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.

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 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.

Christopher James 2/12/26 Christopher James 2/12/26

(NEWS) TERROR FILMS RELEASING Acquires Worldwide Rights To Folk Horror “BLACK GOAT” (2026)

More news has been sent my way from Terror Films Releasing as they continue their unstoppable momentum as they expand their ever-growing horror library. Terror Films Releasing is clearly cementing their place as one of the most powerful forces in independent horror distribution today. With a steady stream of must-see horror genre movies, Terror Films Releasing is quickly becoming the go-to destination for indie horror and the kind of unforgettable nightmares every fan must add to their watchlist. They have been my personal go-to for years now, and I couldn’t be happier. One chilling release at a time, they are slowly taking over the horror world. So, are you ready to discover the next horror movie you absolutely must watch? Before you rush to your streaming services, let’s check out the news on their newest acquisition.

FROM TERROR FILM RELEASING’S PRESS RELEASE:

Terror Films Releasing has teamed with writer/director David Hinds to release his horror film, “Black Goat.” Starring Benjamin James Hinds, Darren Randall, Becki Jones and Michael Myunda, the film follows a young environmental engineer in the mysterious town of Blackwood Falls, who uncovers horrifying secrets of cult sacrifices and a demonic entity known as the Black Goat of the Woods. Hinds, who also produced the film, shared his thoughts about the making of:

“The genesis of Black Goat stems from a genuine dream I experienced. More precisely, a nightmare; lost in endless woodland and pursued by a terrifying demonic entity with telekinetic powers. This dream, coupled with real folklore from my hometown, formed the basis for Black Goat.

Inspired by films such as Robin Hardy’s The Wicker Man, and Robert Eggars’ The Witch, Black Goat is a film that immerses the viewer in its picturesque, rural landscapes as a growing sense of unease unfolds, drawing its protagonists and the viewer, into an inescapable web of horror.

Shot entirely on location during the heart of British winter, our dedicated team has captured the essence of what it feels like to be lost in woods. So, join us if you will, for a journey down winding forest paths, under darkening skies. Come and join us in the dark.”

Terror Films Releasing has released the movie early on Prime Video and will premiere the movie across multiple platforms on February 20th, 2026, including Chilling, Scare Network TV, Kings of Horror, Watch Movies Now, Shocks & Docs, TFR’s official AVOD YouTube channel, and many more. Stay tuned here for my full review on this movie, coming soon.

Christopher James 2/11/26 Christopher James 2/11/26

TERROR FILMS RELEASING Blends True Crime & Terror in “TED BUNNY” (2026)

True crime and horror movies share a strange kind of intimacy. Mainly because both are obsessed with the same uncomfortable question, “How far can a human being fall before they stop feeling human at all”? While true-crime documentaries chase the facts and timelines, horror movies chase the emotional wreckage left behind. They start turning real-world atrocities into nightmares that explore guilt, obsession, and the fragile line between curiosity and voyeurism. When filmmakers draw from infamous cases, they are not just borrowing shock value, they are tapping into our collective fear of the ordinary turning monstrous, of neighbors and strangers hiding unspeakable secrets behind everyday smiles. That tension between reality and imagination is where some of the most unsettling and unforgettable horror stories are born. Could this be why most horror fans are true-crime enthusiasts?

I recently had a chance to enjoy the true-crime inspired horror movie “Ted Bunny,” from Terror Films Releasing and the twisted minds of producer Jeff Miller and writer/director Michael Fredianelli. It is exactly the kind of bizarre, risky concept that makes indie horror so exciting (if you couldn’t tell that already from the movie poster art). The movie imagines the illegitimate son of Ted Bundy, raised in isolation around rabbits and a mother who is ashamed of his existence. After living life the way he does, he is soon set free and snaps into a killing spree when a documentary crew arrives to dig into his past. On paper it sounds absurd, but in execution it becomes something oddly emotional, gruesome, and surprisingly thoughtful. Watching it, I was impressed by how confidently the movie walks the line between grindhouse slasher chaos and a character-driven origin story that actually wants you to feel something for its killer.

MY EXPERIENCE DOWN THE BLOOD-FUELED RABBIT HOLE:

One of the biggest reasons that emotional hook works is Dee Wallace, who delivers an amazing and captivating performance as Catherine. Wallace has always been a horror icon (as we know from “Cujo” and even some Rob Zombie movies), but what continues to impress me is how she never coasts on that legacy. She brings warmth, pain, and quiet desperation to Catherine, grounding the movie in real human tragedy. Even when the story veers into outrageous territory, her performance keeps it tethered to something authentic. You can feel decades of acting experience in every look and line she delivers, and she remains proof that true genre royalty never phones it in.

On the other side of the emotional spectrum is Diana Roman as Sasha, the movies’s protagonist and final girl. She is also one who absolutely nails the complicated journey her character takes. I loved how Sasha moves between empathy and determination with such natural ease. Her scenes with Wallace are tender and layered, making their connection feel genuine rather than forced. At the same time, Roman sells Sasha’s growing resolve to uncover what really happened to her friends, turning her into a character you actively root for rather than just watch survive. When the story hits its twist ending and Sasha’s arc takes a sharp, unexpected turn, Roman makes it feel earned, not gimmicky, which is no small feat.

Then there is Trent Avvenire as Theodore, aka Ted Bunny himself. I have to give him and the costume designers serious praise for creating such a memorable slasher icon. The look is ridiculous in the best possible way: playful, creepy, and deadly all at once. Ted Bunny gives off major Jason Voorhees vibes if Jason were way too into Easter, and that visual alone makes him instantly recognizable. Avvenire plays him with just enough tragic awkwardness to make him weirdly pitiable, which lines up perfectly with Fredianelli’s goal of crafting a killer we can almost care for while he’s doing truly awful things. There is a child-like way about him, but when things get terrifying, he flips the switch from childish to cold-blooded killer with ease. Not to mention the kills he provides in this movie are pretty great!

Speaking of Fredianelli, his directing here is confident, stylish, and clearly fueled by a love of old-school horror. “Ted Bunny” proudly leans into an ’80s slasher vibe, from the pacing to the gleefully nasty kills, but it never feels lazy or derivative. There’s a strong sense of control behind the camera, especially in how he balances the absurdity of the premise with genuine character moments. The writing by Fredianelli and Maralynn Adams deserves just as much credit. Together they create dialogue that feels human and purposeful, while also delivering the kind of outrageous situations and dark humor that slasher fans crave.

I also have to give Terror Films Releasing a huge shout-out for championing something this offbeat. It would have been easy to play it safe, but instead they leaned into a story that is strange, provocative, and uniquely their own. That willingness to highlight a movie like “Ted Bunny” is exactly why the indie horror scene continues to thrive, and everyone involved, from the producers to the crew behind the scenes, deserves praise for bringing this twisted little nightmare to life.

In the end, “Ted Bunny” is a bloody, bizarre, and surprisingly enjoyable ride that proves there are still fresh ways to remix true-crime horror. Whether you come for the thrills, chills or bloody kills, or the sheer audacity of the concept, there is a lot here to enjoy. You can catch the “Ted Bunny” when it premieres on Friday, February 13th, 2026, across multiple platforms including Chilling, Scare Network TV, Kings of Horror, Watch Movies Now, Shocks & Docs, and Terror Films Releasing’s official AVOD YouTube channel. If you love horror that takes big swings and isn’t afraid to get weird, this is one twisted Easter egg hunt you won’t want to miss.

Christopher James 2/10/26 Christopher James 2/10/26

(NEWS) LEVEL 33 ENTERTAINMENT Acquires Sundance Horror Comedy “DIDN’T DIE” (2026)

Sundance Film Festival has quietly been becoming one of the most important breeding grounds for modern horror. While the festival is often associated with prestige dramas, indie comedies and more, it has repeatedly launched some of the genre’s most daring and influential movies. From the lo-fi terror of “The Blair Witch Project” to the cultural lightning bolt of “Get Out”, Sundance has shown that horror can be both fearless and meaningful. The festival also helped bring the haunting grief of “Hereditary”, the eerie folklore of “The Witch”, and the unsettling power of “The Babadook” to a global audience. Together, these movies prove that Sundance does not just showcase horror, it helps redefine it for old and new horror fans alike.

I recently was informed of the news that a new horror comedy from Level 33 Entertainment is on the way for audiences everywhere, fresh from the indie movie scene. Level 33 Entertainment recently sent me their press release discussing the news and what we can expect with this new movie.

FROM LEVEL 33 ENTERTAINMENT’S PRESS RELEASE:

The Sundance Midnight feature film “Didn’t Die”, directed by Meera Menon, has been acquired by Level 33 Entertainment and will be released in theaters in the U.S. on March 6, 2026. Heralded by Variety as an “enticing character-centric comedy” and by Collider as a film that “forges its own bloody path by taking the story back to the barest of bones,” “Didn’t Die” premiered in 2025 at the Sundance Film Festival as a Midnight feature, merely weeks after director Menon’s home was tragically consumed by the fires which ravaged Los Angeles.

Menon, who has directed episodes of “The Walking Dead”, “Fear the Walking Dead”, “Ms. Marvel”, and “Westworld”, describes “Didn’t Die”, a film about the human spirit rising from tragedy this way:

“I’m drawn to the question of what still makes life worth living when everything else has come undone. Being an indie filmmaker right now feels like podcasting in the middle of a zombie apocalypse, this film is about the grit it takes to simply keep going.”

Starring stand-up comedian and Emmy-nominated actress Kiran Deol in the lead role of Vinita, “Didn’t Die” revolves around an unfolding zombie apocalypse in rural America, as a podcast host (Deol) struggles to maintain their dwindling audience amidst the chaos. Says Deol of her role in “Didn’t Die” and her collaboration with Menon:

“As a performer, it’s such a privilege to get to play an arc, especially one grounded in wry humor. Showcasing a South Asian family meant lots of dosas on set, which is a delicious way to make something revolutionary. From the collaborative style of developing the story, to staying in a house with the actors in upstate New York, Meera created an experience that felt like family coming together.”

The cast is rounded out by George Basil (“Werewolves Within”), Samrat Chakrabarti (“The Sinner”), Katie McCuen, Vishal Vijayakumar, Ali Lopez-Sohaili, and Kandis Erickson.

“Didn’t Die” is produced by director Menon, Erica Fishman, Joe Camerota, and Paul Gleason, the latter of whom also serves as the film’s cinematographer, with a score by Samuel Jones. Says Andreas Olavarria, President & CEO of Level 33 Entertainment, regarding the acquisition:

“Didn’t Die is a witty and poignant take on the classic zombie film, crafted by a group of truly remarkable filmmakers. We can’t wait to share this film with audiences across North America.”

“Didn’t Die” will be released exclusively in theaters in the U.S. on March 6, 2026. Tickets are available now on Fandango. Stay tuned here for my full review on this new zombie horror comedy soon.

Christopher James 2/6/26 Christopher James 2/6/26

“TEACHER’S PET” (2026): A Stylish Psychological Thriller”

I’ve always believed horror is a terrifyingly curated buffet, not a single dish. Some nights I crave the raw chaos of found footage, the masked mayhem of slashers, or the gloriously messy poetry of practical-effects gore splattering across the screen. Although, there are other times I want something that crawls under my skin instead of jumping out at me. The kind of movie you watch with the lights dimmed, phone silenced, and every nerve tuned in. Psychological horror is where tension replaces blood. It is where dread simmers instead of explodes, and where a single look can be scarier than a chainsaw. Those are the nights when a movie doesn’t just scare you, it moves in, rearranges the furniture in your brain, and refuses to leave. Recently I got the chance to watch a new psychological horror movie that put me in that’s exactly the kind of unsettling space called “Teacher’s Pet”.

Right off the bat I will say I found this movie very impressive for a number of reasons. For example, “Teacher’s Pet” doesn’t just flirt with psychological horror. What is does is it stares straight into it, unblinking, daring the audience to feel uncomfortable, curious, and emotionally invested all at once. Written and directed by Noam Kroll, the movie is a masterclass in slow-burn dread. “Teacher’s Pet” is built not on cheap shocks. It is built on performances, power dynamics, and a creeping sense that something terribly wrong is hiding just beneath polite smiles and academic ambition.

LETS GET INTO THE REVIEW!

At its core, the “Teacher’s Pet” follows a brilliant yet emotionally isolated high school senior whose life begins to change when a new English teacher enters the picture. What begins as a warm, almost uplifting mentorship soon takes on darker, more manipulative tones. Kroll’s screenplay is especially impressive here because it understands that true psychological horror doesn’t arrive screaming. It shows that it arrives quietly, dressed in good intentions. The dialogue is subtle and layered, constantly walking a tightrope between kindness and control, and that tension is what makes the story so gripping. Every conversation feels like it might tip the balance, and that makes even the smallest scenes pulse with unease.

Michelle Torian anchors the movie with a performance that is both fragile and formidable. Her portrayal of the gifted student captures the aching loneliness of someone who is desperate to be seen and understood. She brings such an emotional authenticity to the role that it becomes painfully easy to understand why she’s vulnerable to manipulation. Torian doesn’t play her character as naïve or weak, but rather as deeply human. She shows that her character is brilliant, hopeful, and craving connection in a world that often feels cold. That emotional honesty makes every twist in the story hit harder.

Opposite her, Luke Barnett delivers a chillingly nuanced turn as the English teacher whose charm slowly gives way to something far more sinister. What makes Barnett’s performance so effective is how effortlessly he shifts between warmth and menace. Early on, he radiates kindness, intellectual curiosity, and a genuine desire to help. As the story unfolds, subtle cracks begin to appear, revealing a need for control that is far more dangerous than outright cruelty. Barnett never overplays it, allowing the horror to come from what he doesn’t say just as much as what he does.

The chemistry between Torian and Barnett is electric, and that’s what truly drives the movie for me. Their on-screen energy captures both the initial comfort of a mentor-student relationship and the slow, horrifying realization that it’s becoming something toxic. There is an unsettling intimacy to their scenes together. There is a push and pull between admiration and fear, that will keep the audience emotionally locked in. It certainly did so while I watched it. When the power dynamic finally tips though, the impact is devastating because Kroll has taken the time to let us believe in the bond before showing us how it rots.

The supporting cast plays a crucial role in grounding the movie and giving the central conflict real weight. Clayton Royal Johnson, Kevin Makely, Sara Tomko, Drew Powell, Alexe Godin, and horror icon Barbara Crampton all contributesd performances that feel lived-in and authentic. These characters aren’t just background figures, to me they are the emotional ecosystem that surrounds the protagonists. Whether offering moments of warmth, suspicion, or quiet concern, the supporting cast provides the foundation that allows the main story to feel believable and deeply immersive.

Barbara Crampton’s presence, in particular, adds an extra layer of genre credibility and gravitas. Her performance feels like a knowing nod to horror fans while also serving the story in a meaningful way. She brings a steady, almost maternal strength to her role, reinforcing the idea that this world is populated by people who feel real, which only makes the psychological horror more effective. She is a horror queen for a reason and her performance here is just another piece of proof to that.

Visually and tonally, Kroll keeps “Teacher’s Pet” restrained but razor-sharp. The atmosphere is thick with tension, using stillness and subtlety to create unease rather than relying on flashy tricks. Classrooms, hallways, and quiet offices become stages for psychological warfare, and the mundane settings only heighten the terror. By placing this twisted story in such familiar spaces, Kroll makes the horror feel disturbingly close to home.

What truly elevates “Teacher’s Pet” is how carefully it handles its themes. This is not just a thriller about obsession. It’s a story about power, vulnerability, and the dangerous line between mentorship and manipulation. Kroll’s writing respects the intelligence of the audience, trusting them to read between the lines and feel the dread building long before anything explodes into violence. The man creates not only a story that puts you on the edge of your seat, but also uses his skills as a director to keeps you there.

By the time “Teacher’s Pet” reaches its final act, the tension is nearly unbearable. When the truth finally surfaces, it does so with emotional and narrative weight. Nothing feels cheap or unearned. Every moment of horror is rooted in character, which is what makes it linger long after the credits roll. It stands perfectly on the line between horror and thriller with such grace, it will make you glad you took the time to watch it.

IS IT WORTHY OF A RECOMMEND?

“Teacher’s Pet” is proof that psychological horror thrives when it’s driven by strong writing, fearless performances, and a director who understands that the scariest monsters are often the ones who smile the sweetest. This is no surprise, but it is a high recommend for me. Take some time to enjoy this movie as soon as you can. It will be available on digital and VOD this Friday, February 6th.

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 2/4/26 Christopher James 2/4/26

(NEWS) Found Footage Meets Fatal Gameplay in TERROR FILMS RELEASING’S “DEMO_N”

Terror Films Releasing delivered a massive wave of horror in 2025 packed with thrills, chills, and gloriously gory kills. From chilling found footage to supernatural nightmares and pulse-pounding thrillers that made us sleep with the lights on, TFR proved it knows exactly how to terrify. And they aren’t slowing down. If anything, 2026 looks even bigger, and I’m more than ready for the ride. I’ve spent years diving into the TFR library, and when a company puts out something as iconic as “Hell House LLC,” it earns the right to brag. Now, a brand-new partnership is set to unleash even more horror for fans to devour. I just got word about a killer new film on the way and here’s what I learned.

FROM THE TERROR FILMS RELEASING PRESS RELEASE:

TERROR FILMS RELEASING has teamed with writer and director Gary Francis Roche to release his new horror feature, “Demo_N.” Starring Roche, Angharad L. Ford, Nathan Joseph, and Sarah Collins, the film follows Gary, who opens a mysterious demo link during a friends’ reunion—unwittingly unleashing a supernatural presence into their online chat. The playable demo for the cursed game featured in the film, titled “Tag! You’re Dead,” was initially released on the gaming platform Steam. Roche shared his thoughts on the making of the film:

“Demo_N began as a fun little short film project to keep my creativity alive while between industry jobs. With six years of filmmaking experience, I leaned on every skill I had—from acting, editing, animation, and sound design—using only my desktop and the idea of a cursed retro video game.

When I shared the short with my friend Richard Charlton, he immediately saw its potential as a feature. Richard and I began developing the screenplay while I built the game animations. The production was grueling, with creative, technical, and environmental obstacles pushing me to the edge, but we persevered.

What emerged was a feature that exceeded expectations, securing streaming distribution, a Dread Central mention, and even inspiring a playable demo through Found TV. Now, with Demo_N being released globally under Terror Films, I’m thrilled to share this with found footage horror and gaming fans alike.”

TERROR FILMS RELEASING will premiere “Demo_N” across multiple platforms on February 27, 2026, including 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 review as I take a deep dive into this new horror movie.

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 1/30/26 Christopher James 1/30/26

FOUND TV’S FRIGHTFUL FEBRUARY Releases Coming Soon

I don’t know what is more frightening, the fact that there are so many great horror movies ahead of us or the fact that January is already over. Frightful February is here just in time for a new round of horror movies. Love is in the air, the sight of little hears are everywhere you look, when we all know as horror fans, we don’t want to see any hearts unless they are dripping with gore. Speaking of another round of horror movies, my friends at Found TV have a new line-up of found footage horror movies to stream throughout the month. Whether you have someone close to hold you as you fight the fear of these ultra realistic horror movies. Or you just may be huddled on the couch alone, hoping you won’t be the next victim of a found footage horror movie. Found TV has some impressive new movies and some classics ready to enjoy.

Mark your calendars for these releases:

FEBRUARY 3: Yami Douga 14 (2016): The pursuit of fear continues. 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 14 in the ultimate horror video collection.

FEBRUARY 6: Reportage November (2022): A mysterious death of a mother and the disappearance of her child leads a group of freelance journalists to the outback of Sweden. The group of four, led by the famous journalist Linn Söderqvist, will make a reportage about the happening, and try to find something the police missed. Equipped with cameras and supplies to survive in the forest for days, they wander out in the woods to find the truth.

FEBRUARY 11: Haunted 4: Demons (2020): In a housing estate in London, a house is haunted by an evil ghost child. The team investigate the continuing haunting and poltergeist activity with amazing evidence and a chilling conclusion.

FEBRUARY 14: Be My Valentine (2026): Gina has fallen in love with a man she hasn't met. As she documents her relationship journey, she becomes more and more obsessed with Zach to the point of bloody consequences.

FEBRUARY 17: Yami Douga 15 (2016): The pursuit of fear continues. 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 15 in the ultimate horror video collection.

FEBRUARY 20: Human Hibachi 3: The Last Supper(2026): A man who suffers from hyper-religiosity leads a cult of devout followers to partake in a "last supper" where sacrificed humans are the main course.

FEBRUARY 24: My Inner Demon: A Geraldson Tale(2021): While making a series of found-footage videos, two filmmakers accidentally summon an evil entity hell-bent on destroying them.

FEBRUARY 27: Day of Disappearance (2022): In September of 2019, a young man named David Hall started a YouTube vlog. Three months later, December 1st, marked the last video on the account - and was the last time David was seen.

Which of these new FOUND TV movies are you excited to check out? Me personally (as a huge found footage horror fan) I know I will be binging them all. If you don’t have a subscription to FOUND TV yet, use my promo code ILOVEHORROR for $5 off your yearly subscription when you sign up.

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!