Christopher James 5/27/26 Christopher James 5/27/26

FOUND TV’S Jump Scare June Releases Coming Soon

June doesn’t ease you into the dreadful heat of summer ahead. It drags you straight into the terror of the night, shouting in fear through the dark and keep you wondering what will happen next. This is exactly what FOUND TV is doing with this it’s Jump Scare June lineup. All month long, they’re rolling out a fresh batch of releases designed to keep horror fans on edge. From unsettling new discoveries to projects that lean all the way into that “did I just see that?” kind of dread. If you’re here for quiet nights and comfort viewing, this isn’t it. FOUND TV wants you to know that these are the kinds of found footage finds that make you glance over your shoulder a little too often. You may even feel the urge to double-check what that sound in the hallway really was. Mark your calendars for these upcoming FOUND TV releases:

June 2 – "Destroy This Tape" (2025): In 2007, a group of five teenagers went camping in the woods of Alpine Oaks Provincial Park, never to return. All that was found was a ruined campsite and a camcorder holding footage of their final days.

June 5 – "Go to Sleep" (2026) – FOUND ORIGINAL WORLD RELEASE: A recently separated man newly living alone discovers that he is sleepwalking at night. As he records his activities, he uncovers questionable behaviors and the presence of another mysterious figure.

June 9 – "Yami Douga 22" (2019): The 22nd installment in the "Yami Douga" series.

June 12 – "Don't Log Off" (2025): During a virtual birthday party, Sam vanishes. Her friends investigate through calls and social media but start disappearing after checking her apartment. They must confront a menacing figure from her past to survive. This was actually a movie I reviewed way back before the site was created. You can see an updated review of it on my Letterboxd here.

June 16 – "BUM" (2026) – FOUND EXCLUSIVE WORLD RELEASE:
A freelance news crew and a hotshot reporter search for a violent vagrant and get more than they bargained for.

June 19 – DOUBLE FEATURE RELEASE

"2 Jennifer" (2016): Two filmmakers attempt to make the perfect sequel to "To Jennifer," but a dark secret threatens the lives of everyone involved. Jennifer, a beautiful actress, now has two choices: become the heroine of the film or face a brutal death.

"#FromJennifer" (2017): An actress develops a deadly obsession with internet fame after her manager drops her for not having enough of a social media presence.

June 23 – "Yami Douga 23" (2019): The 23rd installment in the "Yami Douga" series.

June 26 – "Parched 3: Beached" (2023): A Florida lifeguard receives help from two environmentalists determined to uncover a potential conspiracy surrounding swimmers who emerge from the beach in a violent, mutated state.

June is shaping up to be a massive month for found footage and supernatural horror. This month’s lineup continues FOUND TV’s commitment to delivering unsettling found footage films, paranormal storytelling, and unique genre filmmaking from around the world. With a mix of original productions, exclusive releases, cult favorites, and disturbing late-night discoveries, there’s something here for every horror fan. Whether you’re into haunted investigations, psychological breakdowns, cursed recordings, or digital-age nightmares, June’s releases offer plenty of reasons to keep the lights on. If you’re new to FOUND TV, use my code ILOVEHORROR for $5 off your yearly subscription.

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 "I Love Horror" podcast and remember that if you’re a true fan of horror, every night can be a FRIGHT NIGHT!

Christopher James 5/14/26 Christopher James 5/14/26

Get Ready For Terrifying Tuesdays From TERROR FILMS RELEASING

If you’ve ever gone down a late-night rabbit hole of cryptid documentaries and started side-eyeing every noise outside your window, June is about to make that habit a lot worse—in the best way. The team behind Small Town Monsters, including Seth Breedlove, Courteney Breedlove, Heather Moser, Aleksander Petakov, and Aaron Deese have joined forces with Terror Films Releasing to roll out a massive slate of folklore-driven documentaries across digital platforms, and they’re packaging it like an event that any horror fan shouldn’t ignore.

FROM TERROR FILMS RELEASING’S PRESS RELEASE:

Dubbed “Terrifying Tuesdays,” the partnership kicks off with five films releasing weekly throughout June, with many of these titles becoming widely available for the first time on platforms like Vudu, Amazon, and Tubi. It’s a simple concept, one new descent into the unknown each week, but the subject matter makes it anything but casual viewing.

The lineup begins on June 2nd with “Tracking the Wendigo,” a deep dive into one of the most chilling legends in North American folklore. Director Jason Hewlett explores both historical accounts and modern reports, blending documented cases with cultural context to create something that feels less like myth and more like a question that hasn’t been fully answered.

On June 9th, “Still Watching: The Bigfoot Legacy of Salt Fork” shifts gears but keeps the unease intact. Seth Breedlove heads to Ohio’s Salt Fork State Park, a location often dubbed one of the most active Sasquatch hotspots in the country, to unpack decades of sightings and first-hand accounts that continue to fuel the legend.

Things take a darker turn on June 16th with “Werewolves Unearthed,” following investigators as they track reports of “dogman” encounters across the Ohio Valley and western Pennsylvania. What starts as isolated sightings quickly builds into something more unsettling, as patterns begin to emerge in places that feel a little too close to home.

June 23rd brings “Skinwalker: The Howl of the Rougarou,” diving into Southern folklore surrounding a creature said to stalk the swamps and bayous. Rooted in stories that stretch back generations, the film explores the possibility that some legends don’t fade, they evolve.

Closing out the month on June 30th, “The Dogman Triangle: Werewolves in the Lone Star State” heads to Texas Hill Country, where a cluster of sightings has turned a stretch of land into a hotspot for something far from ordinary. Investigators Aaron Deese and Shannon LeGro attempt to make sense of encounters that blur the line between folklore and something far more tangible.

With all five titles rolling out across major digital platforms, “Terrifying Tuesdays” feels less like a simple release schedule and more like a curated experience for horror fans who appreciate the stories that live just outside the mainstream. Whether you’re a skeptic or someone who’s always believed there’s something out there, this is the kind of lineup that makes you think twice about what might be waiting in the dark.

Christopher James 5/12/26 Christopher James 5/12/26

Enter At Your Own Risk With TERROR FILMS RELEASING’S “HOUSE AT THE EDGE OF THE WOODS”

There’s something reliably entertaining about anything stamped with Terror Films Releasing’s “Sealed Approval of Partnership”. Whether they’re diving into supernatural chaos, gritty psychological horror, or the ever unpredictable found footage lane, the company has built a reputation for putting out some amazing horror movies to add to your library. The films they producer are scrappy, watchable horror that understands their audience. They may not always reinvent the wheel, but they know how to keep it spinning just fast enough to keep horror fans engaged. As someone who devotes their life to all thing’s horror, that consistency counts for a lot in a genre that thrives on experimentation. I am a fan of Terror Films Releasing for a reason…..they put out quality horror.

That brings us to “House at the Edge of the Woods”, directed by Hartsock. “House at the Edge of the Woods” is a new found footage horror movie that leans hard into the eerie isolation and emotional weight that the sub-genre does best. The premise is immediately compelling: a grieving man returns to his childhood home, only to discover his father has vanished into the surrounding woods. When traditional search efforts fail, the story pivots into familiar but welcome territory, bringing in a paranormal investigation team to uncover what might be lurking just beyond the tree line. It’s a setup that feels tailor-made for tension, and at its core, it absolutely works.

Where “House at the Edge of the Woods”shines brightest are in its cinematography. This is easily its strongest and most immersive element. For a project shot in just over a week with a minimal crew, the visual execution is surprisingly effective. The camera work captures that uneasy stillness of wooded isolation, turning darkness into a character of its own. Night sequences especially feel suffocating in the best way. They way they film the shadows stretching just long enough to make you question what you’re seeing. It’s the kind of visual storytelling that found footage fans crave, where the fear often lives just outside the frame. It makes the realism that much more attention grabbing and feel as if you are watching the movie as if you are holding a handheld camcorder yourself.

That said, while the movie looks the part, it doesn’t always feel the part. Truly that comes down to the performances. As much as I love found footage horror, the acting here pulled me out of the experience more often than it should have. There are moments where the dialogue and delivery feel a bit too forced, breaking the illusion that this is raw, recovered footage. In a sub-genre that relies so heavily on authenticity, even small missteps can stand out. In this case unfortunately, those distractions add up over time. I am not expecting “Oscar winner performances” when I watch horror movie but normalizing the dialogue you’re speaking in a way seems natural is a big thing for me in found footage horror movies.

To be fair, it’s not all completely uneven. There are flashes and genuine, effective moments where the cast locks in and the tension clicks into place. When that happens, you can see exactly what the “House at the Edge of the Woods”is aiming for, and it works. Those glimpses make it clear that with a bit more consistency, the performances could have elevated the entire experience. It’s a reminder that while atmosphere can carry a horror film far, it can’t do all the heavy lifting alone.

The story itself remains engaging throughout. All thanks in part to its focused, one-location approach. There’s something inherently unsettling about a familiar place that seems safe and slowly starts becoming hostile. Without question, the movie taps into that idea well. The mystery surrounding the father’s disappearance keeps things moving, and the gradual unraveling of supernatural possibilities adds a layer of intrigue that never quite loses its grip. It’s a slow burn, but one that mostly justifies its pace.

Ultimately, “House at the Edge of the Woods” is a mixed bag, but I will say it is at least an interesting one. It’s a movie with a strong visual identity and a premise that hooks you early, even if it struggles to maintain immersion due to inconsistent acting. For found footage fans, there’s still plenty here to appreciate, especially if you’re drawn to atmospheric horror that prioritizes mood over outright scares.

“House at the Edge of the Woods”will be available to stream beginning May 15, 2026, across multiple platforms, including familiar outlets like Amazon Prime Video, Apple TV, and Tubi, making it an easy addition to your next late-night horror watchlist.

Christopher James 5/4/26 Christopher James 5/4/26

“THE FUZZIES” (2026) From TERROR FILMS RELEASING Crafts a Killer Puppet Tale

If there are two things I love, it’s puppets and horror. So, when something like “The Fuzzies” lands in my email inbox, it already has my attention before the opening frame even flickers to life. Released by Terror Films Releasing and brought to life by filmmakers Josh Funk and Dustin Vaught, this offbeat horror-comedy leans hard into the uncanny valley of childhood nostalgia. Plus who doesn’t love puppets and gore filled bloodlust, right?

The setup is simple but effective: a group of friends reunites at the eerie estate of their recently deceased childhood companion, only to discover that the grotesque puppets from her once-beloved children’s TV show are very much alive. This is not in a friendly, sing-along kind of way. What follows is a descent into felt-covered chaos, where bright colors and soft textures mask something far more sinister. The cast, including Rocío de la Grana, Baylee Toney, Dustin Vaught, and Gordy Cassell. The movie does a solid job grounding the absurdity, even when it is fully embraces its weirdness.

Let’s address the big thing upfront: the story itself is a bit thin. It hits familiar beats, and there are moments where you can feel the narrative stretching to keep things moving. That said, this isn’t a movie you watch for a tightly wound plot. You watch it for the experience, and on that level, it absolutely delivers. The pacing keeps things lively, and just when it feels like it might stall, it throws another bizarre or bloody surprise your way.

Exclusive Clip Provided by TERROR FILMS RELEASING

Where “The Fuzzies” really shines is in its unique craftsmanship. The practical puppetry is fantastic, bringing a tangible, almost nostalgic charm that CGI just can’t replicate. There’s something inherently unsettling about real, physical puppets sharing space with human actors, and the movie leans into that discomfort in all the right ways. Add in touches of stop-motion horror, and you get sequences that feel like a warped children’s show melting in real time. It’s creative, it’s creepy, and it sticks with you when the credits roll.

The kills are another highlight. They’re inventive without feeling overly mean-spirited, striking that sweet spot horror-comedy fans look for. You can tell the filmmakers had fun coming up with these moments, and that energy translates on screen. It’s not just about shock value. It’s about creativity, and this movie has plenty of it. It makes for a good time and a good watch that will leave you possibly asking questions but not questioning why you took time to watch it.

There’s also an underlying theme about nostalgia and how the things we loved as kids can take on a darker tone when viewed through an adult lens. It doesn’t dive especially deep into that idea, but it’s present enough to give the movie a bit of extra texture beneath the chaos.

At the end of the day, “The Fuzzies” isn’t perfect, but it doesn’t need to be. It’s weird, it’s scrappy, and it knows exactly what it is. For fans of offbeat horror and practical effects, it’s an easy recommendation. It may not reinvent the genre, but it definitely leaves its fuzzy, blood-stained mark. You can catch “The Fuzzies” now streaming on platforms like Vudu, Amazon, Tubi, and Chilling. If killer puppets are your thing (and they absolutely should be) this one is ready to haunt your watchlist and split your sides. Don’t miss out on this fun cinematic experience.

Christopher James 4/24/26 Christopher James 4/24/26

FOUND TV’S MURDEROUS MARCH Releases Coming Soon

Murderous May arrives with a fresh lineup of found footage horror designed to keep you glued to the screen and second-guessing every flicker on your TV. From shaky camera chaos and cursed recordings to paranormal encounters that feel a little too close for comfort, there are so many chances to get scared. This month’s selection leans fully into the raw, unsettling energy that makes the genre so effective. Each title brings its own brand of terror. Whether it’s isolation in the woods, something watching from just out of focus, or footage that probably should’ve stayed lost. All of it comes from the one place dedicated entirely to unearthing these kinds of stories. You may be wondering what sinister location or corners of the internet these can be found. It’s Found TV!! A streaming app where the found footage signal is always ready and the scares are always intentional… or at least that’s what they tell us between static bursts. Mark your calendars for these new releases:

May 1 - FOUND EXCLUSIVE WORLD RELEASE Distort 2: The Dead Among the Trees (2026): Not too long ago, a musician had a supernatural experience involving ghostly dogs and time-bending cassette tapes left for him in an Irish forest. Now, a documentary filmmaker brings the man back to the same forest to see just how real these experiences were, and to possibly save the woman who has been trapped there for 30 years.

May 5 Jeruzalem (2015): When a couple of American young adults fly to Israel to visit the city of Jerusalem, a biblical nightmare falls upon them. North America only.

May 8 The Red Box Project (2024): Four friends explore a cave rumored to have formed from an ancient comet impact. The unstable cave traps them inside. They use walkies to communicate while hunted by a mysterious, non-human predator lurking within the depths.

May 12 Yami Douga 20 (2018): 20th installment in the "Yami Douga" series.

May 15 House at the Edge of the Woods (2025): A grieving man moves into the home of his missing father. After experiencing anomalies on his property, he hires a documentary crew to uncover the truth of what's really happening at The House at the Edge of the Woods.

May 19 The Third Shift: A Paranormal Story (2026): Five paranormal investigators embarked on an unaccompanied ghost hunt within the confines of Gloucester prison. All five of them vanished without a trace that night. This is the footage they wanted you to see.

May 22 Parched 2: Hangry (2019): A social media influencer brings her friends to an Airbnb lake house to party. When an appetite stimulant is mistakenly dumped into the lake and the guests go for a dip, they emerge ravenous and insatiable.

May 26 Yami Douga 21 (2019): 21st installment in the "Yami Douga" series.

May 29 Vegan (2024): A vegan social media influencer goes on a quest to document the search for her biological parents. Her search leads her to a defunct, secluded farm where she encounters The Farmer, and her worst nightmares become reality.

This is becoming a strong month for found footage and supernatural horror. May’s lineup highlights FOUND TV’s continued commitment to found footage horror, paranormal storytelling, and experimental genre filmmaking. With a blend of international releases, original productions, and cult favorites, the platform offers something for fans of supernatural horror, sci-fi paranoia, and documentary-style terror. Depending if you’re drawn to haunted investigations, cursed footage, or technological nightmares, this month’s releases promise plenty of reasons to keep the lights on. If you are new to FOUND TV, use my code ILOVEHORROR for $5 off your yearly subscription.

Christopher James 4/21/26 Christopher James 4/21/26

Turn Faith Into Fear With “SOULS CHAPEL” (2026)

There’s a certain thrill in stumbling across a movie that feels like it was made specifically to haunt your brain at 2AM. So, when I got the chance to check out “Souls Chapel” early, it felt exactly like that kind of discovery. This isn’t the kind of story that politely introduces itself, it pulls you in by the collar, drags you through the snow, and dares you to sit still while it unravels something deeply unsettling. From the jump, it’s clear this isn’t just another indie horror flick trying to punch above its weight. It’s a moody, slow-burn collision of genres that knows exactly what it wants to be, and more importantly, knows how to get there.

Directed by and starring Jake C. Young, the movie wastes no time establishing its tone. Set in a bleak, undefined stretch of time, the story follows Ray, a drifter chasing rumors of gold through the unforgiving hills of Kentucky. Young plays him with a quiet intensity that immediately calls to mind Clint Eastwood’s iconic western archetype, yet he never feels like he’s borrowing too heavily. Instead, he molds that influence into something uniquely his own. He’s the kind of lead you can’t take your eyes off. It is gritty, grounded, and believable as both a hardened survivor and a man slowly realizing he’s in over his head. Simply put, Young makes a great western hero and a commanding leading man.

The plot kicks into motion when Ray encounters a mysterious entity offering gold in exchange for retrieving two powerful relics. Which you can tell, is an agreement that feels doomed from the start. When a brutal storm forces him to seek shelter inside the ominous Souls Chapel, the movie shifts gears into something far darker. What unfolds is a nightmarish unraveling of faith, deception, and supernatural horror. The clergy within the chapel are anything but holy, and the land itself feels cursed, as if something ancient has been waiting patiently beneath the surface.

What makes “Souls Chapel” stand out is how seamlessly it blends the rugged elements of a western with a heavy, ever-present sense of the supernatural. The isolation of the frontier becomes the perfect backdrop for occult horror, and the movie leans into that synergy with confidence. This isn’t a western with horror elements tacked on, or a horror movie wearing a cowboy hat. It’s a fully realized hybrid where both genres feed off each other in a way that feels natural and, at times, deeply unsettling.

Genre fans will appreciate the presence of Brian Bremer, who brings a familiar gravitas to the movie. Known for cult favorites like “Pumpkinhead” & “Society”, Bremer fits right into this eerie world, adding weight to the already tense atmosphere. The supporting cast, including Adriana Curtsinger and Jermey Boggs, helps round out the strange and unpredictable dynamic within the chapel. There’s a constant sense that no one can be trusted, and that uncertainty keeps the tension simmering.

Visually, the movie is a knockout. The cinematography from Austin Rutherford and Zach Jones helps to elevate the entire experience. They do so simply by capturing sweeping, snow-covered landscapes that feel both beautiful and isolating. Every exterior shot reinforces the harshness of the world, while the interiors of the chapel are drenched in shadow and unease. The way light and darkness are used throughout the movie creates a lingering sense of dread, as if something is always just out of view.

The locations themselves play a huge role in the movie’s effectiveness. There’s an authenticity to the setting that makes everything feel lived-in and real. The chapel isn’t just a backdrop, it’s a presence. Its worn walls and suffocating atmosphere make it feel like a place where something terrible has happened… and is more than willing to happen again. This attention to detail makes the movie that much more enjoyable, pulling you deeper into its world with every scene.

What really lingers after the credits roll is the movie’s atmosphere. “Souls Chapel” doesn’t rely on cheap scares or over-the-top spectacle. Instead, it builds tension slowly, letting the horror seep in through its environment, its characters, and its themes. It’s a story that understands the power of restraint, allowing the unknown to do most of the heavy lifting. At its core, “Souls Chapel” explores the fragile line between belief and reality. It suggests that legends aren’t just stories. What they are is warnings, echoes of something that refuses to stay buried. That idea gives the movie an extra layer of depth, making it more than just a genre exercise.

“Souls Chapel” may not be for everyone, especially those looking for a fast-paced thrill ride, but for viewers who appreciate atmosphere, strong performances, and a bold blending of genres, it delivers in a big way. It’s a confident, haunting piece of storytelling that proves indie horror still has plenty of new ground to explore. You can watch it for yourself right now on platforms like Apple TV, Amazon Prime Video, and Fandango at Home.

Christopher James 4/18/26 Christopher James 4/18/26

FOUND TV’s “PRIMAL DARKNESS” is a Savage Step Forward for Found Footage

Found TV has quietly become a much-needed haven for found footage fans who crave more than the usual recycled night-vision chaos and shaky-cam clichés. With a sharp eye for indie filmmakers who understand that atmosphere and storytelling matter. They do it in a way that showcases what’s lurking in the dark, the platform consistently uncovers projects that punch well above their budget. It’s a space where creativity thrives, where risks are rewarded, and where the found footage sub-genre is treated less like a gimmick and more like an art form. In a landscape oversaturated with forgettable entries, Found TV has made a name for itself by spotlighting found footage horror movies that don’t just meet expectations, they stalk past them, drag them into the woods, and leave them unrecognizable.

“Primal Darkness” wastes absolutely no time reminding you that nature doesn’t care about your camera angles, your narrative arc, or your survival. It simply exists, and sometimes it hunts in a way that makes it stand out much more than the average found footage horror movie. Found TV’s latest original, written and directed by Dillon Brown, drops viewers into the desolate stretches of rural Nevada and dares them to sit still while something ancient breathes just out of frame.

The setup feels familiar to most fans of the found footage horror fans at first, almost comfortingly so. Cole Harrington, a seasoned outdoor host with a confident voice and a camera-ready smile, ventures into cattle country to investigate a string of brutal livestock attacks. It’s the kind of premise that usually leads to wolves, maybe a rogue bear, or if you’re lucky, something cryptozoological with glowing eyes and a shaky backstory. “Primal Darkness” knows you’re expecting that, and then it pivots in such a hard way it will knock you off your feet the instant it does.

What begins as a controlled, almost procedural expedition quickly mutates into something far more unnerving. The discovery of recovered footage showing the final moments of two missing university employees shifts the movie into a darker, more fragmented rhythm. These inserted glimpses are not just exposition; they’re warnings of a fate that is yet to come. Each second of that footage feels like a trespass into something we were never meant to see, and “Primal Darkness” leans into that discomfort with unsettling precision.

One of “Primal Darkness” smartest and most refreshing choices is its creature concept. Without over-explaining or drowning the audience in pseudo-scientific jargon, the movie introduces the possibility of a prehistoric, almost caveman-like predator lurking in the shadows. It’s a bold swing, and it lands. The idea of something not just animalistic but proto-human taps into a deeper, more instinctual fear that comes from something deep within. This isn’t just a beast. It’s a reflection, a distorted echo of what we might have once been.

That concept alone could have carried a lesser movie, but Dillon Brown goes further by grounding the horror in character. Cole Harrington is not your typical disposable found footage lead. He’s layered, increasingly fragile, and compelling to watch as his confidence erodes. Early on, he’s all charm and control, narrating his journey with the ease of someone who’s spent years in front of an audience. As the movie progresses, that polish begins to crack. His voice falters. His decisions become erratic. The camera, once a tool, starts to feel like a crutch that is slowly making him sink into danger.

What makes Cole’s descent so effective is how gradual it is. There’s no single breaking point, no over-the-top meltdown. Instead, it’s a series of small and fractured moments where his instincts betray him. A place where the wilderness feels less like a backdrop and more like a trap. By the time the movie reaches its final act, you’re not just watching a man in danger. You’re watching someone unravel in real time, and it’s impossible to look away.

The supporting elements, particularly the recovered footage of the missing university employees, add a chilling layer of narrative depth. These sequences feel distinct in tone. It is grainier, more chaotic, and deeply claustrophobic. They contrast beautifully with Cole’s initially controlled documentation style, creating a visual and emotional dissonance that amplifies the tension. It’s in these moments that the film feels most dangerous, as if it’s brushing up against something it can’t fully contain.

Visually, “Primal Darkness” thrives on restraint. It understands that what you don’t see is often far more terrifying than what you do. The isolated landscape is used to its fullest potential. Its wide, empty spaces that somehow feel suffocating. The camera lingers just long enough to make you question what might be hiding in the distance, then cuts away before you can be sure. When “Primal Darkness” does choose to reveal glimpses of its creature, it does so sparingly and effectively. No overexposure, no cheap jump-scare reliance. It is just enough to let your imagination do the heavy lifting.

Sound design plays a crucial role here, elevating the tension in ways that visuals alone couldn’t achieve. Every rustle, every distant echo, every unnatural silence feels intentional. There’s a constant sense that something is nearby, just outside the frame, listening as closely as you are. It’s the kind of auditory unease that lingers long after the scene has ended.

What truly sets “Primal Darkness” apart, though, is its commitment to tone. This isn’t a movie interested in winking at the audience or providing moments of relief. There’s no comedic safety net, no ironic detachment. It takes its premise seriously, and in doing so, it earns your investment. The horror here isn’t flashy. It’s creeping, patient, and deeply rooted in the fear of the unknown.

The decision to frame the story within the found footage format feels purposeful rather than obligatory. Too often, the genre leans on shaky cameras and convenient “lost tapes” as a gimmick. Here, it’s integral to the storytelling. Not just the main story but also the side story with the side characters. The camera becomes a witness, a confidant, and ultimately, a liability. There are moments when you’ll find yourself wanting Cole to drop it, to run, to stop documenting and start surviving. That tension that is between the need to capture and the instinct to escape is where the “Primal Darkness” finds some of its most compelling fear.

It’s also worth noting how effectively the movie builds its mythology without overindulging in exposition. The idea of a primal, possibly prehistoric humanoid creature is introduced with just enough detail to intrigue without demystifying it. There are hints, implications, and fragments of information, but no definitive answers. This ambiguity works in the film’s favor, allowing the horror to remain expansive and unknowable.

As the narrative hurtles toward its conclusion, “Primal Darkness” doesn’t resort to easy answers or neatly tied resolutions. Instead, it embraces the chaos it has been building, delivering an ending that feels both inevitable and deeply unsettling. It’s the kind of finale that sticks with you. Simply not because of what it shows, but because of what it suggests. Although there are some creepy and terrifying things that you see.

The movie’s upcoming world theatrical premiere at Unnamed Footage Festival 2026 feels like a perfect fit. This is a movie that understands its audience, fans who appreciate the slow burn, the ambiguity, and the willingness to take risks within a familiar framework. It doesn’t reinvent found footage, but it refines it, sharpening its edges and reminding us why the format can still be so effective when handled with care.

“Primal Darkness” is not just another entry in the ever-growing catalog of found footage horror. It is now that it’s available to stream on the Found TV app, it’s one that’s dangerously easy to stumble into late at night when you probably shouldn’t. It’s a confident, atmospheric, and genuinely unsettling experience that lingers long after the screen goes dark. With its unique creature concept, strong character work, and unwavering commitment to tone, it proves that even in a genre crowded with imitators, there’s still room for something that feels raw, primal, and terrifyingly real. It is a must watch for me (like anything available on Found TV). You are going to want to dim the lights, sit back and prepare yourself for a good scare.

Christopher James 4/16/26 Christopher James 4/16/26

(NEWS) Grief & Horror Await With TERROR FILM RELEASING’S “HOUSE AT THE EDGE OF THE WOODS”

Terror Films Releasing has built a reputation as a passionate curator within the horror community, consistently seeking out the most compelling voices in both independent and mainstream filmmaking. With a sharp eye for originality, atmosphere, and pure terror, the company specializes in uncovering hidden gems that might otherwise go unnoticed, giving emerging filmmakers a platform while also celebrating seasoned creators. Their growing catalog reflects a deep appreciation for the genre in all its forms, from gritty found footage nightmares to polished studio shockers. Simply making them a trusted destination for horror fans looking to discover their next obsession. I recently got some more great horror news sent to me from the people at Terror Films Releasing that a new horror movies is on the horizons to be released. Here is the news:

FROM THE TERROR FILMS RELEASING PRESS RELEASE:

Terror Films Releasing has set a release date for Brandon Hartsock’s found footage horror film, “HOUSE AT THE EDGE OF THE WOODS.” Directed by Brandon Hartsock, who also produced with Dulvlu Spa, the film features Dulvlu Spa, Josiah Miller, Madeline Lootens, and Giovanni Accettola, and centers around a grieving man who moves back in with his father, only to find that he has gone missing in the nearby woods. After a police search fails to find his father, unsettling nocturnal disturbances and strange noises echoing from beyond the trees lead him to believe that supernatural forces may be responsible for his father’s disappearance, leading him to hire a crew of paranormal investigators to help find him. The film is comprised of recovered footage captured by the investigative team. Brandon Hartsock shared his thoughts on the making of the film:

“This film is rooted in a deeply personal history, inspired by childhood memories of growing up quite literally in a house at the edge of the woods, which fostered a lifelong curiosity about what might be lurking in the darkness beyond. The project was brought to life over just eight days, with a tight-knit cast and crew of only eight individuals. Despite the limited resources, I believe this film distinguishes itself within the found footage genre through its innovative approach—a tense, one-location mystery culminating in what I hope will be a truly terrifying conclusion for horror fans.” The film will be available beginning May 15th, 2026, across a wide variety of platforms. Be sure to stay tuned for my full review, coming soon here.

Christopher James 4/1/26 Christopher James 4/1/26

(NEWS) Horror-Comedy“THE FUZZIES” Set for Release from TERROR FILMS RELEASING

Spring has a funny way of dressing up dread in pastels. The flowers bloom, the air softens, and somewhere beneath all that fresh-cut optimism lurks the quiet promise that something is about to go very wrong. It is the season of false security, where longer days invite us outside just as horror begins sharpening its knives for the summer ahead. Consider it the calm before the carnage, a playful prelude where the sunlight lingers a little too long and the shadows start practicing for the slashers waiting just around the corner. I just got news from the lovely and spooky folks over at Terror Films Releasing for a new horror movie that is on its list of upcoming scares. They have creeped into my email inbox to inform me of all the info for me to share with you fellow horror fans. Here is the info:

FROM THE TERROR FILMS RELEASING PRESS RELEASE:

Terror Films Releasing has teamed with filmmakers Josh Funk and Dustin Vaught to bring audiences the wildly original horror-comedy “The Fuzzies.”

Starring Rocío de la Grana, Baylee Toney, Dustin Vaught, and Gordy Cassell, “The Fuzzies” follows a group of friends who reunite at their childhood friend’s eerie estate after her death, only to uncover a nightmare lurking beneath the surface. The grotesque puppets from her once-beloved children’s television show are somehow alive. Blending practical puppetry, stop-motion horror, and dark humor, “The Fuzzies” explores themes of friendship, fame, and the monsters we carry from childhood. Written and produced by Josh Funk and Dustin Vaught, with Josh Funk also directing, the film leans heavily into its uncanny inspirations. Funk shared insight into the creative vision behind “The Fuzzies”:

“The Fuzzies is a horror-comedy born from a fascination with the uncanny, specifically the strange power of puppets and stop-motion animation to feel both comforting and deeply unsettling. Drawing inspiration from children’s television of the 1970s and ’80s, the film explores how bright sets, felt textures, and cheerful characters become disorienting when stripped of their warmth. ‘The Fuzzies’ embraces the tactile imperfections of handmade filmmaking to tell a story about nostalgia curdling into terror, and the monsters we carry with us from childhood.”

“The Fuzzies” will be available beginning May 1st, 2026, across a variety of platforms including Vudu, Amazon, Tubi, Chilling, and more. Stay tuned here and my social media pages for my full review, coming soon.

Christopher James 3/31/26 Christopher James 3/31/26

Amorphous April Releases Coming Soon to FOUND TV

Spring has officially shaken off the winter’s cobwebs, the melting snow revealing things long dead and secrets buried under the previously cold blanketed snow and the sun is shining brightly as a way to ward off evil spirits of the previous season. While all this and more terrifying things are happening within the new season, FOUND TV is busy digging up something far more sinister. The season blooms with an overwhelming surge of found footage horror with grainy, chaotic, and deliciously unpolished footage waiting to be discovered, they are turning April into a playground for shaky cams and “this was never meant to be seen” energy. It’s less about spring cleaning and more about spring unearthing, as FOUND TV rolls out a lineup so packed with eerie discoveries, you’d think someone left the camcorder running on humanity’s worst decisions. Mark your calendars for these releases:

April 1 – “Anacoreta” (2022): A group of friends travel for a weekend away to an isolated cabin in the woods to shoot an experimental horror movie. Slowly the film begins to unravel, and we see the true monster appear from the shadows.

April 3 – “Parched” (2017): A quintet of college kids take a road trip to an abandoned house and unintentionally drink infected water that turns them slowly insane and murderous, but this is no accident.

April 7 – FOUND ORIGINAL AND EXCLUSIVE WORLD RELEASE “Primal Darkness” (2026):
Cole Harrington, the host of a popular outdoor series, sets out to track down the predator responsible for a series of cattle attacks in rural Nevada. The mystery deepens when he uncovers footage depicting the final moments of two missing university employees.

April 10 – WORLD STREAMING RELEASE “The Fairfield County Four” (2026): Four young adults disappear while investigating reports of a large, wolf-like creature. Though no trace of the four was found, their camera was eventually located. This would be the last known footage of “The Fairfield County Four.”

April 14 – “Yami Douga 18” (2018): Spirits, occult, grotesque, violence, madness, bizarre incidents… Born from darkness, the darkness is about to be buried in the shivering taboo video multiple recordings of the popular series, the 18th installment.

April 17 – “Live Survival” (2023): After escaping a homeless shelter infested with flesh-eating zombies, two cops discover the whole world is now in chaos. They team up with more survivors and fight to escape the city while searching for a way to bring the dead to an end.

April 21 – “The Inheritance” (2025): When James Mills inherits a forgotten desert property, he documents the trip, only to encounter ghostly children, strange time-warped objects, and a silent cult stalking him through the night.

April 24 – EXCLUSIVE WORLD RELEASE “Loner” (2025): An aspiring vlogger goes on a wilderness retreat to a cabin in the woods, where he is held captive by an ancient, natural force.

April 28 – “Yami Douga 19” (2018): Spirits, occult, grotesque, violence, madness, bizarre incidents… Born from darkness, the darkness is about to be buried in the shivering taboo video multiple recordings of the popular series, the 19th installment.

This is becoming an even greater month for found footage and supernatural horror. April’s lineup highlights FOUND TV’s continued commitment to found footage horror, paranormal storytelling, and experimental genre filmmaking. With a blend of international releases, original productions, and cult favorites, the platform offers something for fans of supernatural horror, sci-fi paranoia, and documentary-style terror. Depending if you’re drawn to haunted investigations, cursed footage, or technological nightmares, this month’s releases promise plenty of reasons to keep the lights on. If you are new to FOUND TV, use my code ILOVEHORROR for $5 off your yearly subscription.

Christopher James 3/25/26 Christopher James 3/25/26

“THE COMING” (2025) Delivers a Twisted & Unholy Take on Religious Horror

Religious horror has a way of cutting deeper than most subgenres, burrowing past jump scares and gore to tap into something far more primal. It plays with belief, guilt, our very morality, and the terrifying idea that something greater than us might not be benevolent. The best entries don’t just try to scare you; they rattle your foundation. It does so by forcing you to question faith, identity, and the thin line between salvation and damnation. When done right a religious horror movie doesn’t just haunt your dreams, it is one that lingers in your conscience.

I recently had the chance to check out “The Coming” from Terror Films Releasing. The movie is directed by Aaron Greer and written by and starring Seth Panitch. This movie wastes no time establishing that it’s aiming for something far more ambitious than your standard possession flick. “The Coming” follows psychiatrist Sam Allyn, a once-respected professional now scraping by at the decaying Mt. Carmel Psychiatric Hospital. His last shot at redemption arrives in the form of Patient X. A case so strange, so unsettling, that it quickly becomes clear this isn’t just another troubled mind. This is something far darker, and far more dangerous than anyone could expect.

From the moment Sam steps into Mt. Carmel, “The Coming” wraps you in a suffocating atmosphere that feels less like a hospital and more like purgatory. The walls seem to close in, the air feels stale with forgotten sins, and every hallway carries a sense that something unseen is watching, waiting. It’s a setting that does heavy lifting for the story, turning the asylum into a character of its own. “The Coming” is one that mirrors the psychological and spiritual decay unfolding within it. There’s a constant, oppressive weight to the environment that never lets up, creating a dark, eerie presence that clings to every scene.

What truly sets “The Coming” apart is its unique and daring approach to religious horror that is not the usual from the subgenre. Instead of presenting a straightforward battle between good and evil, the movie flips the perspective entirely. It offers what can only be described as a twisted origin story for the ultimate antagonist: the Devil. It’s a bold narrative choice that could easily fall apart in lesser hands, but Greer and Panitch lean into it with confidence. Their talents with crafting a story that is as thought-provoking as it is chilling is very impressive. By framing this as a kind of “hero’s journey,” the movie forces the audience into uncomfortable territory, asking them to see the world through a lens they’d normally reject outright.

Seth Panitch delivers a commanding performance as Sam Allyn, grounding the movie with a sense of desperation and fragile determination. He’s a man clinging to the idea that he can fix something (or really anything) to salvage his own sense of purpose. Opposite him, Jyreika Guest and Baron Kelly bring a palpable intensity that elevates the movies’ central mystery. The performances across the board feel committed and authentic, helping to sell even the most surreal and unsettling moments. There’s a clear passion behind the cast’s work here, and it shows in every interaction the audience gets to see on screen.

Visually, “The Coming” knows exactly how to get under your skin in the best way possible for horror fans. The cinematography embraces shadows and negative space, often letting darkness dominate the frame in a way that keeps your eyes searching for movement. Specific lighting choices stand out in key scenes, bathing characters in harsh, almost otherworldly tones that amplify the sense of dread. Whether it’s the flicker of a dying bulb or the cold, sterile glow of hospital lights, every visual decision feels intentional, adding a distinct flair of terror that enhances the movies’ atmosphere rather than distracting from it.

There’s also an undercurrent of dark humor woven throughout “The Coming” that prevents it from becoming overly heavy, a balancing act that mirrors the very themes it explores. This tonal blend gives “The Coming” a unique identity, allowing it to shift between unsettling, introspective, and occasionally biting in its delivery. It’s not afraid to challenge its audience, to make them uncomfortable, and even to make them question why they feel that discomfort in the first place.

At its core, the “The Coming” thrives on its ability to create a lingering sense of unease. The idea that you are witnessing something you shouldn’t—that you’re being pulled into a perspective that feels wrong on a fundamental level, is where “The Coming” finds its strength. It doesn’t rely on cheap scares or predictable beats. Instead, it builds a slow-burning tension that seeps into every frame, making the experience feel immersive and, at times, deeply unsettling.

Credit must be given to Aaron Greer for steering the “The Coming” with such a clear vision, and to Seth Panitch for crafting a story that dares to be different while delivering a performance that anchors the film emotionally. The supporting cast, including Jyreika Guest and Baron Kelly, further elevate the material. They are great at ensuring that every moment feels lived-in and purposeful. This is the kind of collaborative effort that reminds you just how powerful independent horror can be when everyone involved is fully committed to the story they’re telling.

“The Coming” is a bold, eerie, and thought-provoking entry into the world of religious horror. It is one that doesn’t just aim to scare you, but to challenge you. With its purgatory-like setting, oppressive atmosphere, striking cinematography, and a uniquely chilling perspective on the Devil’s journey, it stands out as a movie that horror fans should absolutely have on their radar. This is a highly recommended watch from yours truly for anyone craving something darker, smarter, and just a little bit dangerous.

“The Coming” is currently available to rent or purchase on Amazon Prime and will expand to platforms including Chilling, Scare Network TV, Kings of Horror, Watch Movies Now, and Shocks & Docs on April 3rd, 2026.

Christopher James 3/20/26 Christopher James 3/20/26

TERROR FILMS RELEASING Embraces Folk Horror Fear With “BLACK GOAT” (2026)

There’s a very specific kind of fear that only folk horror can deliver. It doesn’t rely on speed or spectacle. It lingers in the crisp cold air, seeps into the dark trees reaching towards the sky, and makes you question whether the ground beneath your feet has always been so wrong or cursed. “Black Goat” is the kind of movie that understands that quiet dread, then sharpens it into something far more sinister.

From Terror Films Releasing, this eerie descent into woodland terror wastes no time unsettling its audience. The story follows a young environmental engineer who arrives in the secluded town of Blackwood Falls, expecting routine work. Instead, he stumbles into a slow-burning nightmare fueled by ritual, isolation, and a community that clearly knows more than it’s willing to say. The deeper he digs, the more the town begins to feel less like a place and more like a trap.

What makes “Black Goat” stand out is how effectively it leans into its folklore roots. The legend of the Black Goat of the Woods isn’t just background flavor, it’s a suffocating presence that hangs over every scene. You feel it in the way the townspeople speak in half-truths, in the way the forest seems to stretch endlessly, and in the growing sense that something is always watching just out of frame. This is folk horror at its most immersive, where the mythology isn’t explained away but allowed to fester and breathe.

The woodland setting deserves serious credit here. Shot in the dead of a British winter, the movie captures that bleak, bone-chilling atmosphere perfectly. The trees feel endless, the paths feel disorienting, and the isolation becomes almost oppressive. It’s the kind of environment that makes you instinctively uneasy, like you’ve wandered somewhere you absolutely shouldn’t be. The forest doesn’t just serve as a backdrop, it becomes a character of its own, amplifying every ounce of tension.

Then there’s the intense Black Goat itself. The movie wisely avoids overexposure, instead choosing to build anticipation through suggestion and shadow. When it does make its presence known, it’s not just frightening, it’s a terrifyingly commanding figure that makes fear shudder down your entire body. There’s a weight to it, a sense that this entity isn’t just another monster, but something ancient and untouchable. The menace feels real, and that restraint makes every glimpse far more effective.

The performances help ground the movies’ escalating horror, particularly from Benjamin James Hinds, Darren Randall, Becki Jones, and Michael Myunda. There’s a natural quality to the way these characters interact, which makes the unraveling terror hit harder. You believe in their confusion, their fear, and ultimately, their desperation as the truth begins to surface. It never feels overplayed, which is exactly what this kind of story needs.

One of the more surprising highlights is how well the movie balances its slow-burn tension with genuinely satisfying jump scares. When they hit, they hit. There’s a clear understanding of timing here, these moments aren’t thrown in randomly but are carefully placed to jolt you just when the creeping dread has you fully locked in. It’s a reminder that even the most atmospheric horror can still have a little fun with its audience, and “Black Goat” absolutely delivers on that front.

The movies’ origin adds another layer of intrigue. Hinds, who also produced the project, drew inspiration from a nightmare involving a telekinetic entity in an endless forest, combined with real folklore from his hometown. That personal touch comes through in the storytelling. There’s an authenticity to the fear, as if this isn’t just a story being told, but something being remembered, or warned about.

Tonally, the movie clearly takes cues from classics like “The Wicker Man” and “The Witch”, but it never feels like a retread. Instead, it channels that same oppressive atmosphere and sense of inevitable doom while carving out its own identity. The result is a movie that feels both familiar and fresh, which is no easy feat in a genre as well-worn as folk horror.

If there’s one thing I feel that “Black Goat” excels at, it’s the commitment it has to its mood you feel while watching it. This isn’t a movie that rushes to its scares or over-explains its mythology. It trusts the audience to sit in the discomfort, to piece together the horror, and to feel the weight of what’s happening rather than having it spelled out. That confidence pays off, creating an experience that sticks with you long after the credits roll.

More importantly, I felt that it was just an enjoyable watch. There’s a clear passion behind the camera, a respect for the horror genre, and a willingness to let the story unfold at its own pace without the need to have your hand held. Whether you’re here for the folklore, the atmosphere, or those well-timed jolts of terror, “Black Goat” delivers something worth sinking into.

For horror fans craving something that blends eerie mythology with a creeping sense of dread or afraid to throw in a few sharp shocks along the way, this is a journey is well worth taking. Just don’t expect to leave the woods feeling the same way you entered. You may do like I have done after seeing “The Blair Witch Project” and question whether you should ever go camping again (fun fact…..I still haven’t since seeing that movie).

“Black Goat” is currently available on Prime Video, Chilling, Scare Network TV, Kings of Horror, Watch Movies Now, Shocks & Docs, and Terror Films Releasing’s AVOD YouTube channel.

Christopher James 3/16/26 Christopher James 3/16/26

“THE INN” (2026) is a Neon-Lit Slasher Bloodbath

Spring Break horror movies usually come with a predictable checklist revolving around the typical setting. Usually with a remote location, a group of unsuspecting young people looking to party, and a killer waiting patiently to ruin everyone’s vacation plans. “The Inn” embraces that formula with enthusiasm, tossing its characters into the Palm Court Motel and letting chaos unfold in a messy, blood-soaked celebration of grindhouse-style horror. Released through Terror Films Releasing, the movie aims to capture the spirit of rowdy late-night horror viewing surrounding an atmosphere that is something loud, gory, and fun to watch with friends.

Starring Brandon Yates, Aimee Rolfsen, Connor Holden, and Dan Winkowski, “The Inn” drops viewers into a seemingly ordinary getaway spot where Spring Break fun quickly mutates into a night of terror. A masked killer known as the Sandman begins stalking the motel grounds, turning a cheap roadside stop into a playground of carnage. What starts as a carefree trip filled with drinking and late-night antics spirals into something far darker as the body count climbs and the night becomes a fight for survival.

Right from the opening scenes, it’s clear that “The Inn” isn’t trying to reinvent the slasher wheel by any way, shape (see what I did there), or form. Instead, the movie leans into the type of horror that thrives on atmosphere, outrageous kills, and a sense of chaotic fun. Directed by Kevin Losch and Kevin Ragsdale, the creators have openly discussed their love for classic horror-comedy chaos like “Evil Dead 2” and “Texas Chainsaw Massacre 2,” and that inspiration is easy to spot. There’s an unapologetic embrace of excess here. A movie where blood sprays freely, the humor veers into twisted territory, and the whole movie carries a slightly unhinged energy that feels intentionally campy.

The Palm Court Motel itself plays a huge role in establishing that tone. The location feels like it was pulled straight from a forgotten roadside attraction somewhere off a dusty highway. Neon lights flicker against cracked pavement, doors slam in echoing hallways, and the entire place carries a sense of isolation that makes the violence feel even more claustrophobic. Horror fans know that setting can make or break a movie like this, and “The Inn” wisely uses the motel as a character of its own. The cramped rooms, stoners hanging by the pool with some beers, the narrow walkways, and open courtyard create the perfect playground for the Sandman to stalk his victims.

Speaking of the Sandman, the movie clearly wants to position this masked killer as a potential horror icon (there are some very Jason Voorhees vibes there). The design leans into classic slasher aesthetics while still carving out its own identity. There’s a simplicity to the mask and overall look that works in the character’s favor. Rather than overcomplicating the design, the Sandman thrives on presence alone. Whenever the killer appears on screen, there’s an immediate sense that something brutal is about to happen (and brutality is there in bulk).

The real highlight of “The Inn” is its dedication to practical gore effects. Horror fans who grew up on the splatter-filled classics of the 80s will likely appreciate how unapologetically messy the movie becomes. Limbs get mangled, blood pours across motel floors, and several kills lean heavily into the kind of exaggerated carnage that practical effects fans live for. These moments are where the movie truly shines. Each sequence feels designed to deliver a visceral reaction, whether that’s shock, laughter, or the kind of uncomfortable grin that only horror movies can inspire. Not to mention how the Sandman displays his victims in the bathroom would even make Art the Clown blush.

There’s a certain charm in how committed the movie is to that approach. Instead of relying on digital shortcuts, “The Inn” opts for tangible effects that feel raw and tactile. It gives the violence a grimy authenticity that fits perfectly with the movie’s grindhouse spirit. When the gore ramps up, it becomes clear that the filmmakers are having a blast crafting each gruesome moment.

However, that dedication to spectacle does come with a trade-off. While the practical effects and setting are strong, the movie’s writing often takes a backseat to the carnage. Character development is fairly minimal, and the story itself follows a straightforward path that never strays too far from familiar slasher territory. The characters serve their purpose within the narrative, but they rarely feel deeply fleshed out. For viewers looking for intricate storytelling or complex character arcs, “The Inn” may feel a little thin in that department. There were a few moments that the lines and even the delivery of them fall kind of flat.

That said, the movie doesn’t seem particularly interested in slowing down to explore those elements. Its priority is momentum, and it moves through the story with a fast-paced energy that keeps the night spiraling toward its inevitable bloody climax. The result is a movie that feels less like a tightly constructed narrative and more like a chaotic roller coaster ride through a haunted motel.

In many ways, that approach fits perfectly with the filmmakers’ stated goal. Kevin Losch explained that the intent behind “The Inn” was to create a horror movie that people could throw on with friends, grab some popcorn, and simply enjoy. Judged by that standard, the movie largely succeeds. It’s the kind of horror experience that thrives in a group setting where audiences can laugh, gasp, and cheer at the outrageous kills together. Maybe even take their empty popcorn buckets from their side to add a few moments to retch at the artistic carnage our killer likes to showcase.

The performances from the cast help maintain that sense of energy. Brandon Yates and Aimee Rolfsen bring an entertaining mix of panic and determination to their roles, while Connor Holden and Dan Winkowski add to the chaotic ensemble dynamic that fuels the movie’s momentum. The characters may not receive deep backstories, but the actors lean into the movie’s heightened tone and help keep the story moving forward.

Another strength lies in the movie’s refusal to take itself too seriously. Horror-comedy can be a difficult balance to pull off, but “The Inn” understands that its over-the-top violence works best when paired with a sense of self-awareness. The humor occasionally slips into dark, twisted territory, creating moments that feel equally absurd and entertaining. That balance helps keep the movie from becoming overly grim despite the constant bloodshed.

Of course, the biggest question surrounding “The Inn” is whether the Sandman has the staying power to become a recurring horror villain. The foundation is certainly there. The character’s visual design, combined with the movie’s emphasis on brutal practical kills, creates a memorable presence that could potentially evolve in future installments. Horror history is filled with slashers who started with modest beginnings before becoming genre staples, and the Sandman has the kind of raw potential that could grow into something bigger.

Ultimately, “The Inn” is a movie that knows exactly what it wants to be. It’s not trying to deliver a deeply layered narrative or a groundbreaking reinvention of the slasher genre. Instead, it aims to capture the chaotic spirit of classic splatter horror and deliver an unapologetically messy good time.

For viewers who value storytelling above all else, the thin plot and limited character depth may feel like missed opportunities. However, horror fans who appreciate practical effects, creative kills, and grindhouse-style energy will likely find plenty to enjoy within the walls of the Palm Court Motel.

“The Inn” may sacrifice some narrative depth in favor of gore and atmosphere, but it never forgets the most important rule of late-night horror viewing keep things entertaining. The thing to remember is this, watching a masked killer turn Spring Break into a bloodbath is exactly the kind of messy fun the genre needs. “The Inn” from Terror Films Releasing and Greasy Boys Films is now available on rent or purchase exclusively on Amazon Prime. It is also available on platforms will include Chilling, Scare Network TV, Kings of Horror, Watch Movies Now, Shocks & Docs (TFR’s official AVOD YouTube channel), and many more.

Christopher James 3/12/26 Christopher James 3/12/26

“SCARED TO DEATH” (2026) Delivers Screams, Laughs, & Pure Horror Mayhem

Horror fans love a movie that knows exactly what it wants to be. Some movies try to juggle scares and comedy only to stumble awkwardly between the two tones. Others lean so hard into one side that the balance disappears entirely. I recently had the chance to watch a new horror comedy “Scared to Death,” that shows it is possible to accomplish success on both sides. The new horror comedy from writer/director Paul Boyd is a spooky, playful, and surprisingly polished ride that embraces the absurdity of horror while still delivering genuine chills. The movie doesn’t just aim for laughs or scares, it gleefully swings between both with confidence.

Boyd, known for projects like “I, Challenger” and “We Are Gathered Here Today,” demonstrates a strong command of tone with this movie. Horror comedy is one of the most difficult subgenres to pull off, requiring precise timing, committed performances, and an atmosphere that can convincingly support both dread and humor. “Scared to Death” succeeds largely because Boyd leans into the chaos while maintaining a solid narrative foundation. The movies’ setting plays a massive role in establishing that tone. The location itself feels wonderfully eerie, almost as if the walls have been waiting decades for a horror story to unfold within them. From dimly lit hallways to unsettling corners that feel just slightly too quiet, the movie crafts an environment that is as spooky as it is entertaining. It is an keeps you on the edge of your seat but lets you rock back and forth with laughter while you’re there.

At the heart of the movies’ success is its incredible cast, led by two true horror legends, Lin Shaye and Bill Moseley. Watching these two icons share the screen is an absolute treat for horror fans. Shaye, whose unforgettable work in the “Insidious” franchise has cemented her as one of the most beloved performers in modern horror, brings both gravitas and mischievous charm to her role. Not to mention she has a lot of great experience being in comedy movies (some of my favorites being from the Farrelly Brothers). She has an incredible ability to shift between vulnerability and comedic bite without missing a beat, and that versatility shines throughout “Scared to Death”.

Bill Moseley, famous for his unforgettable performances in cult classics like “The Devil’s Rejects” and “The Texas Chainsaw Massacre 2,” brings his signature intensity and dark humor to the table. Moseley has always been a performer who understands the theatricality of horror, and in “Scared to Death,” he clearly relishes every moment of it while he is on screen. His presence adds a gritty, unpredictable energy that perfectly complements the movie’s chaotic spirit.

The chemistry of having both these horror movie powerhouses on the same screen is one of the movies’ greatest strengths. Both actors understand the rhythm of horror storytelling and how to deliver lines in a way that can pivot instantly from creepy to comedic. Their performances feel effortless, and they anchor the movie with the kind of seasoned confidence that only decades of genre experience can provide. There is a reason why these to have decades of movies in their resume and millions of fans to back it up, and this movie is just further proof of that.

Surrounding these legends is an ensemble cast that absolutely rises to the challenge. Olivier Paris, Victoria Konefal, B.J. Minor, Jade Chynoweth, Lucinda Jenney, Rae Dawn Chong, Matt Carmody, Joline Towers, Alicia Tomasko, and Mair Flores all bring a strong sense of commitment to the film. Horror comedy only works when actors are willing to fully embrace the ridiculousness of the situation without losing the emotional stakes, and this cast clearly understands that balance.

Each performer contributes something unique to the energy of “Scared to Death”. Some lean into the comedic absurdity of the story, delivering sharp timing and playful reactions that amplify the humor. Others bring genuine tension to the movies’ scarier moments, grounding the chaos in something that still feels dangerous. The result is a cast that feels unified in its mission to entertain.

One of the standout performances comes from Kurt Deimer, making a memorable impression as the eccentric and scene-stealing character known as The Grog. Deimer’s presence injects a wild unpredictability into the movie that is a great enjoyment and blend to the variety of characters in the movie. His character feels larger than life in the best possible way, the kind of personality that immediately grabs the audience’s attention the moment he appears on screen. It’s a performance that embraces “Scared to Death” as an irreverent spirit while still feeling completely at home in the world Boyd has created.

“Scared to Death” also benefits from the work of cinematographer Steven Poster, whose visual style enhances the eerie atmosphere. The lighting choices and framing help transforms the location of the haunted house in the movie into a character of its own. Shadows stretch just long enough to make viewers uneasy, while certain camera movements create the sense that something might be lurking just out of view. It’s subtle craftsmanship that elevates the movie beyond standard horror comedy visuals.

Another highlight is the movies’ dedication to practical effects. In an era where many productions rely heavily on digital imagery, “Scared to Death” embraces the tangible charm of old-school horror filmmaking. The practical effects add texture and authenticity to the movies’ more outrageous moments. Blood splatters feel satisfyingly real, haunting creatures work carries weight, and the physicality of the effects helps sell the movies’ more chaotic sequences. Horror fans who appreciate hands-on filmmaking will likely find themselves smiling at several moments where practical artistry steals the spotlight.

“Scared to Death” fantastic editing by Ed Shiers keeps the pacing brisk, allowing the story to move quickly without feeling rushed. Horror comedies thrive on rhythm, and the movie clearly maintains a steady momentum that ensures audiences never linger too long in one tone before shifting to another. One moment the movie is delivering a creepy setup, and the next it’s puncturing the tension with a perfectly timed joke.

Ultimately, what makes “Scared to Death” work so well is the obvious passion behind it. From Boyd’s confident direction to the committed performances from every actor involved, the movie feels like a project created by people who genuinely love the genre. It understands the traditions of horror while also having fun twisting them.

“Scared to Death” doesn’t pretend to be anything other than a wildly entertaining horror comedy, and that honesty works in its favor. It delivers spooky atmosphere, memorable characters, energetic performances, and plenty of laughs along the way.

For fans of horror who enjoy their scares with a healthy dose of humor, the movie offers exactly what the title promises. It is a movie that embraces both sides of the genre with enthusiasm. Between the legendary presence of Lin Shaye and Bill Moseley, a gambit of a supporting cast, inventive practical effects, and a wonderfully creepy setting. The bottom line is that this movie proves that horror comedy can still be a thrilling playground for filmmakers willing to take risks.

“Scared to Death” is the kind of movie that reminds us why horror fans love this genre so much. It’s weird, spooky, hilarious, and just a little bit unhinged. At the end of the day, “Scared to Death” is exactly what horror fans want, big personalities, creepy moments, and just enough chaos to make the whole ride unforgettable. In other words, exactly the kind of ride horror fans are always hoping for. If it isn’t obvious by now this is a high recommend from me. “Scared to Death” hits theaters nationwide this Friday, March 13th. Audiences will be in store for a movie looking for a fun night full of laughing, jumping, and grinning all at once. Get your tickets now and enjoy the movie!

Christopher James 3/10/26 Christopher James 3/10/26

(NEWS) TERROR FILMS RELEASING Unleashes the Devil in New Film “THE COMING” (2026)

March may already be halfway over, but the madness of horror movie releases shows no signs of slowing down anytime soon. That’s especially true when it comes to the horror powerhouse known as Terror Films Releasing, a company that has consistently delivered a steady stream of chilling titles for horror fans to sink their teeth into. Their ever-growing library continues to expand across multiple streaming platforms, offering everything from eerie supernatural tales to twisted psychological nightmares. I was recently sent details about yet another intriguing horror film that is set to join their lineup, and it certainly sounds like one that genre fans will want to keep on their radar. If you’re always on the hunt for your next frightening watch, this latest announcement might be exactly what you’re looking for. Enjoy the terror-fueled news below.

FROM THE TERROR FILMS RELEASING PRESS RELEASE:

TERROR FILMS RELEASING has teamed with director Aaron Greer to release his independent horror film, “The Coming.” Starring Seth Panitch (who wrote the film), Jyreika Guest, and Baron Kelly, the film follows renowned psychiatrist Sam Allyn who, forced to scrounge for work at the crumbling Mt. Carmel Psychiatric Hospital, sees his salvation in curing the mysterious Patient X. Panitch and Greer shared their thoughts about the making of the film:

“The Coming is the darkly comic origin story of the greatest antagonist in the history of, well, anything: The Devil. The Devil’s journey through the wilderness of denial to the summit of self-knowledge and acceptance is told, for once, from its point of view, marrying the audience so closely to its perspective that they cannot help but at least consider the same choices it makes—even if they’d prefer not to admit it out loud.

This is, ironically, a Hero’s Journey from the one creature most unlikely to be thought a hero, as it discovers, despises, and ultimately falls in love (or at least lusts) with its true identity by assuming the Atlas-like responsibility of single-handedly maintaining the universal balance of Light and Dark, of Yin and Yang.”

The film is currently available to rent or purchase exclusively on Amazon Prime until its wider platform release on April 3, 2026. Platforms will include Chilling, Scare Network TV, Kings of Horror, Watch Movies Now, Shocks & Docs (TFR’s official AVOD YouTube channel), and many more. Stay tuned for my full review of the movie.

Christopher James 3/6/26 Christopher James 3/6/26

LEVEL 33 ENTERTAINMENT’S “DIDN’T DIE” (2026) Delivers a Fresh Bite Into Horror Comedy

Zombie comedies have shuffled their way through horror for decades, but every once in a while, one crawls out of the grave that feels genuinely fresh. As someone who spends a lot of time immersed in the genre by watching it, reviewing it, and dissecting what works and what doesn’t, I tend to see a lot of variety of things and some that make me feel as brain dead as a zombie. I’m always excited when a movie takes familiar undead territory and does something unexpected with it. “Didn’t Die,” directed by Meera Menon, is exactly that kind of surprise. It’s sharp, visually striking, and packed with a smart sense of humor that sneaks up on you in the best way possible. While zombie movies often lean heavily into gore or action spectacle, this one takes a more thoughtful route. It balances bleak post-apocalyptic horror with wit and heart, crafting a story that feels both intimate and refreshingly original.

From my perspective as a lifelong horror fan, what makes “Didn’t Die” stand out is how character-driven it feels. Instead of focusing on massive hordes of the undead or endless survival set pieces, the film leans into the human side of the apocalypse. The story highlights the quiet moments between the chaos. The attempts to stay connected, the humor people cling to when everything falls apart, and the strange determination to keep living when the world seems determined to stop you. It’s a refreshing angle that immediately pulls you in. Rather than asking how humanity fights zombies, the film asks a more fascinating question: how do people keep finding joy when everything around them has completely unraveled?

The story centers on Vinita, played by stand-up comedian and Emmy-nominated actress Kiran Deol, a podcast host trying to maintain her dwindling audience as a zombie apocalypse slowly spreads across rural America. Even as society collapses and survival becomes increasingly uncertain, Vinita continues recording episodes, clinging to the connection her show provides. In a strange way, her podcast becomes a lifeline, not just for listeners, but for herself as well. That premise alone gives the film a unique identity within the zombie genre, turning content creation into an unexpected survival tactic.

One of the most striking elements of “Didn’t Die” is its cinematography. Shot primarily in black and white, the film immediately sets itself apart visually. Cinematographer Paul Gleason creates a hauntingly beautiful landscape where shadows stretch across quiet farmland and abandoned homes feel like echoes of a life that used to exist. The monochrome palette enhances the movies’ sense of loneliness and decay while giving it a timeless aesthetic that feels almost like a modern horror fable. Instead of relying on flashy visuals, the film builds atmosphere through contrast, light, and silence. The result is absolutely stunning and one of the most memorable visual styles in recent zombie storytelling.

The zombies themselves (referred to as “Biters”) add another clever layer to the story. At first, survivors believe they understand the rules: Biters only attack at night. That limitation creates a chilling rhythm throughout the film. Daylight becomes a fragile window of safety, while nightfall signals danger closing in. However, the movies slowly flips that expectation on its head. As the story progresses, the Biters begin evolving, creeping into daylight hours and shattering what little sense of control the survivors thought they had. That evolution adds a fresh layer of tension and reinforces the unsettling reality that survival rules can change without warning.

At the heart of the film is Kiran Deol, whose performance anchors the entire story. Deol delivers a standout performance as Vinita, blending sharp humor with genuine emotional depth. Her real-life background as a stand-up comedian clearly shines through, giving her impeccable comedic timing throughout the film. The humor never feels forced or overplayed. Instead, it feels like a natural coping mechanism for someone trying to hold onto sanity while the world collapses around her.

What makes Deol’s performance particularly compelling is how well she captures the humanity of someone searching for joy in a joyless world. Vinita isn’t a fearless action hero or a hardened survivalist. She’s simply a person trying to keep going, clinging to humor, routine, and connection in the face of overwhelming despair. Deol plays the role with warmth and vulnerability, creating a character that feels authentic and deeply relatable.

The supporting cast including George Basil, Samrat Chakrabarti, Katie McCuen, Vishal Vijayakumar, Ali Lopez-Sohaili, and Kandis Erickson adds further depth to the movies’ world. Their performances help build the sense of family and community that runs throughout the story. Even as the apocalypse unfolds, the movie never loses sight of the relationships that keep its characters grounded.

Director Meera Menon deserves enormous credit for shaping the movies’ tone and emotional core. Her previous work on shows like “The Walking Dead,” “Fear the Walking Dead,” “Ms. Marvel,” and “Westworld” clearly demonstrates why she was the perfect choice to bring this story to life. Menon has a remarkable eye for highlighting family, humor, and the slow emotional decay of a world falling apart. At the same time, she captures the small sparks of joy that still manage to survive amid the chaos.

Ultimately, “Didn’t Die” succeeds because it understands that the real power of horror lies in its characters. Between its stunning black-and-white cinematography, thoughtful storytelling, and memorable performances especially from Kiran Deol, the movie manages to be both haunting and surprisingly uplifting. For horror fans looking for something fresh within the zombie genre, this is one worth seeking out. “Didn’t Die” arrives exclusively in U.S. theaters on March 6, 2026. Get your tickets from Fandango here.

Christopher James 2/27/26 Christopher James 2/27/26

FOUND TV’S MANIC MARCH Releases Coming Soon

FOUND TV isn’t easing into spring, it’s kicking the door open and unleashing what can only be described as a Manic March. FOUND TV has March packed with cursed footage, vengeful spirits, AI paranoia, and undead chaos. This month’s lineup dives headfirst into everything that makes found footage and underground horror so effective. FOUND TV is gearing up to provide horror fans with the feeling that what you’re watching was never meant to be seen. From eerie paranormal investigations and disturbing occult recordings to technological nightmares and flesh-hungry zombies, FOUND TV is stacking March with the kind of releases that horror fans live for. Here’s every nightmare arriving this month:

March 3 – “Nightmare Code” (2014) Kicking off the month is Nightmare Code, an award-winning sci-fi thriller that dives deep into the terrifying potential of artificial intelligence and constant surveillance. The film follows the development of advanced behavior recognition technology capable of monitoring individuals 24/7. As the system evolves, it begins to reveal disturbing patterns and consequences, blurring the line between technological innovation and psychological horror.

March 6 – “Abduction of Sal Bedford” (2025) This chilling mystery follows a documentary filmmaker investigating a bizarre and unexplained incident that occurred three decades earlier. As the filmmaker digs deeper into the disappearance of Sal Bedford, unsettling details begin to surface. What starts as a historical investigation quickly transforms into something far more disturbing, suggesting some mysteries were never meant to be uncovered.

March 10 – “Yami Douga 16” (2017) The popular Japanese occult series continues with its sixteenth installment, presenting a collection of disturbing and taboo footage. Featuring spirits, grotesque imagery, violence, and bizarre supernatural encounters, Yami Douga 16 delivers a series of recordings that explore the darkest corners of paranormal documentation. The series remains known for its unsettling realism and nightmarish atmosphere.

March 13 – “For Sale By Exorcist” (2025) In this supernatural horror story, realtor Susan Price has built a career cleansing haunted homes and removing unwanted spirits. When she finally finds her dream house, her past work comes back to haunt her—literally. The spirits she once evicted return with vengeance, forcing her into a terrifying battle to save not just her home, but her life.

March 16 – “Haunted 5: Phantoms” (2020) A private investigator returns to London to examine reports of violent paranormal activity inside a haunted pub. Alongside his team, he encounters aggressive spirits, poltergeist phenomena, and increasingly dangerous supernatural forces. As the investigation intensifies, the team finds themselves confronting entities far more sinister than they anticipated.

March 18 – “Live Escape” (2022) Two police officers respond to reports of strange activity inside an abandoned homeless shelter, only to discover an endless maze filled with danger. The building is overrun with zombies, and the officers must uncover the truth behind their creation while fighting to survive. The film combines claustrophobic tension with undead horror as the threat of a city-wide outbreak looms.

March 20 – “Vain” (2025) While filming a paranormal documentary, a group of content creators uncover footage connected to a missing girl. As they investigate further, they realize they’ve stumbled onto something far more sinister than a simple disappearance. The deeper they go, the more dangerous their search becomes, blurring the line between investigation and survival.

March 24 – “Yami Douga 17” (2017) The disturbing Japanese occult series continues with another collection of forbidden recordings. Featuring paranormal encounters, grotesque imagery, and deeply unsettling footage, this installment further explores the terrifying unknown. Each recording reveals fragments of supernatural horror that feel both intimate and deeply disturbing.

March 27 – “3:15am” (2018) This French found footage anthology presents multiple terrifying stories captured through supposedly real recordings. As the night unfolds, each segment reveals new layers of fear, paranoia, and supernatural dread. The anthology format delivers a variety of scares while maintaining a consistent atmosphere of unease.

This is becoming a strong month for found footage and supernatural horror. March’s lineup highlights FOUND TV’s continued commitment to found footage horror, paranormal storytelling, and experimental genre filmmaking. With a blend of international releases, original productions, and cult favorites, the platform offers something for fans of supernatural horror, sci-fi paranoia, and documentary-style terror. Depending if you’re drawn to haunted investigations, cursed footage, or technological nightmares, this month’s releases promise plenty of reasons to keep the lights on. If you are new to FOUND TV, use my code ILOVEHORROR for $5 off your yearly subscription.

Christopher James 2/24/26 Christopher James 2/24/26

(NEWS) TERROR FILMS RELEASING Lands Serbian Horror “VIDEOTHEQUE” (2026)

The horror-loving ghouls over at Terror Films Releasing never seem to sleep and we’re better off because of it. Time and time again they have proven that they have a sixth sense for sniffing out genre gems across the entire spectrum of horror. From blood-soaked slashers to eerie slow-burn psychological chillers and everything lurking in between. They don’t just collect horror titles for a catalog; they curate with intention, putting their energy behind movies that understand what makes horror fans tick. So when they forwarded me the latest news about a new addition to their ever-growing horror library, I knew it was worth cracking open. Here’s what was included.

FROM THE TERROR FILMS RELEASING PRESS RELEASE:

TERROR FILMS RELEASING has teamed with writer/director Luka Bursac to release his anthology horror film, “Videotheque.” A love letter to American midnight cinema and Slavic folklore, the film follows a small-time thief who hides inside an abandoned video store after a heist goes wrong. What starts as a desperate attempt to lay low quickly spirals into something far more unsettling. Bursac shared his thoughts on the making of the film:

“Videotheque is an anthology of three distinct cautionary tales, bound together by a fourth thread—a haunting pulse that binds them into one living narrative. I sought to wield genre as a lens to explore contemporary Serbian society—its material desires, fractured classes, fervent beliefs, superstitions, and the enduring bonds of family. It’s a dreamlike dive into a world both familiar and strange, a dark fairy tale about the duality of human nature.”

TFR will premiere the film across multiple platforms on March 20, 2026, including Chilling, Scare Network TV, Kings of Horror, Watch Movies Now, Shocks & Docs, TFR’s official AVOD YouTube channel, and many more.

Christopher James 2/19/26 Christopher James 2/19/26

(NEWS) “SCARED TO DEATH” (2026) Trailer Delivers Star-Powered Supernatural Mayhem

There’s something that sparks the fanboy love within me when I am informed that I can be watching horror royalty share the same screen. It feels like walking into a packed horror convention where every aisle holds a legend, every autograph table drips with cinematic blood, and every fan is buzzing. I live for those moments. Seeing icons from different corners of the horror genre united in one gloriously chaotic project is my version of Christmas morning (or watching “Silent Night, Deadly Night” during the holidays). When gore meets the paranormal and someone has the nerve to lace it all with comedy, I’m already sold. That kind of mash-up doesn’t just promise entertainment. It promises an event that is worth the ticket price.

Recently I got news of a new trailer dropping for a new horror-comedy movie called “Scared to Death,”. Naturally when I hear about a new horror trailer that in any way catches my interest, I cleared my schedule and press play without hesitation. “Scared to Death” is written and directed by Paul Boyd. From the trailer alone, it looks like a wicked cocktail of supernatural insanity and irreverent humor. Front and center are genre heavyweights Lin Shaye (of the “Insidious” franchise) and Bill Moseley (“The Devil’s Rejects”, “The Texas Chainsaw Massacre 2”), which alone had me grinning like a slasher villain leaning over a fresh kill. This cast is obviously stacked. We’re talking Olivier Paris, Victoria Konefal, B.J. Minor, Jade Chynoweth, the legendary Rae Dawn Chong (“The Color Purple”), Lucinda Jenney (“Practical Magic” & Stephen King’s “Thinner”), and rock frontman Kurt Deimer making his mark as the scene-stealing The Grog. The trailer teases possession, chaos, outrageous kills, and a sharp sense of humor that knows exactly what kind of movie it is. It feels big, bold, and completely unhinged in the best way.

The movie is being unleashed nationwide by Atlas Distribution Company, with a theatrical release set for Friday, March 13th, 2026, in major markets across North America. That date alone feels perfectly sinister. If the trailer is any indication, this is going to be a wild ride packed with horror and enough horror moments to keep you on the edge of your seat. Do yourself a favor and check out the trailer now. Be sure to also stay tuned here, because I’ll absolutely be bringing you my full review once “Scared to Death” hits theaters. Don’t forget to check out my trailer reaction on my TikTok channel here.

Christopher James 2/15/26 Christopher James 2/15/26

(NEWS) TERROR FILMS RELEASING & GREASY BOYS FILMS Team Up on “The Inn” (2026)

Even more sinister surprises are spilling out of Terror Films Releasing. This latest wave of news brings with it a vacation like setting hiding some very dark intentions. Known for turning indie horror into must-see events, this distributor is once again upping the ante with a slasher that mixes retro attitude, brutal kills, and a soon-to-be iconic masked menace. When a carefree vacation becomes a blood-streaked fight for survival, are you ready to check in to the nightmare that everyone will be talking about? Here is the news fresh from their press release.

FROM TERROR FILMS RELEASING’S PRESS RELEASE:

TERROR FILMS RELEASING has teamed with Greasy Boys Films and writer-directors Sloan Losch and Kevin Beganovic to release their Spring Break slasher, “The Inn.”

Starring Brandon Yates, Aimee Rolfsen, Connor Holden, and Dan Winkowski, the film is set at the Palm Court Motel, where Spring Break turns deadly as a masked killer unleashes a night of relentless gore and terror. Losch shared insight into the creative vision behind the film:

“When Kevin and I started talking about The Inn, the goal was simple: we wanted to make a horror movie that was fun to watch — the kind of film you throw on with a group of friends, grab some popcorn, and enjoy the ride. Both of us grew up on ’80s horror, especially Evil Dead 2 and The Texas Chainsaw Massacre 2. Those movies showed us that horror could be wild and messy but still hilarious, and that mix of gore and comedy stuck with us.

“At its core, this film is two best friends creating the kind of horror we’ve always loved, while trying to build a new horror icon of our own with the Sandman. The Inn doesn’t hold back — it’s bloody, over the top, and packed with the kind of twisted humor that keeps things from ever feeling too safe. More than anything, we wanted to make something that feels alive, that doesn’t take itself too seriously and gives horror fans a great time from start to finish.”

The film is currently available to rent or purchase exclusively on Amazon Prime ahead of its wider platform release on Friday, March 13, 2026. It will then expand to multiple platforms including Chilling, Scare Network TV, Kings of Horror, Watch Movies Now, and Shocks & Docs, TERROR FILMS RELEASING’s official AVOD YouTube channel, along with additional outlets. Stay tuned here for my full in depth review coming soon.