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

Get Ready For Dismembered December on FOUND TV

December is the month when winter steps even more into the spotlight. The holidays are looming, the air sharpens with a cold sting, and a fresh coat of snow turns the world into an ideal stage for on-screen terror. After all, few things are more delightfully unsettling than blood splattering across a frozen landscape, or a severed head rolling down the same hill you once sledded down as a kid.

Welcome to “Dismembered December” (yes, every month gets a name), the time when horror fans seek body chills that rival the ones waiting outside. Fortunately, Found TV has returned with another curated list of new and chilling found-footage horror releases guaranteed to keep the season sufficiently chilling.

MARK YOUR CALENDARS FOR THESE RELEASES:

DECEMBER 1: NOW STREAMING “Tahoe Joe 3: Concrete Wilderness” (2025) - After the events of Tahoe Joe 2, filmmakers Michael Rock and Dillon Brown race against the clock to outrun a corrupt organization trying to capture the legendary Sasquatch creature called "Tahoe Joe."

DECEMBER 3: “Werewolf Santa” (2023) - On Christmas Eve when Santa delivered presents, he was bitten by werewolf becoming monster himself. North America and UK only.

DECEMBER 5: “Red Christmas” (2014) - I'm Tara, I like killing people! I've been doing it a long time now and realized there might be some folks that want to see what it's like. So, I made this movie to show you all of the steps of how to brutally murder a person while never forgetting what the holidays are all about! This year, I'm dreaming of a Red

DECEMBER 9: “Yami Douga 10” (2014) - After Kazuto Kodama's popular horror series "The Real Deal. Cursed Videos" (Honto ni Atta. Noroi no Video) unleashed a new generation in horror, we bring you volume 10 in the ultimate horror video collection.

DECEMBER 12: “Poltergeist Diaries” (2018) - Episode 8: Paranormal investigators Gabe and Loretta unravel a dark connection to Mason and Holly's haunting. Episode 9: Mason attempts to remove The Poltergeist and evil entities from his home. Episode 10: After weeks of fail attempts to rid his home of a diabolical Poltergeist Mason finally decides to burn the Ouija Board.

DECEMBER 17: “Haunted 2: Apparitions” (2018) - A private investigator looks into the Halloween horror nights phenomenon. On a rural farm in deepest, darkest England he encounters a series of bizarre paranormal events that lead to a mystery being solved with frightening consequences.

DECEMBER 19: “Capture Kill Release” (2016) - A couple plots to murder a random stranger just for the thrill of it, but things turn ugly when one of them decides not to go through with it. North America only.

DECEMBER 23: “Yami Douga 11” (2014) - The ultimate fear video collection which carefully selects the spirit video which is born from the darkness and is about to be buried in the dark, introduces the coverage.

DECEMBER 26: “Documenting the Witch Path” (2017) - Three young documentary filmmakers find out about a place called 'The Witch Path'. It leading to a lake known as 'Witch Lake' where, in the 17th century, innocent women were drowned when they were accused of witchery.

DECEMBER 29: “There’s Something in the Pilliga” (2014) - The Pilliga Yowie, - or 'Jingra' - has haunted the Australian outback for centuries, stalking a remote part of New South Wales, where men seldom dare tread, content to keep to itself... until now.

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 11/18/25 Christopher James 11/18/25

“JABBERJAW” (2025): TERROR FILMS RELEASING Strikes Again with a Sharp & Sinister Sci-Fi Horror

Found footage horror has proven itself to be one of the most fascinating and resilient sub-genres in cinematic history. It continues to evolve rather than fade, and I proudly consider it a vital piece of modern horror’s beating heart. There is something thrilling about watching terror unfold through shaky handheld cameras, grainy microphones, and unfiltered human panic. It collapses the distance between viewer and victim and makes us feel like accidental eyewitnesses. “The Blair Witch Project” forever changed the rules by convincing the world that lost tapes and abandoned equipment could be just as frightening as masked slashers and giant monsters. Since then, the genre has adapted through haunted apartments, cursed family homes, bizarre wilderness expeditions, digital call screens, and even documentaries gone wrong. Found footage works because it refuses to pretend. It allows horror to breathe without CGI perfection, without glossy studio glamor, and without the safety net of omniscient storytelling. It is messy, flawed, intimate, and terrifying in a way few formats can mimic. When a new title joins this legacy, it immediately inherits a massive genre expectation. Thankfully, “Jabberjaw” not only accepts the challenge but strides into the eerie forest with confidence and a fresh identity.

A SLOW BURN WITH A SCI-FI TWIST:

“Jabberjaw” is written and directed by Luke Genton, who previously brought us “The Bone Box,” a movie that already proved he understands how to build dread that lingers. His latest project follows Dylan, played with depth, honesty, and emotional vulnerability by Olivia Khoshatefeh, as she escapes into the woods with her best friend Minnie. Minnie is brought to life by Alexis Ingram, whose performance is warm, grounded, and naturally charismatic. Dylan is trying to get space from an abusive boyfriend and believes a camping trip might offer clarity and peace. Both women document their adventure with a video camera, which gives the audience an intimate and unfiltered perspective of their humor, fears, and emotional state. What immediately works is the chemistry between Khoshatefeh and Ingram. They do not just feel like actors paired for convenience, they feel like genuine lifelong friends with shared history, private jokes, and unspoken emotional understanding. Their rapport becomes the emotional anchor of the story and effortlessly pulls the viewer into their world.

As their peaceful escape shifts into panic and paranoia, Dylan begins to believe she is being followed. The tension grows slowly, allowing the story to simmer rather than explode too early. It becomes unclear whether a human threat is lurking in the trees or if something entirely different is stalking them. This ambiguity is handled impressively and never feels confusing or forced. It reminded me of “The Blair Witch Project” in terms of dread, isolation, and immersive fear, but with an added element of science fiction that gives the story an unexpected twist. The alien presence contributes to the tension rather than overshadowing the emotional terror. Genton balances reality and otherworldly fear with precision and never sacrifices character for spectacle. The result is a movie that feels layered rather than gimmicky.

The performances deserve major acknowledgment. Olivia Khoshatefeh carries the emotional weight of her character with authenticity and strength. She makes the horror personal rather than distant and never falls into a predictable or exaggerated performance style. Alexis Ingram shines in her supportive role as Minnie and displays impressive comedic timing while still honoring the seriousness of the story. Both actresses succeed individually, but together they deliver something even more compelling. Their teamwork becomes the soul of the film and elevates it into something emotionally memorable. It is refreshing to see a found footage film led by two talented women whose dynamic drives the plot just as strongly as the external mystery.

“Jabberjaw” is also a slow burn in the best possible way. It does not try to shock from the start or rely on constant jump scares. Instead, it builds an atmosphere that gradually tightens like a rope pulled through the dark. Viewers are given time to connect with the characters, appreciate their humor, and understand why this situation feels so dangerous. The humor fits naturally within the dialogue and never breaks the tension. It feels like the type of humor that emerges when people are trying to stay brave rather than silly, which gives it a relatable emotional texture. The outdoor setting works perfectly for this type of story and becomes a character of its own. Trees, darkness, isolation, and the unknown are inherently threatening, especially when paired with trauma and uncertainty. Genton understands that horror does not always need elaborate settings, it only needs the right direction and purpose.

The writing deserves particular praise for handling trauma responsibly and thoughtfully. Dylan’s pain is not used as a plot device; it is part of her journey and shapes her fear. The merging of emotional horror and extraterrestrial suspense creates a hybrid experience that feels fresh rather than derivative. The ending delivers a satisfying payoff, which is something many found footage films struggle with. Genton shows that slow burns can reward patience when crafted with intent.

It is exciting to see another female led entry in the found footage sub-genre, especially one that explores friendship, trust, fear, and healing without reducing its characters to stereotypes. “Jabberjaw” confidently proves that emotional horror and science fiction can exist together without weakening one another. It is clever, unsettling, intimate, and memorable, and it deserves a place among the standout modern offerings in the genre.

If you are craving something that captures the unsettling authenticity of the amazing elements of found footage horror, while weaving in an extraterrestrial thread and two standout performances, you need to watch “Jabberjaw.” It is currently available on the Found TV app, and it certainly earns its place among the most intriguing new releases from Terror Films Releasing. Stay tuned for more horror reviews from both Terror Films Releasing and Found TV, as they both have an amazing library of horror.

Christopher James 11/14/25 Christopher James 11/14/25

“We Hate Movies” Podcast Delivers Killer Comedy Through Its New Craven Tier

The horror world has plenty of podcasts clawing for attention, but few have the power to grab your attention, or the sheer chaotic charisma of We Hate Movies. Hosted by Andrew Jupin, Stephen Sajdak, Eric Szyszka, and Chris Cabin, the long-running comedy show has developed a kind of gravitational pull among movie lovers who crave equal parts smart criticism and absurd riffs. Recently myself and other horror fans who are part of their avid listener base have been delighted to see they have added a new tier to their Patreon specific to horror content. This new “Craven” tier includes an evolving slate of horror-focused bonus shows.

This new tier feels like a sly wink to Wes Craven himself and an invitation to plunge deeper into the spooky side of WHM’s cinematic mischief. It’s pitched at horror fans who don’t just enjoy being scared. Plus, people who want to hear four grown men gleefully dissect why “The Lawnmower Man” should be illegal or how certain ’90s slashers are funnier than half the comedies released today.

Much of this renewed energy comes from “WHM After Dark”, a bonus AMA like series that lets the hosts connect with the fans of the show and maybe even talk a little bit about some horror movies. The vibe is looser, weirder, and beautifully unfiltered. Horror fans also get a chance to hear their new show “Scaredy Cats” and get the thrill of hearing a show that leans into the best part of horror fandom, a place with the perfect balance between fear and fun. There is even access to their horror specific episodes in the “Spooktacular” collection. Whether they’re covering a cult favorite or a ridiculous relic best left in a VHS bargain bin, the Scaredy Cats format gives each movie just enough room to breathe before the hosts pounce with their trademark mix of sharp commentary and absolute quick wit that will have you laughing for hours. It’s a perfect gateway for listeners who want horror talk without the gatekeeping, and a warm embrace for longtime fans who already know WHM’s particular brand of madness.

All this expansion couldn’t come at a better time. With their 15-year anniversary creeping up in December, We Hate Movies isn’t coasting on nostalgia or leaning on their legacy. They’re doubling down, and horror is where they’re planting their flag for the next chapter. Instead of resting on an impressive catalog of episodes, they’re building new ways to connect with an audience that’s grown up, or grown weird, right alongside them.

The Craven tier is more than just merch-friendly branding or an excuse to dust off old forte favorites; it’s a celebration. A celebration of horror, of community, and of a podcast that understands why people love hearing their favorite movies roasted with affection. For longtime listeners and curious newcomers alike, this new horror-forward era proves that WHM is still evolving, still surprising, and still delightfully unhinged after all these years. If this is what the lead-up to year fifteen looks like, horror fans are in for a very good time. As a fan of these guys for over a decade and a horror fan for much longer, I can guarantee these guys are an amazing powerhouse that will leave you rolling on the floor laughing and make you want to add them to your weekly podcast que. You can check out their new Craven Patreon tier here and check out WHM host Andrew Jupin’s episode on my podcast “I Love Horror” here.

Christopher James 11/12/25 Christopher James 11/12/25

“DEAD GIVEAWAY” (2025) is a Bloody Who Done It Told Through Hangover Logic

As a lifelong horror fan, I’ve always had a soft spot for independent horror movies. There is something alluring about watching filmmakers outside the world of the high price studios craft scares, laughs, and wild originality on their own terms. Indie horror has a way of reigniting that spark in fans, the same one that made us fall in love with the genre in the first place. These movies are scrappy, fearless, and often more emotionally raw than the polished big-budget releases. When an indie horror movie hits, it hits hard, we all are still talking about how crazy “The Blair Witch Project” is 26 years ago (I still do and it has always been the reason why I have still refused to go camping). That is exactly what Ian Kimble’s “Dead Giveaway” does. It is the kind of horror-comedy that reminds you why independent cinema matters: it is inventive, bold, and brimming with personality.

After a great run at the Philadelphia Film Festival, where it earned an Honorable Mention for Best Chemistry, “Dead Giveaway” is already proving that word of mouth can make as much noise as a studio marketing budget. Written and directed by Kimble, this bloody, booze-soaked rollercoaster of chaos doesn’t just play by the rules, it breaks them with a smile.

WHEN BRUNCH GETS BLOODY:

“Dead Giveaway” opens like a hangover nightmare that feels just a little too relatable. Jill, played by the endlessly entertaining Ruby Modine, wakes up with a pounding headache, an uninvited corpse in her bed, and a schedule that still includes making it to brunch by 3:00 p.m. From there, everything spirals gloriously out of control: there’s a tied-up man in her closet, a roommate that may be harboring a secret of her own, and a best friend who simply wants to go to brunch. The best way to compare this movie to anything you may have seen is saying it is an enjoyable hybrid of “Thelma and Louise” meets “The Hangover”. Not to toot my own horn but I will say for once, that comparison is spot-on. It’s a wild blend of chaos, dark humor, and female camaraderie with a bloody bow on top.

One of the many things that immediately grabbed my attention while watching this movie is how confidently Kimble’s script walks the line between horror and comedy. The jokes land as hard as the jump scares, and every punchline feels like it has been marinated in panic and caffeine. The pacing is relentless in a way that it is the kind of ride that refuses to let you catch your breath. You just have to hang on, put your phone away to not miss a moment and hope brunch still happens for our main characters.

I would forever be regretful if I didn’t talk about Ruby Modine and Mikaela Hoover because these two absolutely own this movie. Their chemistry is the heartbeat of “Dead Giveaway”, and it is easy to see why the Philadelphia Film Festival took notice of their stellar performances. Modine gives her character Jill a frazzled charm that’s instantly relatable. She’s messy, funny, terrified, and determined all at once, while rocking that dreadful hangover that we all have on more than one occasion dealt with. Her physical comedy is sharp, her timing is pitch-perfect, and she shifts between panic and wit with absolute ease.

Then there’s Hoover, who’s also a total revelation here. I’ve enjoyed her work in movies like “The Suicide Squad” and “Guardians of the Galaxy”, but “Dead Giveaway” lets her fully embrace her comedic instincts. The back-and-forth between Hoover and Modine is hilarious, fast, and perfectly in sync. Their banter feels so natural that it almost seems improvised. Watching these two navigate one ridiculous disaster after another is pure entertainment gold.

It’s also incredibly refreshing to see a horror-comedy anchored by such strong female leads. Too often, horror-comedies treat women as victims or side characters, but here, Modine and Hoover drive the story, the humor, and the emotional core. This is a great female-led movie that doesn’t just celebrate women, it lets them be chaotic, funny, and complex in all the best ways.

Seeing Scout Taylor-Compton pop up in “Dead Giveaway” was a true treat. Horror fans like me know her best from Rob Zombie’s “Halloween” movies, where she brought intensity and heart to Laurie Strode. Here, she flips expectations completely, flexing her comedic muscles with ease. Taylor-Compton’s scenes are sprinkled with that same confident energy we have seen in her more serious roles, but this time she gets to have fun with it. Watching a scream queen handle comedy this naturally is a genuine delight, and it gives the movie a little extra wink to horror fans who have followed her career.

Writer-director Ian Kimble deserves serious credit for the balancing act he pulls off here. Mixing horror and comedy is one of the hardest things to do in filmmaking, but he makes it look effortless. Every scene feels carefully orchestrated yet totally unhinged, a combination that works beautifully. The editing is tight, the humor smart, and the energy infectious.

Kimble’s dialogue is sharp, witty, and often quotable. It is the kind of writing that invites rewatching just to catch the jokes you missed the first time. He crafts a world that’s both horrific and hilarious, a space where panic and laughter coexist perfectly. His direction captures the absurdity of the situation without ever losing sight of character or tone. That’s what makes “Dead Giveaway” so impressive. It’s chaotic, but it’s chaos with purpose.

There’s a real sense of style here, too. Kimble blends indie sensibilities with mainstream flair, echoing films like “Game Night” and “Ready or Not” without ever feeling derivative. It’s fast-paced, unpredictable, and filled with creative visual touches that make even the bloodiest scenes fun to watch.

One of the things I loved most about “Dead Giveaway” is how it takes the familiar structure of a “who done it” and turns it completely on its head. Instead of a detective or team of investigators, we get two hungover women desperately trying to piece together what the hell happened the night before, all while tripping over their own lies and bad decisions. It’s part mystery, part meltdown, and entirely entertaining.

The tone is a perfect cocktail of tension and absurdity. One minute I was laughing at Jill being told that Googling “how to hide a body” is a stupid mistake she shouldn’t do, and the next I was gripping my seat as things took a darker turn. Kimble uses that unpredictability to keep the audience hooked, making sure we never quite know whether to laugh, scream, or both. It’s a tricky tonal balance, but it pays off beautifully. Not to mention how gruesome and hilarious some of the cutaways are of the crazy ideas the characters have throughout the entire movie.

Watching “Dead Giveaway” reminded me why I’ll always champion independent horror. There’s an honesty and a freedom in indie horror filmmaking that big studios can’t always capture. These movies feel personal, passionate, and alive simply because they are created by people who love horror as much as the fans who watch it. Ian Kimble’s movie is a perfect example of that spirit. It’s fearless, funny, and bursting with creativity.

Indie horror has this magical ability to reach horror fans on a deeper level. It reminds us that the genre doesn’t have to rely on spectacle, it just needs vision and heart. When a movie like “Dead Giveaway” comes along, it doesn’t just entertain; it reenergizes the community. It’s the kind of movie that makes you want to text your horror-loving friends immediately and say, “You need to see this.”

“Dead Giveaway” is everything I want from a modern horror-comedy. It is fast, funny, and fearlessly original. Ruby Modine and Mikaela Hoover deliver career-best performances, their chemistry carrying the movie with wit and chaos. Scout Taylor-Compton’s appearance is a bonus gift for horror fans, proving she can conquer comedy as easily as she conquers killers. And Ian Kimble’s writing and direction? Sharp, smart, and gleefully twisted. This movie doesn’t just balance horror and humor; it embraces both with open arms. It’s the kind of film that makes you laugh one second and cover your eyes the next, all while wondering how something so absurd can feel so relatable.

I had an absolute blast watching it. “Dead Giveaway” proves that horror-comedy can still surprise us, still make us laugh until we cry, and still remind us why we love this genre so much. It’s clever, chaotic, and unapologetically entertaining, everything I want when I sit down for a good scare with a side of laughter.

When the movie becomes available in the near future, do yourself a favor and check it out. Just make sure you’ve eaten beforehand, because this adventure to get to brunch gets bloody. “Dead Giveaway” is a whip-smart, female-driven, hangover-from-hell masterpiece that proves indie horror still knows how to keep the genre alive, laughing, and screaming. If you ask my opinion (which I assume if you’re reading this you just might), it is a five-star movie that was enjoyable from start to finish. If you’re a fan of horror-comedies that aren’t afraid to get messy, the kind that make you laugh and cringe in the same breath, this one’s for you. When it drops, add it straight to your must-watch list.

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

Chad Ferrin Mixes Noir Style & Nasty Secrets in “DOROTHEA” (2025)

True crime has long been one of horror’s favorite accomplices, shaping some of the most haunting stories to ever hit the screen. From “Psycho,” inspired by Ed Gein’s real-life horrors, to “The Silence of the Lambs,” which blended criminal psychology with grotesque fascination, horror and true crime have always shared the same dark heart. Over the last few decades, filmmakers have leaned into that connection, reminding us that the scariest monsters are often the ones who look the most normal. Dread’s latest release, “Dorothea,” continues that legacy with chilling brilliance. Written and directed by Chad Ferrin, the movie doesn’t just tell a story about murder, it digs it up, dissects it, and holds it close enough for us to see the rot beneath the roses.

LETS TAKE A STAB AT THE MOVIE:

“Dorothea” tells the terrifying true story of Dorothea Puente, a seemingly sweet grandmother who murdered her tenants and buried them in her garden. On the surface, her boarding house was a refuge for the elderly and disabled. In reality, it was a trap built on deception, manipulation, and greed. Ferrin, whose previous work “Ed Kemper” helped kick off Dread’s biographical true-crime horror series, crafts this second entry with both precision and flair. It’s a movie that thrives in its details. The unsettling normalcy of its settings, the quiet horror of its performances, and the sharp wit that sneaks in when you least expect it.

Susan Priver delivers an extraordinary performance as Dorothea Puente. Her portrayal walks the line between warmth and menace so deftly that it’s hard to tell where one ends and the other begins. Priver doesn’t play Dorothea as a cackling villain; she plays her as someone who genuinely believes she’s justified. She is an angel of mercy to herself, if not to anyone else. Her smile is polite, her tone gentle, and her eyes calculating. When she breaks the fourth wall, it’s both chilling and hilarious. It is a knowing wink to the audience that feels like complicity. She makes you laugh, and then she makes you question why you did. It’s easily one of the finest performances in a true-crime horror movie in recent years.

Ferrin’s direction gives the movie an intoxicating noir sensibility. Shadows stretch across wallpapered rooms, cigarette smoke curls through interrogation scenes, and every detail feels drenched in old-school crime cinema style. The lighting and set design conjure the claustrophobic mood of 1980s Sacramento while maintaining the timeless feel of a classic thriller. “Dorothea” could just as easily sit beside “Double Indemnity” or “Sunset Boulevard” as it could with modern horror staples like “The House That Jack Built.” Ferrin doesn’t just tell us a story; he seduces us with it. Simply by drawing us into a cinematic world where decay wears a fresh coat of paint.

The movie also benefits from Ferrin’s signature tonal balance. Known for blending shocking violence with sly humor in films like “Pig Killer” and “The Old Ones,” he brings that same twisted playfulness here. The comedic wit, especially in Dorothea’s asides to the camera, adds a dark levity that enhances rather than undercuts the horror. It’s a dangerous trick to pull off, but Ferrin nails it. These moments of self-awareness give “Dorothea” an almost theatrical energy, a sense that we’re part of the performance as much as the audience. The laughter comes nervously, uncomfortably, but it comes all the same.

The supporting cast gives the movie a rich texture of performances that complement Priver’s commanding lead. Lew Temple delivers understated heartbreak, grounding his character in quiet tragedy. Brinke Stevens and Ginger Lynn bring veteran poise and presence, while Brenda James and Cassandra Gava add emotional depth to their roles. Every actor seems perfectly in tune with Ferrin’s tone, heightened but human, grim but grounded. Even in brief appearances, each tenant feels like more than just a victim. Their personalities, quirks, and small acts of hope make their fates even more devastating.

One of the movies’ greatest strengths lies in its screenplay. Ferrin’s writing refuses to indulge in gratuitous spectacle. Instead, it focuses on atmosphere and psychology. The dialogue crackles with noir rhythm, tight, witty, and cuttingly observant. Each line reveals more about Dorothea’s twisted moral compass, her uncanny ability to rationalize the horrific. There’s also a clear respect for the truth of the story; Ferrin never turns Puente into a myth. She’s terrifying precisely because she feels real, because she was real.

“Dorothea” also stands out for its exploration of control and survival. The movie doesn’t excuse its subject’s crimes, but it refuses to simplify them. Through careful glimpses into Dorothea’s past, Ferrin builds a portrait of a woman molded by abuse and neglect, whose trauma eventually mutated into manipulation and murder. It’s an unsettling evolution, and it forces the audience to confront an uncomfortable question: is evil born, or is it built? In the end, the movie leaves that question hanging like a body in the basement that is best not answered, but impossible to ignore.

Visually, the movie is a feast for fans of mood and texture. The garden where Dorothea buried her victims becomes a morbid metaphor for her psyche. It is beautiful, manicured, and teeming with rot beneath the soil. The muted palette and careful cinematography evoke both the era and the dread that defines it. Each shot feels deliberate, from the lingering close-ups of Dorothea’s smiling face to the uneasy stillness of her home’s floral wallpaper. There’s a haunting rhythm to the film’s pacing, each revelation blooming like another flower in her poisonous garden.

As a whole, “Dorothea” is another testament to Chad Ferrin’s genius as a filmmaker. He’s carved out a unique space in horror; one where historical accuracy and cinematic daring collide. Much like “Ed Kemper,” this movie doesn’t just retell a crime, it reframes it, forcing audiences to examine the strange allure of real-life evil. Ferrin knows that horror isn’t just about blood; it’s about empathy, curiosity, and the perverse comfort of looking at something we shouldn’t. His direction proves once again that he’s one of the most daring voices in cinema today. When I interviewed Chad Ferrin after watching the movie, he mentioned the reason why he choose Dorothea Puente as his subject:

“She checked all the boxes. The period is great, the California aspect is great, so I don’t have to travel. I dove into the research and was just blown away. The script kind of started writing itself.”

He also mentioned a few things regarding his process for making the movie:

“It would’ve been a great experience with Sharon Stone, but I’m not into the Hollywood bullshit. I like having my little family of film crew and cast, you get them together and it’s like having a barbecue. You crank these out and have a good time.”

We both also had quite a positive back in forth when it came to his star Susan Priver playing Dorothea:

“It was a joy to show up every day and see what she did with it. Being an audience member in the director’s chair, every day was exciting and thrilling to see what she came up with.”

We even had a chance to not only talk about his great process with the movie and performances, but also what he has in store for fans next with his project focusing on Richard Ramirez:

“If you’re going to do Ramirez, it has got to be a balls-to-the-wall horror movie. It’s got to be scary. He’s kind of the rock star of true crime serial killers.”

“Dorothea” is a triumph of tone, storytelling, and performance. It’s a movie that captures the uneasy beauty of true-crime horror: the way evil can wear pearls, serve cookies, and still dig a grave in the backyard before sundown. Susan Priver shines, Chad Ferrin continues his run of creative brilliance, and Dread’s true-crime slate cements itself as one of the most exciting horror ventures in years. If “Ed Kemper” was the spark, “Dorothea” is the flame, and with “Richard Ramirez” on the horizon, it looks like Ferrin and Dread are just getting started.

Something to keep in mind is that by the movies’ end, “Dorothea” doesn’t offer catharsis, it offers confrontation. The closing moments leave you unsettled, not because of the violence, but because of how ordinary it all feels. Dorothea Puente’s world is filled with pastel colors, polite manners, and pleasant smiles, until you realize that beneath it all lies the quiet hum of horror.

Christopher James 11/5/25 Christopher James 11/5/25

“THE WEEDHACKER MASSACRE” (2025): A Self-Aware Blend of Horror & Humor

Intro

Horror spoofs have always held a strange but beloved place in the genre. From “Scary Movie” to “Stan Helsing,” these movies let fans laugh at the very tropes they’ve been terrified by for years. A good spoof knows when to wink and when to stab, simply by balancing parody with genuine affection for the genre. I recently had the chance to watch “The Weedhacker Massacre,” directed by Jody Stelzig and written by Ray Spivey, certainly knows its horror roots. Although, much like its fictional film crew within the movie, it sometimes feels like it’s cutting the wrong weeds.

SYNOPSIS & THOUGHTS:

The movie follows a group of actors and filmmakers remaking a terrible horror flick a decade after murders occurred during its original production. The premise itself is clever, a movie within a movie where the chaos behind the scenes mirrors the on-screen slaughter. Unfortunately, the execution often feels like a half-baked homage rather than a sharp satire. The humor leans on obvious gags and horror puns rather than building the kind of manic energy that makes this type of comedy soar. It’s as if someone took all the best bits from “Stan Helsing” out and decided to let the leftovers fend for themselves.

That said, there are moments that work and when they do, they’re genuinely funny. The opening bit featuring a drone shot of a car on a winding road, only to reveal it’s a toy car being pulled by a string before cutting to real footage. It is a perfect example of the movie’s self-aware goofiness. You can tell the filmmakers are in on the joke, and moments like that show flashes of the kind of B-movie brilliance the film aims for.

The cast deserves credit for giving it their all. David Treviño, Molly Sakonchick, Bobbie Grace, Sean Reyna, and Parrish Randall all lean into the absurdity with energy and commitment. Grace, in particular, seems to understand the tone the movie’s reaching for a blend of over-the-top acting and genuine awkwardness that somehow fits. It’s a nice treat to see Allen Danziger, of “The Texas Chainsaw Massacre” fame, return to the genre as Sheriff Danzinshoos. His presence is a nostalgic wink to horror history, even if his material doesn’t quite live up to his legacy.

Then there’s the masked menace of the movie, Pokerface. Imagine “Leatherface” if he’d raided a Vegas card table and developed a habit of chatting mid-murder. The concept of a killer with playing cards on his mask is certainly memorable, and it’s an oddball visual that fits the movie’s self-parody vibe. Still, much like the rest of the movie, it feels like an idea that could have been developed further. He’s weird, he’s dumbly talkative in the tone of a 80’s idiot jock, and he’s oddly charming in a “why am I watching this?” kind of way.

Unfortunately, the biggest issue with “The Weedhacker Massacre” is that its script and pacing never quite find a rhythm. Some of the dialogue feels forced, the jokes linger too long, and there’s a sense that everyone involved is having more fun making the movie than the audience has watching it. Director Jody Stelzig and writer Ray Spivey clearly had a good time crafting their stoner-slasher satire, but the humor often goes up in smoke before the punchline lands. (See what I did there?)

Still making any movie, especially an independent horror comedy is no easy task. For that alone, the cast and crew deserve recognition. Whether it’s the ridiculous kills, the wobbly one-liners, or the low-budget charm, you can tell there’s genuine passion behind the chaos. While I didn’t personally connect with the movie beyond a few scattered chuckles, I always encourage horror fans to give any movie a shot. You never know what oddball gem you’ll find buried beneath the bad jokes and fake blood.

In the end, “The Weedhacker Massacre” may not be a cut above, but it’s at least a reminder that horror spoofs (no matter how rough) they still have a place in the genre garden. Sometimes you just have to trim away the excess to see what’s growing underneath. The movie is now available on VOD for rent or purchase.

Christopher James 11/1/25 Christopher James 11/1/25

TERROR FILMS RELEASING Digs Up Killer Fun With “GRAVEYARD SHARK” (2025)

There’s a certain charm to what Terror Films Releasing does for the horror genre. In a cinematic world dominated by sleek studio productions and endless reboots, this company acts as a beacon for indie horror filmmakers who still believe in blood, grit, and pure creative madness. Terror Films doesn’t just distribute horror, they resurrect it. They do so by giving the weird and wonderful a platform where it can thrive and be introduced to an audience of all types of horror fans. Their catalog celebrates filmmakers who dare to blend comedy with carnage, and “Graveyard Shark” is one of their latest glorious oddities. Written/Directed by Matthew A. Peters, the movie is everything its title promises and more. Its a campy, low-budget gem that swims right into your heart with teeth bared and tongue firmly in cheek.

LETS DIVE INTO THE MOVIE:

“Graveyard Shark” tells the story of a YouTuber/Cryptid Hunter investigating a string of disappearances in a small town plagued by rumors of a monstrous creature haunting the local graveyard. As she digs deeper, she discovers that the culprit isn’t your typical ghost or ghoul, it’s something far stranger. What lives within the fenced walls of the already eerie graveyard is a land-walking shark born of blood, betrayal, and something distinctly unholy. Yes, you read that right. A shark. On land and in a graveyard. Kind of gives off the vibes of what a live action “Street Sharks” movie would be like if they decided to eat people instead of fight crime (which I would totally watch).

Stephanie Ward stars as the determined cryptid hunter trying to uncover the truth, and she brings a balance of sincerity and self-awareness that fits the movie perfectly. She’s the kind of protagonist who could easily exist in an “X-Files” episode that went completely off the rails and in the best way possible. Her investigation into the bizarre goings-on of the town is full of deadpan humor, creative kills, and enough small-town weirdness to make you feel right at home in this twisted little world.

The supporting cast leans all the way into the film’s over-the-top tone. Michael John Gilbert and Ryan Santiago play locals who can’t quite decide if they’re terrified or thrilled by the shark’s existence, while Olivia Walton and Madisen Zabawa bring a mix of sass and scream-queen energy to the chaos. Yet the true standout is Berdele March as Captain Seyburn. He is a larger-than-life captain with the bravado of Quint from “Jaws” and the comedic timing of a midnight-movie icon. Seyburn is every exaggerated seafarer cliché rolled into one gloriously unhinged package. Every line he delivers sounds like it was carved out of a whiskey barrel and polished with sea salt. He’s both a town drunk, someone with a redemption story and ridiculous. Every moment he’s on screen is pure gold. His interactions with the townsfolk and his unapologetic belief that he’s the only one warning people not to look for the Graveyard Shark makes him the film’s pulse and punchline rolled into one. Without a doubt, he’s my favorite part of the entire movie. Lets just say he has quite the hilarious and unexpected slap in the face comment to a group of survivors of the Graveyard Shark that made me have to pause so much from laughter.

The film’s charm comes from its complete lack of pretension. Peters and his team know exactly what kind of movie they’re making, and they don’t shy away from it for a second. “Graveyard Shark” doesn’t try to be high art; it’s here for the fun, the scares, and the sheer joy of creating something so absurd that it circles back to genius. In that sense, it channels the energy of a classic Troma movie. Think The “Toxic Avenger” meets “Sharknado” by way of “Night of the Demons”. It’s gleefully self-aware, poking fun at the very tropes it embraces, but it never feels lazy or mean-spirited. You can feel the affection for the genre in every frame, from the rubbery creature effects to the exaggerated reaction shots.

What makes “Graveyard Shark” work so well is that it’s not just a joke stretched into a movie. There’s an actual story beneath the camp. The film explores themes of betrayal, grief, and obsession wrapped in the bloody fin of a creature feature. The shark itself, though obviously a man in a suit, has an oddly captivating presence. Instead of hiding the seams or the occasional visible zipper, the movie flaunts them. It’s a refreshing throwback to the days when horror filmmakers weren’t afraid to show their monsters in full light, even if the masks didn’t line up perfectly or the prosthetics creaked a little. Those imperfections add personality, reminding us that horror doesn’t need to be polished to be powerful.

Peters’s direction brings an old-school sensibility that feels both nostalgic and energetic. The lighting, set design, and camera work harken back to the era of late-night VHS treasures. It is the kind of movies you’d discover in the horror section of a mom-and-pop video store, complete with faded cover art and hand-written staff recommendations. Every frame looks like it was made by people who love horror, not just people trying to cash in on it. That love bleeds through, sometimes literally, and makes the movie impossible not to enjoy.

The humor is the glue that holds everything together. “Graveyard Shark” is never afraid to make fun of itself, whether through knowingly clunky dialogue, exaggerated gore, or characters who react to the absurdity with a perfect mix of disbelief and acceptance. The film walks a fine line between parody and sincerity, and it does so with surprising grace. It’s not mocking horror, it’s celebrating it. Every cheesy one-liner and overacted scream feels like a love letter to the genre’s most outlandish moments. It’s the kind of movie that makes you laugh not because it’s bad, but because it’s having the time of its life.

There’s also a noticeable heart to the production. You can tell the cast and crew had fun making it, and that energy is infectious. The dialogue is peppered with quotable lines, the kills are inventive, and the soundtrack hits all the right notes of eerie yet playful. The pacing keeps things moving briskly, never letting the silliness overstay its welcome. It’s the cinematic equivalent of a midnight pizza binge—messy, indulgent, and exactly what you didn’t know you needed.

By the time the credits roll, “Graveyard Shark” has given you everything it promised: laughs, scares, and a monster that defies logic in the most delightful way possible. It’s a film that thrives on imagination over budget, proving that passion and creativity can turn even the strangest concept into something genuinely entertaining. This isn’t the kind of horror that keeps you up at night—it’s the kind that keeps you smiling long after it’s over.

Ultimately, “Graveyard Shark” captures what makes indie horror so special. It’s fearless, funny, and completely unapologetic. Terror Films Releasing once again demonstrates their knack for finding projects that embody the heart of true independent filmmaking: raw creativity unfiltered by corporate polish. For fans who miss the days of DIY monsters and tongue-in-cheek terror, this movie is a breath of fresh, salty graveyard air. It’s the kind of film that reminds you why you fell in love with horror in the first place because sometimes, the best scares come wrapped in laughter and latex.

If you’re looking for a horror flick that doesn’t take itself too seriously, that revels in its own chaos, and that gives you a captain you’ll be quoting for weeks, “Graveyard Shark” is your next great catch. Grab some popcorn, dim the lights, and dive right in the water’s weird, but it’s fine. “Graveyard Shark” is now available to rent or buy on VOD.

Christopher James 10/27/25 Christopher James 10/27/25

“KILLER CONTENT” (2025) Delivers a Fatal Dose of Follower Obsession

Intro

Influencer horror has officially arrived as its own blood-soaked sub-genre, and honestly, it was inevitable. If you have ever scrolled through a feed and thought, “These people would absolutely die for likes,” congratulations, you have already understood the premise. Social media may have started as a highlight reel, but in horror, it has become a hunting ground. Movies like “Ingrid Goes West,” “Spree,” and “Sissy” cracked open the ring-lighted world of curated chaos, showing how the pursuit of followers can turn into a full-blown descent into madness. This new wave of digital-age terror feeds on the anxieties of a generation raised on validation, where self-worth is measured in clicks and visibility comes with a price. It was only a matter of time before the genre asked the obvious question: when your entire life is content, what happens when the content starts fighting back?

Now, a new part of this unique sub-genre has joined the ranks of being a potential new item on your watchlist. “Killer Content” joins the ranks with teeth just as sharp, fast-paced psychological thriller that turns the filtered world of influencers inside out and reminds us that fame has never been more terrifying.

Written and directed by Chris St. Croix, “Killer Content” centers on Jexy Diamond, played by Katie Keene, a social media star who has built her life around being constantly watched, while trying to make a positive impact on the lives of her followers. After surviving a brutal attack from a stalker, Jexy retreats to her childhood cabin to heal and plan her next move. She is seeking quiet and control, but the silence of the woods only amplifies her paranoia. What begins as a retreat quickly turns into a nightmare when Megan, played by Casey Casmira, a devoted super-fan with dreams of viral fame, tracks her down. What follows is a disturbing collision between idol and admirer that escalates into obsession, control, and violence.

ABOUT THE MOVIE:

The setting is used brilliantly. The cabin is not just a backdrop but an active source of tension. Every creak in the floorboards feels like a heartbeat, every shadow moves a second too long, and every sound within it’s walls is just a precursor to the threats about to happen. The isolation becomes a bit of its own antagonist, that is until the real danger comes to her doorstep. The cabin makes the setting feel that it has trapped the main characters inside a psychological cage where every interaction between them feels like a fight for dominance. St. Croix knows how to weaponize not only the setting for the movies’s beautiful setting, but the still yet eerie atmosphere the movie creates. The quick and terrifying moments are where the fear seeps in, turning the viewer into an unwilling witness. The result is an edge-of-your-seat experience that builds suspense without ever relying on cheap scares.

Katie Keene commands the screen as Jexy Diamond. She captures the strange vulnerability of someone who has made their life a public performance. Even in moments of terror, she cannot completely turn off the instinct to be “on.” There is a haunted look in her eyes that suggests years of living for validation. She makes Jexy both sympathetic and slightly dangerous, someone you root for even as you wonder how much of her personality is real. Keene gives a performance that feels grounded and genuine, perfectly balancing fear with determination.

Opposite her is Casey Casmira as Megan, a fan who blurs the line between admiration and madness. Casmira’s performance is captivating, bringing both a softness and a menace that make her impossible to predict. One moment she is fragile, the next she is frightening. Watching Keene and Casmira together is mesmerizing. Their chemistry feels alive, as if both are constantly pushing and testing each other. They share the spotlight in a way that demands attention, creating a tense psychological dance that carries the entire film.

Adding to the unease is Diego Gomez as Donnie. His performance is commandingly sinister, the kind that makes you instinctively lean back in your seat. He is unsettling not because he is loud or aggressive, but because he feels so real. There is something about the way he moves and speaks that puts you on edge, as if he is always one bad thought away from doing something awful. Gomez brings an unpredictable energy that deepens the film’s sense of danger. If you ever found yourself stuck in a cabin with him, you would not sleep.

The supporting cast, including Nathan Freitas, Kyle Rankin, and Patrick Sharn, adds texture without distracting from the story. They enhance the world rather than clutter it, keeping the focus tightly on the dynamic between Jexy and Megan.

Visually, “Killer Content” is striking. The cinematography captures the cold beauty of isolation, mixing the artificial glow of phone screens with the natural darkness of the woods. The film’s visual language mirrors the influencer lifestyle: carefully staged, slightly fake, and always one click away from unraveling. It feels polished but haunted. Every shot has a purpose, every frame tells a story.

Beyond its suspense, “Killer Content” offers a sharp critique of influencer culture. It examines the way fame feeds obsession and how constant exposure breeds danger. The film understands that the influencer-fan relationship is built on illusion. It shows how easily admiration can turn toxic when the boundary between online fantasy and real life disappears. Jexy’s captivity becomes a metaphor for the way she has always lived, trapped by her own public image. She is a prisoner long before she is taken hostage.

As the story builds toward its final act, the tension becomes almost unbearable. The violence, when it comes, feels earned and shocking without being excessive. The ending is both satisfying and unsettling, leaving you questioning who truly held the power all along. St. Croix’s direction ensures the fear never fades, even after the credits roll.

Katie Keene and Casey Casmira deserve enormous credit for how seamlessly they carry this film. They complement each other perfectly, each pulling focus without ever overshadowing the other. Their shared scenes crackle with intensity. You can feel the push and pull of fear, fascination, and survival in every exchange. It is rare to see two performances that balance each other so beautifully.

By the end of “Killer Content,” the silence of the cabin feels deafening, and the tension has built to the point where you realize you have barely taken a breath. It is a dark, unnerving experience that lingers. The fear of isolation, the price of fame, and the horror of obsession all collide in a story that feels deeply relevant and disturbingly real.

“Killer Content” is now available on VOD through Strike Back Studios, waiting to stream directly into your living room. Just make sure your doors are locked, your location settings are off, and your notifications are silenced. After all, in the world of influencers, sometimes your next follower is already closer than you think.

Christopher James 10/23/25 Christopher James 10/23/25

TERROR FILM RELEASING’S “FEY” (2025) Blurs Truth, Trauma, & Terror

Intro

Terror Films Releasing has been absolutely killing it this year (pun intended). Their slate of releases has proven once again that they are one of horror’s most reliable purveyors of fresh fear, serving up stories that bite harder than most big-budget contenders. Their latest run of found-footage horrors has especially caught my eye (look for the review of “JABBER JAW” coming soon), reminding me why I have such a deep love for what TFR does best: uncovering hidden horror gems and giving them the sinister spotlight they deserve. These are not just indie scares, they are the kind of films that make you triple-check your locks at night. And their newest release? It might just be their most haunting discovery yet.

FROM THE TFR PRESS RELEASE:

Terror Films Releasing has partnered with writer and director Madeline Doherty for the release of her chilling new found-footage horror film, “Fey”.

Starring Madeline Doherty, Zoe Bishop, Michael Raleigh, and Sam Howard, “Fey” follows Maddy, a young woman participating in the final phase of a trauma study. As she films her first nights alone since a mysterious incident, the unsettling sensation of being watched slowly creeps back into her life and this time, the camera captures more than she expects. Doherty, who also produced the film, shared insight into her creative process and vision behind “Fey”:

“I wanted to make a film I’ve been craving to see—something raw, unpolished, and so real it barely feels like a movie. The kind of thing you stumble upon and think, what could possibly happen next?

At its core, this story is about how truth can twist, and how people, especially the ones we least suspect, can sometimes be the most sinister. That’s real horror. There’s no score, no polish, just choppy cuts, silence, crickets, and a girl alone in her childhood home. I shot it in my real childhood home, with my real parents, and even used real home movies. Most of the cast had never acted before. Everything was designed to feel discovered, not performed.

As a lifelong horror fan, I wanted to throw it all on the table for the genre to give audiences something that feels new yet familiar, grounded yet deeply unsettling. Something made for people like me who love horror not just for the scares, but for the stories that linger long after the screen goes dark.”

TERROR FILMS RELEASING will premiere “Fey” across multiple platforms on November 14, 2025, including Chilling, Scare Network TV, Kings of Horror, Watch Movies Now, Shocks & Docs, and TFR’s official AVOD YouTube channel, among others. Stay tuned to here for a full review coming soon.

Christopher James 10/19/25 Christopher James 10/19/25

Creature Feature Hit “COYOTES” (2025) Gets Digital Release Date (Copy)

There’s something unsettling howling just beyond the camp fire glow and on October 21st the thrilling suburban creature feature horror-comedy “Coyotes” (written by Tad Daggerhart, Daniel Meers and Nick Simon, as well as directed by Colin Minihan) is arriving on VOD for all to experience.

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 pack starts picking off neighbors like it’s 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.I first had the chance to watch Coyotes while covering Fantastic Fest remotely this year, and from the very first frame I was hooked. The film’s slow-burn tension, the way it uses the silence of the desert and the looming threat of what’s watching in the trees, give it a rare authenticity for genre cinema. In my review I described it as “a visceral and unnervingly grounded descent into primal fear—a film that doesn’t just show the wilderness fighting back, but reminds us that humanity was never really in control to begin with.”

I was lucky to recently have Tad Daggerhart and Nick Simon on my podcast I Love Horror, where they dug into the making of this film and their deep love of horror. As the episode’s description puts it:

“We chat about how the story for “Coyotes” came about, their time screening it at Fantastic Fest … their favorite horror movies and much more.” Nick talked about being mentored by legendary horror filmmaker Wes Craven (yes, really) and how that shaped his approach. Meanwhile Tad gave a nod to the classic body-horror of “The Fly” as one of his guiding lights. They explained that for them the desert setting isn’t simply a backdrop—it becomes a character in itself, full of oppressive stillness, lurking danger and the constant question of whether the threat is human, animal, or something else entirely.

The pair made it clear that they wanted characters who feel real—not perfect survivors but people who make mistakes, panic, turn on each other, and ultimately face the terrifying realization that nature (or whatever is out there) doesn’t obey our rules. One of Tad’s especially compelling lines: “Isolation doesn’t need walls—it just needs silence and the sense that something is watching.” This kind of human-grounded fear is what makes “Coyotes” stand out.

Beyond the writing, the performances elevate the material: there’s fatigue in the eyes of the characters, distrust in their exchanges, and the kind of slow unraveling of hope that you don’t always find in horror. And by the time the film’s finale arrives, the desert doesn’t just feel like a location—it feels like the last refuge and the worst trap.

For fans of survival horror, of psychological tension, or for anyone who appreciates when a genre film refuses to spoon-feed its threats, Coyotes delivers. With the VOD release coming October 21st, this is your chance to catch up with one of the strongest horror-entries of the year. Tad Daggerhart and Nick Simon have crafted something raw, unforgettable, and delightfully unnerving. Turn off the lights, let the volume rise—and when those howls begin, you’ll know exactly what you’re in for.

Christopher James 10/19/25 Christopher James 10/19/25

(FANTASTIC FEST) “SHELBY OAKS” (2025) Show Us When Reality Unravels the Supernatural Creeps In

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 this Halloween. 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.

Christopher James 10/14/25 Christopher James 10/14/25

(FANTASTIC FEST) “APPOFENIACS” (2025) Uploads a Bloody Nightmare of Deepfake Terror

Covering Fantastic Fest remotely always feels like stepping through a digital wormhole. It feels like a place where cinematic innovation and genre chaos collide in the most unpredictable ways. It’s the kind of festival where the boundaries between fiction and reality blur, where you’re just as likely to see a haunted house movie as you are to stumble into a techno-nightmare about artificial intelligence taking over your social feed. Watching it all unfold from afar means seeing these worlds filter through screens, which is a fitting irony considering how many of this year’s films grapple with our uneasy dependence on technology. Out of the chaos, one title pulsed brighter, louder, and more disturbingly relevant than most: “Appofeniacs.”

Written and directed by Chris Marrs Piliero, “Appofeniacs” takes aim at one of the most chilling issues facing the modern digital world. It focuses on the terrifying ease with which truth can be manipulated. The movie stars Sean Gunn, Jermaine Fowler, Aaron Holliday, Michael Abbott Jr., Simran Jehani, Amogh Kapoor, Will Brandt, Paige Searcy, and Harley Bronwyn, all of whom deliver performances that swing between satirical and emotionally raw. Piliero, most known for his offbeat storytelling and music video background, injects the movie with a frenetic, unpredictable energy. The result feels like a neon-lit fever dream where comedy, tragedy, and terror bleed together. It’s as if “Black Mirror” took a shot of adrenaline and crashed headfirst into an 80s horror splatter flick. The synopsis alone sets the tone for the horror that follows:

Synopsis

“Duke (Aaron Holliday) is enthralled by the dangerous thrill of manipulation — exploiting our instinct to believe what we see and hear. With a callous disregard for consequences, he embarks on a reckless spree of deepfake creations simply because he can. What begins as digital mischief quickly spirals into bloody chaos, and Duke couldn’t care less about the destruction left in his wake.

In this darkly satirical thriller, intersecting storylines reveal the ripple effects of Duke’s petty pastime: Poppy (Simran Jehani), a cosplay enthusiast heading to a carefree weekend in the desert with friends; Clinto Binto (Sean Gunn), a fiercely principled costume designer who refuses to work for cheap; and Lazzy (Paige Searcy), a sharp-tongued stranger who finds herself in deep trouble after a trivial argument in a coffee line. Each story thread tightens the web of deceit, violence, and paranoia until every character becomes trapped in Duke’s digital nightmare.

From paranoia to confirmation bias to blind certainty, “Appofeniacs” reminds us that we’re all complicit — all chasing patterns that may not even exist. And when truth becomes so malleable it bends beyond belief, the film delivers one final, devastating reminder: the only thing you can’t fake is surviving the night.”

What Piliero does so effectively is blend these multiple storylines together, allowing each character’s perspective to build toward a larger picture of chaos and consequence. The film begins like a fractured anthology, with each narrative thread teasing a standalone cautionary tale. But as the pieces start to collide, the structure reveals itself to be a careful, layered design. By the time everything merges in the third act, the audience realizes they’ve been pulled into a digital vortex — one where identity, accountability, and morality dissolve into noise. It’s a smart, bold storytelling choice that keeps you engaged from start to finish.

“Appofeniacs” stands out not just for its biting commentary, but for how tactile and visceral it feels. The surprising amount of gore and death gives it a shock factor that’s both grotesque and thrilling. What starts as a slick social-tech horror slowly morphs into something bloodier. It morphs into a throwback to the practical carnage of 80s horror, reimagined through a modern lens. Piliero doesn’t shy away from showing the physical consequences of digital sins. The violence feels personal, almost retributive, as if the internet itself is reclaiming flesh for every manipulated frame.

Then there’s Sean Gunn. Without spoiling too much, let’s just say that his scene (the one everyone’s whispering about) deserves every ounce of attention it’s getting. It’s the moment where the movie’s concept of digital distortion meets brutal physical reality, and it’s executed with impeccable use of practical effects. It’s disgusting, unforgettable, and completely exhilarating. It is a sequence that reminds horror fans why practical effects will always outshine digital gore. The fact that this movie about deepfakes relies so heavily on real effects feels like a deliberate act of rebellion. It’s as though Piliero is saying, “Yes, technology can fake anything, but nothing beats the authenticity of blood and latex.”

Beyond the blood and mayhem, “Appofeniacs” delivers a scathing look at the fragility of truth in the digital age. Deepfakes aren’t science fiction anymore; they’re a terrifyingly real threat. We live in a time where seeing is no longer believing, and where a convincing video can destroy reputations, end careers, and rewrite history. Piliero harnesses that anxiety and turns it into cinematic terror. Every frame drips with that paranoia the creeping fear that your own face could be weaponized against you. It’s a horror that lingers long after the credits roll, because it’s not confined to the screen. It’s in your phone, your feed, your world.

The movie also deserves credit for its tone. It’s darkly funny in places (sometimes uncomfortably so) and that humor works like a pressure valve, releasing tension before the next shock hits. Jermaine Fowler and Michael Abbott Jr. bring moments of absurd levity, grounding the film’s intensity without undercutting its dread. This balance between comedy and horror is one of Piliero’s biggest strengths as a director. He knows that laughter and fear often share the same nervous energy, and he uses that to keep the audience constantly off balance.

From a technical standpoint, “Appofeniacs” is sleek and immersive. The cinematography captures the digital world’s cold glow with unnerving precision to a point it is sterile, overstimulated, and faintly nauseating. The sound design deserves special mention too. Distorted whispers, glitchy static, and warped voices blur the line between the digital and the real, amplifying the movie’s sense of unease. Every notification sound and electronic pulse feels like a threat.

What ultimately makes “Appofeniacs” so effective is that it feels both wildly imaginative and disturbingly plausible. The concept of using technology to fabricate identities isn’t new, but the way Piliero approaches it feels fresh, urgent, and horrifyingly relevant. It’s not just a story about a man abusing technology; it’s a reflection of all of us, scrolling and swiping, curating realities one post at a time. The movie holds up a cracked mirror to the culture of oversharing and misinformation, asking a haunting question: if everything can be faked, does truth even matter anymore?

For horror fans, this movie is a gift. It is a movie that blends intelligence, gore, and originality into one unforgettable experience. It’s a modern cautionary tale drenched in blood and digital static, a horror movie that feels like a prophecy. “Appofeniacs” doesn’t just entertain; it warns. And while it may be one of the most enjoyable rides to come out of Fantastic Fest this year, it’s also one of the most unsettling, because it’s a story that could happen to any of us, maybe it already has.

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!