’t think about that basement scene in the original movie without feeling the need to look down my own basement and say “Nope!”. There are some SERIOUS SCARY moments in Lineage that not only sucked me into the story, but gleefully scared the hell out of me. All I will say is carnival, stairs, red balls and fast paced scares to vaguely connect with the people who have already seen Lineage without spoiling anything (if you know you know).

By stepping outside the limitations of found footage, Stephen Cognetti and his team had room to experiment with new kinds of scares. In the earlier movies, the tension came from not being able to see everything. Masterfully filmed moments of corners cut off by shaky frames, hallways cloaked in shadows, static shots daring us to notice the smallest movements. In Lineage, the fear comes from the opposite perspective. The camera can see more, and what it reveals is often worse than anything we imagined.

This isn’t a movie that abandons subtlety for jump scares. Instead, it blends the creeping dread of its predecessors with the precision of a narrative camera. Moments are staged to misdirect, lull, and then strike with shocking intensity. It’s the cinematic equivalent of pulling the rug out from under your feet, only to discover something reaching up from the floor.

One of the many things I adore about this franchise is how deeply it reflects the passion of the people behind it. Horror isn’t just about murderous monsters, over used gore, unnecessary female nudity, and mayhem. It is about the craft of scaring an audience, the care put into atmosphere, and the small but largely felt details that make a fictional place feel like it has a heartbeat.

Lineage carries that same dedication. The performances feel raw and human, the setting feels lived-in and cursed, and the scares are executed with precision and love. It’s a reminder that horror thrives when filmmakers pour themselves into their work. They are not just to scare us, but to make us care about the world they’ve built.

I have a huge love not only for this franchise but the people involved. I have been lucky to have many of them join me for a fun chat on my podcast, but friendships I have gotten to build with them over time that has meant the world to me. These aren’t just people looking to make a quick buck off of horror, but giant horror fans like the rest of us. There is a lot of love for the genre in these movies and it shows with every frame of this and other movies in the franchise.

At its core, the Hell House LLC series has always been about more than just the way it’s filmed. It’s about the revolving madness of the past, the lure of mysteries that beg to be solved, and the human weakness that drives people to investigate despite knowing the danger.

I came to “Hell House LLC: Lineage” expecting to maybe miss the intimacy of found footage a little, but I left feeling like I’d just seen the franchise evolve without losing its soul that makes it so appealing to me and other horror fans. While I’ll always love the raw terror that comes from the POV and feel of found footage, the end of my viewing experience with Lineage feeling like the franchise had just given me the perfect next chapter we have been asking for since “Hell House Origins: The Carmichael Manor”. Lineage is bolder, scarier, and more ambitious than I dared to hope. The scares hit harder than ever, the lore feels richer, and the format shift only deepened my appreciation for what makes these movies special.

As a fan of this franchise for many years, I couldn’t ask for a better finale to a series that has given me so many sleepless nights. Do you think horror franchises should take bold risks like this, or should they stick to the style that originally scared us? Let me know online and don’t miss seeing this on the big screen, and on Shudder this fall!

Christopher James 8/14/25 Christopher James 8/14/25

FANTASTIC FEST 2025 Shares Their Epic Line Up

For two decades, Fantastic Fest has been the chaotic carnival where indie horror filmmakers trade in popcorn scares for boundary-pushing mayhem, daring audiences to embrace the bizarre. It’s where a micro-budget nightmare like “Terrifier” can carve out cult status and a fever dream like “The Witch” can cast its spell long before the mainstream catches on. With its track record of turning midnight oddities into genre milestones, could there be a more thrilling proving ground for horror’s future legends?

As a die-hard fan of both mainstream and indie horror, I nearly jumped out of my seat when Fantastic Fest dropped the news about its 2025 lineup. Last year was packed with heavy hitters, and this year looks set to raise the stakes even higher. With over 70 films announced and the promise of fresh nightmares waiting to be unleashed, Fantastic Fest’s 20th anniversary is shaping up to be nothing short of legendary. Here’s a glimpse at what’s coming:

From The Press Release:

Hear ye, hear ye! Step forth and feast thine eyes upon Fantastic Fest’s 20th anniversary lineup! Alamo Drafthouse Cinema’s Fantastic Fest is celebrating its 20th edition by bringing you a treasure trove of highly anticipated cinematic wonders from around the world. Featuring 45 World Premieres, 15 International and North American Premieres, and 13 U.S. Premieres that are guaranteed to delight and surprise you, complemented by unforgettable events and magnificent special guests. Celebrate with us at the legendary Alamo Drafthouse South Lamar in Austin, TX, from September 18th-25th, 2025.

“Fantastic Fest is turning 20, and we’re turning the fest into an 8 day celebration of cinematic excellence and excess,” says Festival Director Lisa Dreyer. “We’re bringing our audience an unprecedented number of world premieres this year, from highly anticipated titles to brand new discoveries, and supporting independent filmmakers even further with an exciting new pitch competition. The fest has grown immensely over the years, and we are proud to find new impactful ways to champion genre cinema and bring our audience the best of the best.”

“We’re excited to celebrate 20 years of Fantastic Fest at Alamo Drafthouse,” says Alamo Drafthouse CEO Michael Kustermann. “Fantastic Fest was created by Alamo Drafthouse Cinema to celebrate genre and horror films. We’re thrilled that these films continue to perform well at the box office and are honored to be the launchpad for our studio partners and independent filmmakers.”

Fantastic Fest 2025 opens in spectacular fashion, featuring the world premiere of Paramount’s “PRIMATE”, from Director Johannes Roberts, in which a group of friends’ tropical vacation turns into a terrifying, primal tale of horror and survival. Featuring an incredible ensemble cast led by Johnny Sequoyah and Oscar®-winning Troy Kotsur, PRIMATE is an unbelievably entertaining horror film, filled with gory mayhem, in theaters January 9, 2026.

The closing night film will be the world premiere of Independent Film Company and Shudder’s crowd-pleasing horror film “WHISTLE”, from director Corin Hardy (“THE NUN”) and writer Owen Edgerton. A group of high-school students discover an ancient Aztec death whistle that unleashes a deadly curse upon their town. As the teens are hunted down one by one to meet their deaths in spectacularly gruesome ways, it’s a race against time to discover how to stop the demonic force before it's too late.

Fantastic Fest is also thrilled to launch Fantastic Pitches this year, a new initiative to support filmmakers by providing $100,000 in funding and a global distribution deal from new genre-label Chroma. Finalists will pitch their projects live at the fest, in front of a jury composed of notable industry professionals, including director Matt Johnson (NIRVANA THE BAND THE SHOW THE MOVIE).

Major studio films include the world premiere of Sony Pictures’ Stage 6 Films & Screen Gems’ “SISU: ROAD TO REVENGE”, the world premiere of Paramount Pictures’ chilling new horror film from writer and director Bryan Bertino, “VICIOUS”, the world premiere of Universal Pictures and Blumhouse’s highly anticipated “BLACK PHONE 2”, the U.S. premieres of NEON’s “SHELBY OAKS” and Cannes jury-prize winner “SIRÂT”, the world premiere of Lionsgate’s “THE STRANGERS – CHAPTER 2”, the world premieres of Shudder’s latest installment of their popular franchise “V/H/S/HALLOWEEN”, and two episodes from the fan-favorite series “THE CREEP TAPES SEASON 2”, the Texas premiere of A24’s kinetic “IF I HAD LEGS I’D KICK YOU”, and the world premiere of Shudder's “CRAZY OLD LADY” from producer J.A. Bayona.

An esteemed jury of filmmakers, creatives and industry insiders will join us to bestow awards in four categories: Main Competition, Horror, Next Wave, and Shorts. Notable jurors include actor Patton Oswalt, director and musician Fred Durst, author Otessa Moshfegh, filmmakers Aaron Schimberg and Mercedes Bryce Morgan, producers Brandon Hill of Lionsgate, Lars Knudsen of Square Peg, Jose Cañas of Ghost House Pictures, and Shams Mohajerani of 75East, and festival notables Lisa Ogdie of Sundance, Mònica Garcia Massagué of the Sitges International Fantastic Film Festival, and Matt Pifko of Kanopy.

Other notable World Premieres include:

Ryan Prows’ “NIGHT PATROL” starring Jermaine Fowler, Justin Long, and RJ Cyler.
“COYOTES”, a survival thriller by Colin Minihan starring Justin Long and Kate Bosworth.
“HAUNTED HEIST”, Lil Rel Howery’s directorial debut, with Tiffany Haddish leading a hilarious all-star ensemble cast.
“DOLLY”, a terrifying slasher with unbelievable kills from Rod Blackhurst, shot on film.

The Events

Fantastic Fest has a variety of spectacular special events this year, including:

Castle Rat will bring their medieval heavy metal antics for the opening night party, presented by Shudder.
A celebration of the 20th anniversary of “The Masters Of Horror”, featuring Mick Garris, Don Coscarelli, and Ernest Dickerson in conversation.
A fundraiser for The Transgender Film Center, with exclusive merch from Super Yaki.
Live events throughout the week including a Ghoulish Book Fair, a medieval drag show hosted by the legendary Louisiana Purchase, Doug Benson’s “Movie Interruption”, an exclusive collection of video oddities from “The Found Footage Festival”, and more.
And finally, Fantastic Fest classics like the Fantastic Feud, the Fantastic Debates, and an epic Closing Night Party at a secret location to close out the week.

Rapturous Restorations and Other Rarities

Once again, we are partnering with our friends at the American Genre Film Archive to bring a selection of restorations to the festival, including the world premiere of the preservation of the bloody slasher “EMBALMER”, with visionary Director S. Torriano Berry in attendance, a screening of the newly restored greatest shark film of all time “CRUEL JAWS”, and a 35mm screening of the Thai action thriller “CHOCOLATE”.

Formed in 2009, the American Genre Film Archive (AGFA) is a 501(c)(3) non-profit dedicated to preserving the legacy of genre movies through collection, conservation, and distribution.

Fantastic Fest is proud to work with distributors dedicated to the art of preservation, and the lineup includes world premieres of the new 4K restoration of “THE BRIDE OF RE-ANIMATOR” from Eagle Rock Pictures, Chroma’s 4K restoration of “BEFORE THE FALL” from alumnus F. Javier Gutierrez, the French oddity “FOLIES MEURTRIÈRES” from Bleeding Skull, the new digital preservation of Doris Wishman’s “DILDO HEAVEN” from Muscle Releasing, the 4K restoration of “HIDE AND GO SHRIEK” from Graveface Films which is a subsidiary of Terror Vision Home Video, and the 4K restoration of “FREAKED” starring Alex Winters from Drafthouse Films. More notable restorations include the 4K restoration of the cult classic animation “ANGEL’S EGG” from GKids.

Burnt Ends, Fantastic Fest’s sidebar dedicated to micro-budget outlier cinema, is back for its third year with an animation block that features the world premieres of the stop-motion masterpiece “THE SHRINE OF ABOMINATIONS” from Skinner & Ross Kennedy, a hand drawn wonder “ANIMAL MATH” from Robbie C. Ward, and the comedic “GIRLS NIGHT OUT” from Ashley Sengstaken, world premieres of the horror comedy “THEATER IS DEAD”, and the inventive thriller “DINNER TO DIE FOR”, and “TIE MAN”, a pulpy and offbeat crime thriller.

We are grateful to our partners at Shudder for supporting Fantastic Fest this year including sponsoring the opening night party. As they celebrate their 10th anniversary, they have screened films and/or acquired films every year out of the festival, truly ringing in a decade of screams in the heart of the genre festival community.

Fantastic Fest is proud to present 78 feature films, as well as a variety of short film selections to be announced at a later date — all showcasing World, North American, U.S. and Regional Premieres. See below for the full lineup of feature film programming at this year’s festival.

FILM LINEUP FOR FANTASTIC FEST 2025:

“13 DAYS TILL SUMMER”

Poland, 2025

International Premiere, 80 min

Director - Bartosz M. Kowalski

Two siblings and their friends fight for survival when a masked killer breaks into their home, intent on hunting them down one by one.

“ANGEL’S EGG”

Japan, 1985

US Premiere of 4K Restoration, 73 min

Director - Mamoru Oshii

The 4K restoration of Mamoru Oshii and Yoshitaka Amano’s masterpiece, ANGEL'S EGG, lands on our screens for its US premiere four decades after its initial release.

“APPOFENIACS”

USA, 2025

North American Premiere, 88 min

Director - Chris Marrs Piliero

The use of AI technology reaches its most violent and bloody conclusion after a series of deepfake videos are unleashed into the world.

“BAD HAIRCUT”

USA, 2025

World Premiere, 110 min

Director - Kyle Misak

On what will become the strangest night of his life, Billy's new haircut escalates into a fight for survival as the eccentric behavior of his local barber, Mick, slowly gives way to reveal a deeply troubled mind.

“BEAST OF WAR”

Australia, 2025

North American Premiere, 87 min

Director - Kiah Roache-Turner

Australia, WWII. After escaping their sinking ship, a group of Aussie soldiers left adrift on a life raft find themselves hunted by a relentless, deadly great white shark.

“BEFORE THE FALL”

Spain, 2008

World Premiere of Chroma’s 4K Restoration, 93 min

Director - F. Javier Gutierrez

A 4K restoration of BEFORE THE FALL, the previously hard-to-find seminal work from Fantastic Fest alumnus F. Javier Gutiérrez, is an apocalyptic sci-fi horror that will scare you for at least tres días.

“BLACK PHONE 2”

Canada, 2025

World Premiere, 114 min

Director - Scott Derrickson

Four years ago, Finn killed his abductor and escaped, becoming the sole survivor of the Grabber. But true evil transcends death…As Gwen begins to receive calls in her dreams from the black phone and experience disturbing visions, her determination to solve the mystery will lead her and Finn to a snowed-in winter camp and a shattering discovery about the Grabber and their own family’s history.

“BODY BLOW”

Australia, 2025

World Premiere, 99 min

Director - Dean Francis

An undercover cop finds his commitment to the force tested when he falls for a young twink deep in debt to a vicious drug lord in this kinky neon-noir.

“BRIDE OF RE-ANIMATOR”

USA, 1990

World Premiere of 4K Restoration, 96 min

Director - Brian Yuzna

Dr. Herbert West’s existential crisis… err… quest to create life continues in this cult classic, lovingly restored in 4K, as he and fellow doctor turned mad scientist Dan Cain attempt to create the perfect woman.

“BULK”

UK, 2025

North American Premiere, 92 min

Director - Ben Wheatley

Ben Wheatley is back with a truly unique and genre-bending film that will take you through a kaleidoscopic lo-fi sci-fi fever dream.

“CAMP”

Canada, 2025

World Premiere, 111 min

Director - Avalon Fast

Emily takes a job as a counselor at a summer camp and finds a coven of witches ready to show her a path to healing.

“CHOCOLATE” (Presented by AGFA)

Thailand, 2008

35mm Screening, 110 min

Director - Prachya Pinkaew

AGFA presents a 35mm screening of the 21st century Thai martial arts classic.

CINEMA RECOMPOSED -“ YEAR ONE: The Work of Max Fleischer”

World Premiere Special Event, 75 min

Composers - Alana Reale, Eloise NG, Fiona Gerhke, Iggy Rosado, Kevin Leysath II, Riya Kumar, & Somesh Yatham

Seven composers between the ages of 17 and 24 compose new scores for silent classics under the mentorship of some of the industry's top professionals.

“COYOTES”

USA, 2025

World Premiere, 91 min

Director - Colin Minihan

A kinetic thriller with teeth led by real-life partners Justin Long and Kate Bosworth.

“THE CRAMPS: A PERIOD PIECE”

USA, 2025

World Premiere, 89 min

Director - Brooke H. Cellars

A vibrant collision of horror, comedy, and aching personal truth as seen through the eyes of a young woman dealing with the pain of her menstrual cramps.

“CRAZY OLD LADY”

Argentina, Spain, 2025

World Premiere, 94 min

Director - Martín Mauregui

A man is held captive by his ex-girlfriend’s senile mother, who mistakes him for her husband from the time of the Argentine dictatorship after forgetting to take her medication.

“THE CREEP TAPES” Season 2 (Two Episodes)

USA, 2025

World Premiere

Director - Patrick Brice

Mark Duplass and Patrick Brice, writers and executive producers of the fan favorite CREEP franchise, are back for an exclusive first look at two episodes from the series’ highly anticipated second season, which will continue to unravel the mind of this secluded serial killer (Duplass) who lures videographers into his world with the promise of a paid job documenting his life. Unfortunately, as the tape rolls, the killer’s questionable intentions surface with his increasingly odd behavior and the victims will learn they may have made a deadly mistake.

“CRUEL JAWS” (Presented by AGFA)

Italy, 1995

Texas Premiere of Restoration, 93 min

Director - Bruno Mattei

AGFA presents Severin Film's brand-new restoration of Bruno Mattei's frenetic Italian ripoff of the original sharktastic classic.

“CRUSHED”

UK, 2025

North American Premiere, 101 min

Director - Simon Rumley

A family is suddenly thrust into an unimaginable nightmare when their young daughter is kidnapped. As they relentlessly search for her, they uncover a dark underbelly of society that will shake them to their core.

“THE CURSE”

Japan, Taiwan, 2025

World Premiere, 94 min

Director - Kenichi Ugana

A Japanese girl, Riko, travels to Taiwan to track down the motive behind a friend's bizarre death, which seems linked to strange social media posts in this violent curse movie.

“DAWNING”

Norway, 2025

World Premiere, 109 min

Director - Patrik Syversen

Norwegian director Patrik Syversen weaves an unsettling, genre-bending tale of terror set deep in the isolated Nordic wilderness.

“DEATHGASM 2: GOREMAGEDDON”

New Zealand, Canada, 2025

World Premiere, 102 min

Director - Jason Lei Howden

DEATHGASM is fucking back, baby, and the only way Brodie can win the Battle of the Bands is to bring his band back from the dead. This time the fiery furnaces of Satan's anus have brought forth nothing short of a GOREMAGEDDON.

“DEATHSTALKER”

Canada, 2025

North American Premiere, 99 min

Director - Steven Kostanski

When a ruthless warrior named Deathstalker steals a mysterious amulet from a dying man, he’s unwillingly thrust into a quest to stop the dark sorcerer Necromemnon and save the world from destruction.

“DECORADO”

Spain, 2025

World Premiere, 95 min

Director - Alberto Vázquez

The team behind UNICORN WARS returns with the feature-length adaptation of Alberto Vázquez’s DECORADO for a darkly comic reflection on the artifices ruling our lives.

“DILDO HEAVEN”

USA, 2002

World Premiere of Restoration, 79 min

Director - Doris Wishman

Three young roommates, Lisa, Beth, and Tess, share the same goal of hooking up with their respective male bosses in this unreleased—and newly preserved—final film from the legendary "Queen of Sexploitation," Doris Wishman.

“DINNER TO DIE FOR” (Burnt Ends Selection)

South Africa, 2025

World Premiere, 75 min

Director - Diana Mills Smith

Diana Mills Smith goes off-menu for her first feature. A sexy culinary horror meets true crime fantasy role-play that will leave you licking your lips.

“DISFORIA”

Spain, 2025

World Premiere, 82 min

Director - Christopher Cartagena

Live-streamed games of torture on the dark web collide with a desperate mother’s fight for survival.

“DOLLY”

USA, 2025

World Premiere, 84 min

Director - Rod Blackhurst

A young woman, Macy, fights for survival after being abducted by a deranged, monster-like figure who wants to raise Macy as their child. A daring blend of New French Extremity and 1970s American horror.

“DON’T LEAVE THE KIDS ALONE”

Mèxico, 2025

US Premiere, 97 min

Director - Emilio Portes

Brothers Matías and Emiliano are left to their own devices in their new family home—what starts off as an exciting adventure quickly gives way to the existing fraternal tension and turns into a nightmare in this chilling psychological horror.

“DRACULA”

Romania, 2025

North American Premiere, 170 min

Director - Radu Jude

Radu Jude, arguably Romania’s greatest living filmmaker, sinks his teeth into redefining Dracula for a new generation. In 14 chapters and over the course of three hours, Jude holds nothing back, especially genitalia.

“EMBALMER” (Presented by AGFA)

USA, 1996

World Premiere of Preservation, 83 min

Director - S. Torriano Berry

AGFA presents a new preservation of the essential '90s horror gem with director S. Torriano Berry in person.

“THE EVIL THAT BINDS US”

Chile, Mexico, 2025

World Premiere, 97 min

Director - Nico Postiglione

In 1950s rural Chile, 13-year-old Daniel is sent to live with his German relatives while his father is away on business—only to clash with their rigid ways and uncover a dark secret that ignites his fury.

“FIND YOUR FRIENDS”

USA, Italy, 2025

US Premiere, 93 min

Director - Izabel Pakzad

A girls trip goes terribly wrong in this exciting first feature that’s part hangout film, part revenge thriller.

“FOLIES MEURTRIÈRES” (Presented by BLEEDING SKULL)

France, 1984

World Premiere, 49 min

Director - Antoine Pellissier

Bleeding Skull presents a restoration of the dreamlike 1980s slasher from France.

“THE FORBIDDEN CITY”

Italy, 2025

US Premiere, 138 min

Director - Gabriele Mainetti

A martial artist, an Italian chef, a gangster, and about a hundred henchmen walk into a Chinese restaurant. Fighting ensues.

“FREAKED”

USA, 1994

World Premiere of 4K Restoration, 80 min

Directors - Tom Stern & Alex Winter

Show business collides with carnival magic when a vain megastar, his pal, and a bleeding-heart environmentalist are transformed into the latest attractions at a mad scientist’s freak show in Alex Winter and Tom Stern’s Gen X surrealist comic cavalcade.

“FUCK MY SON!”

USA, 2025

US Premiere, 96 min

Director - Todd Rohal

Irreverent does not even begin to describe this X-rated adaptation of Johnny Ryan’s eponymous graphic novel. Kidnapped by a deranged old woman, a young mother looks for the least unpleasant way to save herself and her daughter.

“HAUNTED HEIST”

USA, 2025

World Premiere, 87 min

Director - Lil Rel Howery

Four dysfunctional ex-friends reunite at a shady Airbnb—only to learn one of them dragged the others there to help steal a hidden antique. Too bad the place is haunted by racist ghosts.

“HER WILL BE DONE”

France, Poland, 2025

North American Premiere, 99 min

Director - Julia Kowalski

Nawojka has a secret. Well, two, if you count her confusing crush on the bad girl next door, but mostly it’s the inescapable, blood-craving curse she inherited from her mother.

“HIDE AND GO SHRIEK”

USA, 1988

World Premiere of 4K Restoration, 90 min

Director - Skip Schoolnik

A group of teens lock themselves inside a furniture store to party after graduation, unaware that a killer is lurking among the mannequins. As the lights go out, the night turns into a deadly game of hide-and-seek as they fight to survive.

“THE HOLY BOY”

Italy, Slovenia, 2025

International Premiere, 125 min

Director - Paolo Strippoli

After the loss of his son, Sergio accepts a teaching position in a quiet Italian town—where he meets a boy with a mysterious ability to ease his grief.

“HONEY BUNCH”

Canada, 2025

US Premiere, 113 min

Directors - Madeleine Sims-Fewer & Dusty Mancinelli

Is your love strong enough? The filmmaking duo behind VIOLATION returns with a gauzy, fragmented throwback to ‘70s psychodramas.

“THE ICE TOWER”

France, 2025

US Premiere, 118 min

Director - Lucile Hadžihalilović

A runaway orphan finds refuge within a surreal film set in Lucile Hadžihalilović’s haunting, dreamlike reimagining of The Snow Queen—a hypnotic tale of identity, obsession, and cinematic enchantment.

“IF I HAD LEGS I’D KICK YOU”

USA, 2025

Texas Premiere, 113 min

Writer-Director - Mary Bronstein

Cast - Rose Byrne, Conan O’Brien, Danielle Macdonald, with Christian Slater and A$AP Rocky

With her life crashing down around her, Linda (Rose Byrne) attempts to navigate her child's mysterious illness, her absent husband, a missing person, and an increasingly hostile relationship with her therapist.

“LUGER”

Spain, 2025

World Premiere, 95 min

Director - Bruno Martín

Two low-level fixers contend with an art collector, a greedy lawyer, a pack of Neo-Nazis, and a host of other shady characters when they end up in possession of a valuable German Luger in this bloody thriller.

“LUNATIC: THE LUNA VACHON STORY”

Canada, 2025

International Premiere, 105 min

Director - Kate Kroll

Chaos reigns in this documentary exploring the life, mental health, and career of longtime fan-favorite wrestler Luna Vachon as she struggles to balance being a wife, mother, and pioneer of legitimate women’s wrestling.

“MĀRAMA”

New Zealand, 2025

US Premiere, 89 min

Director - Taratoa Stappard

A Dark Sky Films & Watermelon Pictures release

Mary, a young Māori woman, travels to Victorian England after receiving a letter promising information about her birth parents. As she peels back the layers of colonial deceit, Mary is driven to avenge her shattered ancestry.

“MEAT KILLS”

The Netherlands, 2025

World Premiere, 86 min

Director - Martijn Smits

The night takes a dark turn when a group of activists break into a pig farm to free mistreated animals and find themselves face-to-face with an extremely angry farmer.

“MOTHER OF FLIES”

USA, 2025

US Premiere, 93 min

Directors - Toby Poser, John Adams, & Zelda Adams

A young woman suffering from a life-threatening illness ventures deep into the woods to seek the help of a mystical healer offering an unconventional cure.

“NESTING”

Canada, Switzerland, 2025

International Premiere, 103 min

Director - Chloé CINQ-MARS

A new mother is plagued by visions as her life spirals out of control.

“NIGHT PATROL”

USA, 2025

World Premiere, 104 min

Director - Ryan Prows

An LAPD officer assigned to his old neighborhood is drawn back into gang life after his brother witnesses a brutal murder linked to the city's infamous gang task force.

“NIGHT STAGE”

Brazil, 2025

Texas Premiere, 117 min

Directors - Marcio Reolon & Filipe Matzembacher

A young actor competes with his roommate and fellow actor for a coveted role while striking up a charged relationship with a closeted politician with a fetish for sex in public places.

“OBSESSION”

USA, 2025

US Premiere, 112 min

Director - Curry Barker

A desperate wish for love goes terribly wrong in this horrific cautionary tale from Director Curry Barker.

“PENANCE” (Burnt Ends Selection)

USA, 2025

World Premiere, 117 min

Director - Nikolas Pelekai

A blood-soaked tale of brotherhood and retribution. Guaranteed to be the most fists flying in 2025.

“THE PIANO ACCIDENT”

France, 2025

North American Premiere, 88 min

Director - Quentin Dupieux

A social media star hides out in a mountain chalet looking for respite when a call from a ruthless journalist drastically alters the course of her solitary getaway.

“THE PLAGUE”

Romania, USA, 2025

North American Premiere, 95 min

Director - Charlie Polinger

It’s survival of the fittest at a pre-teen summer water polo camp, where rigid hierarchies and social alienation give way to psychological torment in Charlie Polinger’s searing and masterful debut feature.

“PRIMATE”

USA, 2025

World Premiere, 89 min

Director - Johannes Roberts

A group of friends’ tropical vacation turns into a terrifying, primal tale of horror and survival.

“REFLECTION IN A DEAD DIAMOND”

Belgium, Luxembourg, Italy, France, 2025

Texas Premiere, 87 min

Directors - Hélène Cattet & Bruno Forzani

An aging superspy with a fading memory recounts his past life in this stylish blast of Euro hyper-pulp from masters Hélène Cattet and Bruno Forzani.

“THE RESTORATION AT GRAYSON MANOR”

Ireland, 2025

World Premiere, 90 min

Director - Glenn McQuaid

After losing both hands in an accident, Boyd Grayson becomes the prime candidate for an experimental replacement procedure in this queer, campy, erotic horror.

“ROAD TO VENDETTA”

Hong Kong, Japan, 2025

World Premiere, 108 min

Director - NJO Kui Ying

From the mean streets of Hong Kong to the nightclubs of Tokyo, a lone unnamed assassin tears a bloody swathe through Asia’s neon-drenched underworld in this eye-catching debut from a noteworthy new voice in genre filmmaking.

“SHELBY OAKS”

USA, 2025

US Premiere, 91 min

Director - Chris Stuckmann

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

“SHRINE OF ABOMINATIONS” (Burnt Ends Selection)

USA, 2025

World Premiere, 38 min

Directors - Skinner & Ross Kennedy

A stop-motion cosmic horror from artists Skinner and Ross Kennedy.

“SILENCIO”

Spain, 2025

North American Premiere, 56 min

Director - Eduardo Casanova

Generations of vampires face persecution, meditate on the nature of human disease, and fall in love in this stylish, century-spanning tale of blood.

“SILVER SCREAMERS”

Canada, 2025

World Premiere, 94 min

Director - Sean Cisterna

When filmmaker Sean Cisterna discovers a subsidy to support senior activities, he rallies a group of retirement home residents to create a horror short film.

“SIRÂT”

France, Spain, 2025

US Premiere, 115 min

Director - Oliver Laxe

A father and his son journey to an illegal rave party south of Morocco, searching for his missing daughter. As they follow a group of ravers deeper into the desert, trouble begins to unfold.

“SISU: ROAD TO REVENGE”

Finland, USA, 2025

World Premiere, 88 min

Director - Jalmari Helander

A wall-to-wall cinematic action event, a sequel to the original sleeper hit SISU. Returning to the house where his family was brutally murdered during the war, “the man who refuses to die” (Jorma Tommila) dismantles it, loads it on a truck, and is determined to rebuild it somewhere safe in their honor. When the Red Army commander who killed his family (Stephen Lang from DON’T BREATHE) comes back hellbent on finishing the job, a relentless, eye-popping cross-country chase ensues - a fight to the death, full of clever, unbelievable action set pieces.

“SKYLINE: WARPATH”

UK, France, Indonesia, 2025

World Premiere, 96 min

Director - Liam O’Donnell

Iko Uwais leads a group of humans in a fight against an extraterrestrial threat in the latest installment in the SKYLINE franchise, bringing Scott Adkins along for the no-holds-barred, action mega-brawl.

“THE STRANGERS – CHAPTER 2”

USA, 2025

World Premiere, 98 min

Director - Renny Harlin

The Strangers are back – more brutal and relentless than ever. When they learn that one of their victims, Maya (Madelaine Petsch), is still alive, they return to finish what they’ve started. With nowhere to run and no one to trust, Maya must survive another horrific chapter of terror as The Strangers – driven by a senseless, unceasing purpose – pursue her, more than willing to kill anyone who stands in their way.

“THEATER IS DEAD” (Burnt Ends Selection)

USA, 2025

World Premiere, 88 min

Director - Katherine Dudas

When a young would-be starlet lands the lead in a prestigious production, she quickly finds the dark side of the limelight. Who knew such a large intersection existed between theater kids and horror freaks?

“TIE MAN” (Burnt Ends Selection)

Canada, 2024

International Premiere, 99 min

Director - Rémi Fréchette

The psychotronic vigilante revenge rollercoaster we have all been waiting to ride. If Frank Henenlotter and David Cronenberg remade ROBOCOP, they would only be edging on TIE MAN.

“THE TREE OF KNOWLEDGE”

Portugal, France, 2025

World Premiere, 100 min

Director - Eugène Green

Gaspard, a teenager from the suburbs of Lisbon, falls into the hands of the Ogre, a man who has made a pact with the Devil.

“A USEFUL GHOST”

Thailand, 2025

US Premiere, 130 min

Director - Ratchapoom Boonbunchachoke

A luminous genre hybrid that blends supernatural fantasy with dark romantic comedy and heartfelt human drama.

“V/H/S/HALLOWEEN”

USA, 2025

World Premiere, 115 min

Directors - Bryan M. Ferguson, Casper Kelly, Micheline Pitt-Norman & R.H. Norman, Alex Ross Perry, Paco Plaza, Anna Zlokovic

A collection of Halloween-themed videotapes unleashes a series of twisted, blood-soaked tales, turning trick-or-treat into a struggle for survival.

“VICIOUS”

USA, 2025

World Premiere, 103 min

Director - Bryan Bertino

When Polly (Dakota Fanning) receives a mysterious Box from an unexpected late-night visitor, it comes with a simple instruction: place three things inside: something you need, something you hate, and something you love. What begins as a strange ritual quickly unravels into a waking nightmare. Trapped in a terrifying world where reality bends and memory betrays, Polly must navigate a series of impossible choices. As time slips away, she’s forced to confront the darkness not just around her, but within her—before it consumes everything and everyone she’s ever known.

“THE VILE”

UAE, USA, 2025

World Premiere, 97 min

Director - Majid Al Ansari

Amani, a devoted wife and mother, finds her life slowly unraveling when her husband returns home with a second wife—bringing with her an insidious darkness that begins to infiltrate every aspect of Amani’s existence.

“WHEN WE WERE LIVE”

USA, 2025

World Premiere, 93 min

Director - John Spottswood Moore

Austin, Texas is home to the oldest continuously operating public access TV station in the country, and this documentary celebrates the original creators who made the station such a vibrant, unique community.

“WHISTLE”

Canada, Ireland, 2025

World Premiere, 85 min

Director - Corin Hardy

A misfit group of unwitting high school students stumble upon a cursed object, an ancient Aztec Death Whistle. They discover that blowing the whistle and the terrifying sound it emits will summon their future deaths to hunt them down. As the body count rises, the friends investigate the origins of the deadly artifact in a desperate effort to stop the horrifying chain of events that they have set in motion.

“A WOMAN CALLED MOTHER”

Indonesia, 2025

World Premiere, 119 min

Director - Randolph Zaini

Vira and her family move to a new city for a fresh start after a difficult few years, but the demon following them will force them to confront their most primal fears.

Stay tuned to I Love Horror Movie Reviews for the reviews of these amazing movies lined up for Fantastic Fest 2025!

Christopher James 8/13/25 Christopher James 8/13/25

TERROR FILMS RELEASING Teams Up With Thor Moreno For Psychological Thriller “SCHISM”

Terror Films Releasing isn’t just in the horror business, they’re in the business of making your nightmares binge-worthy. With a fearless appetite for offbeat, boundary-pushing scares, they pluck the creepiest, most original visions from the shadows and catapult them into the spotlight. Their movies don’t just entertain, they crawl under your skin. They’re movies can even set up camp in your mind, and dare you to sleep with the lights off. So, what’s your favorite Terror Films Releasing movie?

Recently Terror Films Releasing shared some news with me regarding a new release to their newest addition to their line of already great horror movies. The new movie they have coming out is the upcoming psychological thriller. The movie stars Cait Moira, Annette Duffy, Hunter Phoenix, and Jesse Moreno. It is written/directed by Thor Moreno. The movie follows Nola Riggs, a young woman battling mental illness, who uncovers sinister truths in a psychiatric facility. Moreno shared his thoughts about the making of the movie in a recent press release from Terror Films Releasing:

From The Press Release

“Schism is a thriller that explores the unsettling fractures between perception and reality, a narrative that refuses to offer easy answers. As the director, I’m proud of how the film invites the audience into a world that’s both intimately human and eerily off-kilter. Every frame is designed to feel like something is slightly wrong, even in moments of stillness, mirroring the emotional dissonance of our protagonist. Schism is not just a story; it’s an atmospheric descent into the quiet madness that lies just beneath the surface of ordinary life.”

TFR will premiere the movie across multiple platforms on September 5th, 2025, including Chilling, Scare Network TV, Kings of Horror, Watch Movies Now, Shocks & Docs, TFR’s official AVOD YouTube channel, and many more. Stay tuned here for the review for this movie coming out soon.

Whether it’s slashers in the woods, ghosts in the attic, or killers in the cornfield, ILHM Reviews brings you the frightful horror flick recommendations worth watching. Follow us on Instagram, be sure to listen to the the "I Love Horror" podcast and remember that if you’re a true fan of horror, every night can be a FRIGHT NIGHT!

Christopher James 8/11/25 Christopher James 8/11/25

“MEATHOOK” Is A Blood-Soaked Slasher You Need To See

Horror movies aren’t usually in on their own joke. They sprint straight to the point: there’s a killer, there are victims, and—if the horror gods smile on us—a decapitation or two. Every so often, though, we’re treated to the rare brilliance of meta horror, a film that knows exactly what it is and has fun with it. Ever since Wes Craven’s genre-shaking Scream carved its way onto the big screen, self-aware scares have become a fan-favorite sub-genre. Most directors try to bottle that same lightning; few get close, but every now and then, one comes surprisingly near. The latest to sharpen its blade in that self-aware arena is “Meathook”, Terror Films Releasing’s newest addition, bringing together Rene Leech, Havon Baraka, Buddy “Doc” Clements, and David Alan Graf under the wickedly imaginative writing/directing of Jermy Ashley.

Synopsis

“Two years after the horrific massacre of her friends by an infamous killer, recluse Jordyn (Rene Leech) grapples with her past. When a string of similar murders occurs, Jordyn must face her fears head-on with the help of a true-crime podcaster Grayson (Havon Baraka).”

When I first sat down to watch “Meathook”, I expected another serviceable slasher with a catchy title and a pile of bodies. What I didn’t expect was a brilliantly sharp, hilariously self-aware, and surprisingly heartfelt ride. Its as much about survival after the carnage as it is about the carnage itself. Jeremy Ashley, both writing and directing, takes the well-worn "final girl" trope, drags it kicking and screaming into the spotlight. It forces us to consider what happens when the credits roll, not for the killer, not for the cops, but for the person left standing when everyone else is gone. And let me tell you, he does it with style.

Ashley’s approach to horror is the kind of fresh thinking the genre is constantly craving but rarely gets. Sure, I’ve seen “aftermath” explored in horror before, but not with this much wit, confidence, and perfectly judged meta-comedy. The humor never undercuts the fear; it sharpens it. Every part of the plot lands like a scalpel—precise and designed to make you both feel the fear of the main character, and chuckle at the jokes they throw in. I found myself grinning at clever digs at horror clichés one minute, then clutching the armrest in genuine dread the next. That balancing act is no easy feat, but Ashley makes it feel effortless, like he’s been steering a blockbuster horror franchise for decades rather than making what is, somehow, only one entry in his growing cinematic arsenal.

The heart of the movie is Rene Leech as Jordyn, and I’ll say this without hesitation that this is a career-defining performance. Leech manages the tricky duality of being both brittle and unbreakable. Jordyn is not some screaming caricature of trauma; she’s layered, complicated, sometimes infuriating, and always real. You see the toll those two years of trauma have taken, and you feel the way her paranoia seeps into every breath she takes. It’s in the way she flinches at the sound of a dropped pan, in the way her eyes dart when someone knocks on her door, and in the way her voice catches mid-sentence when the past sneaks up on her. Leech makes Jordyn a flesh-and-blood person first, horror heroine second, and that makes the film’s scares hit even harder.

Then there’s Havon Baraka, who absolutely crushes it as the true-crime podcaster who coaxes Jordyn back into the world. I’ve seen plenty of “quirky sidekick” characters in horror, but Baraka sidesteps the stereotype. His character has a natural charisma that feels genuine, not manufactured for comic relief. When he drops a joke, it’s not a wink at the audience—it’s part of the rhythm of who he is. Baraka’s energy is infectious, and his chemistry with Leech is the kind of slow-burn trust-building that makes their dynamic believable. They’re not instantly bonded by the situation; they circle each other warily until necessity forces them to close the gap. You also get to see his depth when it comes to him suffering from his own past trauma. You can see that he and Jordyn are two sides of the same coin.

Buddy "Doc" Clements deserves his credibility also. His role (without spoiling too much) starts as a background player, but by the midpoint, he’s a fully immersed character in the movie’s intricate plot. Clements brings a subtle gravitas. He grounds his scenes that could have easily tipped into absurdity, simply by bordering a not too serious but campy cop. His presence has that rare, yet old-school horror charm. The kind that makes you feel like the movie is whispering, “Don’t get too comfortable, things may go off the rails.”

Of course I would be crazy not to highlight David Alan Graf’s performance as Wayne Carver aka Meathook. He takes what could have been a straightforward frightening role and injects it with a dangerous unpredictability. Graf’s performance is the kind that keeps you guessing about his character’s motives until the final reel. He has this uncanny ability to make even the most innocent line of dialogue feel like it’s hiding something sinister. He takes a hybrid approach of blending Michael Myers with Jason Voorhees, but completely makes it his own. Watching him work is like trying to read a horror novel where someone has ripped out every third page. You can’t stop watching while he is on screen, and you need to know what his next move will be. It makes you never want to look away, even for a moment.

What elevates “Meathook” beyond a clever concept and strong performances is Ashley’s absolute mastery of tone. This is a horror film that’s not afraid to be playful, but it’s never frivolous. The kills are creative without tipping into parody, brutal without being gratuitous. There’s a craftsmanship in how they’re staged, with Ashley understanding that sometimes the most terrifying thing is what you don’t see. He’ll let a shadow move in the background, or hold the camera just long enough for your mind to fill in the worst possible image. I could practically feel my pulse slow and then spike on cue.

The meta-comedy elements are where Ashley really flexes his creativity. There’s a running thread with the glances at the camera, or the behind the scenes filming look that hits perfectly. The movie also does well with poking at our fascination with the macabre true crime elements that fascinate most people, but it does so without shaming the audience. Instead, it slyly reminds us that behind every sensationalized “story” is a living, breathing person, someone like Jordyn. Someone who doesn’t get the luxury of skipping to the end of the episode.

One of my favorite aspects of “Meathook” is how it resists the urge to turn Jordyn into a superhero by the finale. Yes, she fights back, but it’s messy, desperate, and fueled as much by fear as by bravery. There’s no tidy catharsis here, and that’s exactly why the ending sticks. Ashley understands that true horror doesn’t wrap itself in a neat bow. It lingers. It festers. It forces you to carry it home with you.

Visually, the movie is a treat. The cinematography leans into contrasting an almost fogged light filtered the movie. All of this perfectly highlights Jordyn’s isolating home life, saturated reds and deep shadows for some of the violent sequences. It’s the kind of visual storytelling that makes you feel the emotional temperature of each scene without a single word spoken. The camera often lingers on Leech’s face just a beat longer than comfortable, letting you watch the flickers of thought and memory play across her expression. It’s a small but potent touch that deepens the film’s emotional weight.

I also can’t ignore the score, which oscillates between moody, minimalist piano and sudden jarring stabs of synth. It’s not just background noise. It’s a pulse, an extra character in the film, pushing and pulling at the audience’s nerves. There were moments where the sound design alone made me grip my seat, convinced something awful was just out of frame.

By the time the credits rolled, I realized “Meathook” had pulled off something rare: it made me laugh out loud, shiver in dread, and genuinely care about its characters. It did this all without undercutting a single one of those emotions. Jeremy Ashley is not just dabbling in horror; he’s building the foundation for a franchise that could stand shoulder to shoulder with the genre’s greats. If “Meathook” is any indication, we’re witnessing the early chapters of a filmmaker who understands that horror works best when it’s not afraid to be both a mirror and a funhouse.

So yes, I’m calling it now. This movie is going to be one of those cult favorites that people recommend with an almost evangelical fervor. The kind of movie you show a friend with the caveat, “Just trust me,” before watching their jaw drop halfway through. It’s a slasher for people who love slashers, a meta-comedy for people who think they’re too savvy to be scared, and a character study for anyone who’s ever wondered what happens when the scream queen goes home and the silence sets in. This movie isn’t just worth your time, it demands it and if Ashley’s next project is even half as good, I’m ready to line up on opening night, popcorn in hand, heart racing in anticipation of whatever he’s about to throw at us next.

“Meathook” from Terror Films Releasing is now available on streaming services like including Chilling, Scare Network TV, Kings of Horror, Watch Movies Now, Shocks & Docs, TFR’s official AVOD YouTube channel, and many more.

Whether it’s slashers in the woods, ghosts in the attic, or killers in the cornfield, ILHM Reviews brings you the frightful horror flick recommendations worth watching. Follow us on Instagram, be sure to listen to the the "I Love Horror" podcast and remember that if you’re a true fan of horror, every night can be a FRIGHT NIGHT!

Christopher James 8/11/25 Christopher James 8/11/25

Check Out FOUND TV & Their Accursed August Releases

When the sun's blazing heat is upon us and the air is thick with the scent of sunscreen and sweat, found footage horror movies find new ways to make your skin crawl. Simply by turning lakeside retreats, summer camps, and dusty road trips into grainy, scream-soaked nightmares. There’s something deliciously cruel about watching sun-drenched vacation bliss spiral into shaky-cam chaos, where every laugh around the campfire might be your last. Who knew the biggest summer bummer wouldn’t be sunburn, but discovering your getaway was filmed as a snuff documentary? Ready to rewind the tape and see what really happened?

When that itch for shaky cams, eerie whispers, and shadowy figures creeps in, I turn to FOUND TV. This app is the haunted haven for found footage fanatics like myself. It’s my digital séance, summoning new terrors each month while giving some very talented indie horror filmmakers a blood-soaked spotlight. From cursed tapes to abandoned asylum footage, FOUND TV keeps the scares fresh and the screams coming. So, what sinister selections are waiting for us in the shadows this month? Here is what you get to sink your teeth into:

August 4: “The Ghost of Jim Bray” (2025) - A man vlogs his attempts at proving to his wife that their family home is not haunted.

August 8: “The Ouija Experiment” (2011) - Film student Brandon and four friends play with a Ouija board, unwittingly opening a portal to the spirit world and a drowned girl's deadly mystery. Only available in the USA and Canada.

August 12: “Yamidouga 2” (2012) - The second installment of the Yamidouga series. Terrifying, shocking, and taboo footage captured by cameras.

Off Rentals, Streaming on August 15: “Looky-loo” (2025) - An aspiring filmmaker stalks women with his camera. His crimes escalate from voyeurism to murder as he becomes obsessed with a woman named Courtney, making her the star of his deranged film.

August 18: “The Devil’s Forest” (2021) - Rachel and her team of filmmakers travel to Transylvania, Romania, to document the paranormal phenomena within Hoia-Baciu Forest. Only available in the USA and Canada.

August 22: “Perfect Horror” (2016) - An ambitious film director, Mr. Gang, brings his crew to an abandoned factory, which is reputed to be one of the most haunted places in northern China, to shoot a horror film. Only available in the USA, Canada, and the UK.

August 26: “Yamiduga 3” (2012) - The third installment of the Yamidouga series. Terrifying, shocking, and taboo footage captured by cameras.

August 28: “Taped Up Memories” (2023) - The following footage was recovered from a damaged camera found at the side of a main road in the south of England in 2003. The camera was found close to the scene of multiple murders. What you are about to see is this tape in its entirety. The footage has not been edited or altered in any way.