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.

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 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!

Christopher James 1/29/26 Christopher James 1/29/26

FANTASTIC FEST 2025 HIT “DOLLY” Coming to Theaters

Rod Blackhurst’s “Dolly” made its premier at last year’s Fantastic Fest and it was by far one of my favorite horror movies of the year. Which is why I couldn’t be more excited about the news that recently broke. Thanks to the horror loving heads of IFC FILMS and SHUDDER, “Dolly” will be hitting the big screen on March 6th.

September seems like yesterday to me, but for those it feels like it was forever ago, here is a brief recap of the movie. It is a gnarly, blood-soaked survival tale that manages to feel both reverential toward its horror lineage and shockingly fresh. This isn’t just another masked killer movie. This is a movie that will gleefully crawls under your skin, rips it open with ferocious strength, and dares you to keep your eyes on the screen even when every instinct is screaming to look away.

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

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

Get your tickets for March 6th and don’t miss out on seeing this gory, insane twist of a horror movie. I am still a huge fan of this movie (as I mentioned before) and very excited to see everyone involved in this great horror movie get even more praise. You can check out my full review of the movie here! Stay tuned for the TBA date for this to be streaming on Shudder.

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 1/28/26 Christopher James 1/28/26

Evil Finds the Perfect Host in “THE CONTAINMENT” (2025)

Possession horror movies have always been one of those enjoyable sub-genres that refuses to die. I have watched it evolve from the slow burning dread of classic films like “The Exorcist” into modern day jump scare fueled chaos like “The Conjuring.” No matter how many times a demon crawls into someone’s soul or some ancient essence takes over someone’s body, I still keep coming back. There is something deeply unsettling about watching a human being lose control of their own body. It taps into a fear that feels far more personal than monsters or slashers ever could. Being a prisoner in our own bodies while we watch something dark take the wheel is a valid fear. When done right, possession movies make me question faith, family, and whether any of us are really in charge when something darker decides to knock on the door

Recently I had a chance to dim the lights, say a prayer, and enjoy the new possession horror movie “The Containment.” This new movie from Level 33 Entertainment is a supernatural horror story directed by Jack Zagha Kababie and Yossy Zagha Kababie. It was co written with David Desola. It stars Gia Hunter as Caroline Cobbler, with Jack Gouldbourne, Charlotte Hunter, and Fernanda Romero rounding out the cast.

“The Containment” focuses on Caroline Cobbler, a young woman whose life has been cracked open by tragedy. After the death of her disabled father, something inside her breaks in a way that no one around her fully understands, manifesting itself into something darker the people in her life are not prepared for. Grief in possession movies is never just emotional. It becomes a vulnerable doorway for anything sinister to stroll in. Of course, Caroline’s pain becomes the perfect invitation for something dark and patient. The script does a wonderful job letting that sorrow slowly infect every scene, giving the possession a deeper emotional foundation.

A premise like this is why I walked into “The Containment” already knowing what kind of movie it wanted to be. This is not a reinvention of the usual possession genre, and it never pretends that it is trying to be. It plays by the rules that fans like me already know. There is grief, a broken family, a sinister force, and a church that may or may not be able to stop what is coming for them. What surprised me is how comfortable the movie is with that formula and makes you feel like it isn’t forced. The writing understands the genre so well that it never feels lost, even when it is following familiar beats.

Gia Hunter gives a performance that keeps Caroline grounded even when the story goes supernatural. I never stopped seeing her as a real person, which is the most important thing in a movie like this. When the demon starts taking over, the physical changes are disturbing, but it is the emotional distance that hits harder for the audience and the character. That balance is something the writing and direction work together to support, allowing the character to feel tragic instead of just frightening. That being said, there are moments the acting of her character dwindled, but overall, I can’t say that I still was not impressed for the most part.

One of the most memorable details in “The Containment” is the beetle tattoo that appears on Caroline’s body as part of the possession. It is such a strange and oddly beautiful mark that makes the story stronger. It becomes a visual reminder that something has claimed her. The cinematography lingers on it in just the right way, letting it feel symbolic without beating the audience over the head with its meaning. It also moves several times, which adds an extra creep factor.

When Caroline and her mother turn to the church for help, the movie shifts into familiar territory, but it never feels tired. The supporting cast brings a lot of personality to these scenes. Jack Gouldbourne, Charlotte Hunter, and Fernanda Romero all add texture to the story, making the world around Caroline feel alive. The direction keeps these tame, yet terrifying moments grounded. This really helped the supernatural elements feel more believable.

One of the biggest surprises in the movie comes from a moment of humor that lands perfectly. When someone asks Sister Esperanza (portrayed by Fernanda Romero) to perform an exorcism, she responds with the line, “I’m a nun……what do you expect me to do.” It is hilarious, but it also feels honest. That kind of writing gives the movie a spark of personality that many possession movies forget to include.

That balance between horror and light humor keeps “The Containment” from becoming too heavy or even take itself too seriously. The filmmakers know when to let a scene breathe and when to push the tension, which shows a confident hand behind the camera. A horror audience wants to be lead, and not have their hand held with soft gloves. We want to be guided but at the same time not have everything explained. Thankfully “The Containment” sticks the landing when it comes to this.

I wouldn’t be fully doing my job if I didn’t mention the cinematography of “The Containment.” Visually, the movie embraces shadows and confined spaces. It makes sense given the title. There is a feeling that Caroline is trapped inside her own body. The cinematography often frames her in ways that make her feel isolated, even when she is not alone. That visual language quietly reinforces the theme of being overtaken by something unseen. Not only that, but there is clearly a dark fog around everything with the filtering of the movie, making you feel the dark presence that is possessing her around everyone always.

The story follows a familiar path, but it does throw in a surprise twist near the end that I did not see coming. I will not spoil it, but it adds a layer of depth to the characters that deepens everything that came before it. The way it is written and directed makes the twist feel earned rather than cheap. There is nothing better than a great twist at the end of a horror movie that makes you want to give it a rewatch, and “The Containment” does have the potential for that.

At its core, “The Containment” is very much a garden variety possession movie. It has all the beats you expect. There are eerie signs, violent outbursts, desperate prayers, and a final confrontation with something truly evil. It does not try to break the mold, and honestly, it does not need to. What it does instead is execute those elements with a steady hand and clear creative vision. It pays an homage to the possession movies that came before it in some aspects, but it provides its own flair for the audience.

What makes this movie work is the sincerity behind it and the performances feel honest. The writing gives the characters real emotional stakes. The direction keeps the story focused, and the cinematography adds a layer of quiet dread that lingers long after certain scenes end. “The Containment” also doesn’t skimp on the horror, as there we’re a few moments that had me squirming in my seat.

I also appreciated how the movie handles faith. It does not paint the church as all powerful, and it does not dismiss it either. It shows people struggling to understand what is happening and trying to find meaning in the middle of chaos. That thoughtful approach comes through in the script and in the way the scenes are staged. The way the church doesn’t immediately come to the rescue as if the Pope sent up a “Bat Signal” is quite refreshing. It feels like there is more depth there with the fact that they don’t want to provide any help at first.

“The Containment” may not reinvent the genre, but it knows how to entertain. It has creepy visuals, a strong lead performance, memorable lines, and just enough originality to stand out. The beetle tattoo, the unexpected humor, and the final twist all give it its own identity within a crowded field.

For fans of possession horror, this movie is a solid addition to the genre. It feels like something you can watch on a dark night and get exactly what you came for. It is unsettling, emotional, and just a little bit fun in a way that only this genre can be. I would give this a solid 4 out of 5. It is a must see and one I feel my fellow horror fans will enjoy on the big screen.

“The Containment” is currently exclusively in theaters across the United States and Canada, making it the perfect time to experience this haunting possession story on the big screen before the spooky season we horror fans eagerly look forward to.

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 1/22/26 Christopher James 1/22/26

“LAST PODCAST ON THE LEFT” Announces Partnership With NETFLIX

If horror movies are the roller coasters of fear, then podcasts are the slow, psychological haunted houses you can never quite escape. I’m not saying that because I have my own podcast (I promise I am not drinking my own Kool-Aid here). Podcasts genuinely rival cult classic horror films in how deeply they get under your skin. There’s something uniquely chilling about true crime podcasts. Unlike the well loved “Halloween” or “The Texas Chainsaw Massacre” (which is somewhat based on the true crimes of Ed Gein, but he didn’t wield a chainsaw), these stories remind us that the monsters of the real world don’t need masks or jump scares. It makes you want to peek around the curtain to make sure that those insane killers don’t live next door to you.

Even paranormal podcasts make you suddenly rethink every sinful creak in your house or give you the irrational fear of stepping into a barely lit basement at night, worrying that there is something sinister patiently waiting to scare you to an early grave. While horror movies scare us for fun, podcasts have the audacity to scare you at times with reality. That alone is a whole different level of terrifying.

Speaking of podcasts and all the horror that can come with them, I recently heard the news that one of my favorite podcasts that has provided me with laughs for over a decade “The Last Podcast on the Left” (featuring Henry Zebrowski, Marcus Parks, and Ed Larson) is teaming up with Netflix. They are putting some of their videos that are on YouTube and stepping up the insane comedy that they provided to a whole new level by joining the juggernaut streaming service. Not that they are small potatoes themselves, as their shows on the Last Podcast Network has been making myself and others laugh for over 15 years.

Shows like “Side Stories with Henry Zebrowski and Ed Larson” with producer Rob Okey, and the main “Last Podcast on the Left” video episodes will be available to watch exclusively through Netflix. They of course will continue to appease to the audio only 9-5 slackers like me who enjoy listening to their podcast while trying to get through the work week.

Not only are they bringing these classic LPN shows to Netflix, but they do have several new projects coming to their Patreon including a watch-along series/movie review show with a Letterboxd twist. As a fan of their work and an obvious fan of movies, I can not wait to hear their commentary on those good, bad and not so great movies (especially the horror ones).

You can hear more about the news on their newest episode of “Side Stories” labeled “The Piggyback Bandit” available now wherever you enjoy your podcasts. Be sure to check out all the amazing content they have available on their Patreon page here.

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 1/21/26 Christopher James 1/21/26

LEVEL 33 ENTERTAINMENT Unveils First Details for “THE CONTAINMENT” (2026)

2026 is already shaping up to be one of those rare years where being a horror fan feels like a full-time event. Just from my perspective alone it is hard not to get genuinely excited about what is on the horizon. Between long-awaited sequels, bold reimaginings, and original concepts that actually feel original, the upcoming slate of terrors looks like a perfect mix of comfort food and risky experimentation. What really stands out is how these new releases seem poised to cater to every corner of the genre, from mainstream studio scares to the kind of offbeat nightmares that usually fly under the radar, making 2026 feel less like just another year for horror and more like a celebration of everything I love about it. I recently got some news about a new horror movie recently releasing a new poster and trailer. Here is the news from their press release:

From the Level 33 Entertainment Press Release:

“The Containment” is the new supernatural horror film directed by Zagha Boys: Jack Zagha Kababie & Yossy Zagha Kababie. It stars Gia Hunter (Paramount Pictures’ “Primate”). It will be released exclusively in theaters in the U.S. and Canada by Level 33 Entertainment on January 21, 2026.

“The Containment” stars Hunter as the young and troubled Caroline Cobbler, who comes in contact with a dark and sinister force. After the tragic death of her father, Caroline becomes possessed by a demon and when her mother involves the church, they find a horror that’s even deadlier than the possession itself.

The cast is rounded out by Jack Gouldbourne (“Fighting with My Family”, Britbox series “Sister Boniface Mysteries”), Charlotte Hunter (“American Psycho”, “Roanoke: The Lost Colony”), and Fernanda Romero (“The Eye”, “Line of Duty”, “The Burning Plain”).

The film is helmed and produced by brothers Jack Zagha Kababie and Yossy Zagha Kababi and co-written with David Desola. Level 33 acquired the film from Black Mandala who is handling worldwide sales.

“The Containment” will be released exclusively in theaters across the U.S. and Canada on January 21, 2026.

With the story and the looming threat from the supernatural, I can tell you that I am highly anticipating this to be quite the fun scare. I will be reviewing this movie soon, so stay tuned for that. The movie is hitting theaters today, so click here to get your tickets. How do you think this movie will do on the silver screen? Let me know on my Instagram page your thoughts and theories.

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 1/16/26 Christopher James 1/16/26

TERROR FILMS RELEASING Acquires North American Rights For “TED BUNNY” (2026)

Horror movies have always had a dangerous fascination with true crime, often lifting grim headlines from the real world and reshaping them into something even more unsettling. These types of horror films, (like “The Texas Chainsaw Massacre” and “Silence of the Lambs,” that are based on true crime) take fears rooted in reality and bend them through stylized violence. They add a level of heightened psychology, and moral ambiguity. This allows them to create stories that feel disturbingly plausible while still pushing deep into nightmare territory. By exaggerating motives, twisting timelines, and amplifying the unknown, horror transforms true crime from documented tragedy into an experience that crawls under the skin and refuses to let go. In doing so, it forces even the most hardcore horror audiences to confront just how thin the line truly is between fact and fiction.

I recently got news from my friends in horror at Terror Films Releasing that they have recently acquired a new horror movie with a wildly original concept for distribution. If early buzz is any indication, this one sounds poised to take that true crime inspiration and crank it into something genuinely unhinged. Just by the trailer alone I know myself, as well as any horror movie affcienato will be geared up for one interesting trip down this rabbit hole. Here is the news from TFR’s recent press release:

TFR OFFICIAL PRESS RELEASE:

Terror Films Releasing has teamed with producer Jeff Miller (“Popeye The Slayer Man”) and writer / director Michael Fredianelli (“Venom Coast”) to release serial killer horror, “Ted Bunny”.

Part of Miller’s Twisted Serial Killer Universe (including the upcoming “Jeffrey Dollmer”), “Ted Bunny” stars horror vet Dee Wallace (“E.T.”, “Cujo”), Diana Roman, Zanna Wyant, and Trent Avvenire as the title villain. The film follows the illegitimate son of serial killer Ted Bundy, who, raised around rabbits and crazed, goes on a killing spree after a documentary crew shows up at his house.

Fredianelli, who penned the film with producer and frequent collaborator Maralynn Adams, shared his thoughts about the making of the film:

“The image of Ted Bunny first appeared on film in an unrelated Halloween western that we filmed in 2024. With the name and bloodstained persona brought to the table by a close collaborator on our films, it was a natural progression to give him his own starring role.

I wanted a strong connection to Ted Bundy - a real life monster very familiar to horror crowds, which enabled me to steer the project away from a supernatural angle and into something more personal and humanizing, making him a killer we can pity and almost care for, while we watch him slay his victims. This is especially apparent to our final girl, who quickly realizes that she shares a little too much in common with ourmurderer. At its core, the film is a throwback to old school horror with a traditional ‘80s style primarily meant to evoke nostalgic thrills.

In the end, my goal was to balance an interesting and compelling origin story that ties into real-life horror, while maintaining the slasher spirit of crazy kills, idiots in the woods, and awful characters ultimately getting exactly what they deserve.”

The movie is a co-production between Millman Productions, Wild Dogs Productions, and Ron Lee Productions. Brandon Gibbs executive produces, while Ronnie D. Lee co-executive produces alongside Elijah Macias and Bryan Palacios as associate producers.

From what I have learned working with and being a fan of TFR is that while on paper a concept sounds utterly insane and not enjoyable, it will become one that will surprise the hell out of you. TFR has been a solid provider in the release of some very enjoyable and out there horror movies that have easily become some of my favorites. I can not wait to watch this and share my review with you all.

TFR will premiere the movie across multiple platforms on Friday, February 13th, 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 in-depth review, coming soon.

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

Christopher James 1/8/26 Christopher James 1/8/26

Breaking Glass Pictures “EVIDENCE OF THE BOOGEYMAN” (2025) Finds New Terror in Found Footage

Modern found footage horror movies are no longer content to rely on shaky cameras and accidental jump scares to do the heavy lifting. The sub-genre has somewhat matured, finding new and inventive ways. Simply by aiming to unsettle audiences by blending realism, mockumentary techniques, and true crime aesthetics into experiences that feel disturbingly authentic. Today’s viewers are savvy and well versed in horror language, which means modern found footage films must work harder to earn their scares. When successful, they do not simply frighten in the moment but linger long after the screen goes dark. 7th Street Productions and Breaking Glass Pictures new movie “Evidence of the Boogeyman” stands as a strong example of how contemporary found footage horror continues to evolve while still honoring the genre’s roots.

“Evidence of the Boogeyman” marks the terrifying third chapter in Calvin McCarthy’s acclaimed Boogeyman series, and it makes a bold creative choice by fully embracing the found footage format. A jump like this from a traditional narrative approach does not always work, especially for an established franchise, but here it feels natural and purposeful. Rather than feeling like a gimmick, the found footage perspective strengthens the mythology, making the legend feel closer, more invasive, and far more opportunities to keep audiences on the edge of their seats. The Boogeyman is no longer a story being told to the audience. It is something being documented in real time.

Directed by and starring Calvin Morie McCarthy, the movie drops viewers into the behind-the-scenes chaos of a small indie crew shooting a low budget paranormal documentary at a rural farmhouse infamous for its violent past. What begins as a lighthearted ghost hunting project quickly reveals deeper and far more disturbing implications. McCarthy also serves as co writer and producer, which his creative control shows in every frame. His understanding of pacing, atmosphere, and character dynamics gives the film a confident hand that never feels rushed or unfocused.

McCarthy’s triple role as co-writer, director, and star is especially impressive. Balancing those responsibilities can easily lead to creative overload, but instead it highlights his command of the material. His performance feels grounded and natural, anchoring the film in believable reactions rather than exaggerated horror tropes. He understands when to let the camera linger and when to pull back, allowing tension to build organically. This restraint is one of the film’s greatest strengths and proves that McCarthy is not only passionate about horror but deeply knowledgeable about how it works. Each of the movies he has made or have been a part of have really shown his skills as a multitalented person within the horror movie industry.

Tim Coyle also plays a major role in the movies’s success, serving as both co-writer and one of the stars. His involvement behind and in front of the camera adds authenticity to the dialogue and character interactions. Conversations feel loose, overlapping, and real, which is essential for found footage to work. He also provides a bit of some on screen humor that rounds out his character even more. Not only that, but his performance captures the slow erosion of skepticism as evidence mounts, making his character’s journey both compelling and unsettling. His collaboration with McCarthy results in a script that feels lived in rather than staged.

“Evidence of the Boogeyman” is undeniably a slow burn, but it is a patient one that rewards viewers who stick with it. This movie carefully establishes its setting, particularly through its use of the surrounding woods. During daylight hours, the environment feels warm, sunny, and almost optimistic. The cabin and forest seem harmless, even inviting. That sense of comfort is deceptive by design. When night falls, the same landscape transforms into something oppressive and terrifying. Shadows stretch endlessly, sounds carry without explanation, and the Boogeyman begins to feel less like a myth and more like a presence lurking just beyond the frame.

Naomi Mechem Miller and Erik Skybak round out the core cast and prove to be essential pieces of the story. Both actors bring depth and personality to their roles, ensuring that no one feels disposable. Each has moments where they steal the spotlight, delivering scenes that heighten tension and introduce their own brand of terror. Their reactions feel genuine and emotionally grounded, adding layers to the group dynamic and making the unfolding horror far more impactful.

One of the movies’s standout elements is its incorporation of a mockumentary style true-crime framework. This approach elevates the found footage concept by framing the events as something that has already been analyzed and reconstructed. Jason Brooks appears as a police officer whose serious, authoritative presence grounds the movie in reality. His performance feels authentic and restrained, lending the story a credibility that makes it easy to forget you are watching fiction. He adds weight to the narrative and reinforces the idea that what happened at the farmhouse had real and tragic consequences.

The mockumentary structure is further strengthened by narration from Elissa Hall, who guides the audience through the story with calm precision. Her delivery, combined with on screen information and contextual details, creates a foundation that allows the horror to unfold naturally. The text and narration never feel intrusive. Instead, they enhance the realism and tension, making the footage feel like part of an actual investigation rather than a cinematic device.

As the movie progresses, the sense of dread becomes almost suffocating. The slow burn approach pays off as tension escalates steadily, leading to a final act that is claustrophobic and relentless. Rather than relying solely on jump scares, the movie allows fear to accumulate through atmosphere, sound design, and the growing realization that escape may no longer be possible. When the horror finally peaks, it feels earned and devastating, leaving a lasting impression.

Fans of found footage classics like “The Blair Witch Project”, “Grave Encounters”, and “Hell House LLC” will find plenty to appreciate here. This movie understands what made the found footage horror movies before it effective while carving out its own identity. It does not attempt to reinvent the wheel but instead refines the tools of the genre with confidence and care.

I highly recommend “Evidence of the Boogeyman”, as well as the first two movies in the series. Calvin McCarthy has firmly established himself as a force within the horror filmmaking community, and this entry proves he is far from finished telling stories that haunt and disturb. His ability to adapt, experiment, and still deliver effective scares speaks volumes about his talent and vision.

“Evidence of the Boogeyman” is now available on Roku. It is a strong example of how modern found footage horror continues to push forward while respecting its past. The real question is this. How do you feel modern found footage movies compare to the early days of the genre, and do films like this prove that found footage can still find new ways to scare us?

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 1/2/26 Christopher James 1/2/26

Jaunted January Unleashes New FOUND TV Horrors

2026 is shaping up to be the kind of year horror fans will talk about in hushed, excited tones long after the lights come back on. The horror genre isn’t just thriving, it’s mutating, splintering, and daring audiences to keep up. Studio heavyweights are doubling down on bold risks, indie filmmakers are weaponizing creativity over budget, and audiences are craving fear that lingers rather than fades with the credits. Horror has always thrived on reinvention, but 2026 feels like a perfect storm where nostalgia collides with nerve, technology sharpens every scare, and filmmakers seem determined to remind us why horror is the most fearless genre of all. If there was ever a year poised to redraw the boundaries of what scares us, this might be the one that leaves claw marks on your calendar and chills down your spine that will last all year.

Jaunted January is here and 2026 is staring with some amazing bangers from our friends at Found TV. As always, they don’t disappoint, so these will be ones you will not want to miss. Mark your calendars for these releases:

JANUARY 1: Wilderness Tapes - Volume One (2025) - Nearly a million smartphones and cameras are lost in the wilderness each year. For the first time in history, recovered footage from such devices is presented in a chilling anthology series. Wilderness Tapes: Volume One chronicles a journey into an abandoned gold mine that goes wrong, plunging "Prospector Pete" into the depths of supernatural madness.

JANUARY 6: Yami Douga 12 (2015) - 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 12 in the ultimate horror video collection.

JANUARY 9: The Hem (2025) - A documentary crew investigates a haunted church on the verge of collapse with one condition: they must be out by dark.

JANUARY 13: Elevate (2025) - A father's love of film turns disturbing when a cursed camera shows images from a reality unseen to the human eye. A disturbing look into a cursed technology driven by vanity.

JANUARY 16: Chateau (2024) - While on a French vacation funded by odd jobs, an aspiring influencer covertly films a vlog in a reportedly haunted chateau she's been hired to clean. North America only.

JANUARY 20: Yami Douga 13 (2015) - 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 13 in the ultimate horror video collection.

JANUARY 23: The Night Devours (2024) - A serial killer facing his own mortality looks back on his life and the events that have brought him to this point in time.

JANUARY 27: Haunted 3: Spirits (2018) - Andrew Robinson returns to the Halloween horror nights phenomenon. On a rural farm in deepest, England he encounters a series of paranormal events that lead to a mystery being solved with frightening consequences and ultimate finale.

JANUARY 30: Areas of High Strangeness - Stimson Hospital (2025) - When the Demon Hunter Society ventures into the haunted halls of Stimson Hospital in Eaton Rapids, Michigan, they uncover chilling evidence of restless spirits and malevolent forces in a place long shrouded in mystery and terror.

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 12/29/25 Christopher James 12/29/25

BREAKING GLASS PICTURES “DEAR JODI” (2025): Is It An Encore We Need?

True crime has evolved into one of the most dominant forces in modern cinema and media, transforming real-world tragedy into an endless loop of content. What once served as investigative storytelling now often functions as entertainment engineered for engagement, clicks, and prolonged fascination. As audiences grow more familiar with infamous cases, the genre faces a critical challenge: figuring out whether revisiting these stories offers genuine insight or simply perpetuates obsession. Breaking Glass Pictures’ “Dear Jodi” enters this crowded landscape with polished visuals and reflective intentions but ultimately struggles to justify its existence beyond revisiting a case the public has already dissected to exhaustion.

Directed by Clive Christopher, “Dear Jodi” revisits the murder of Travis Alexander and the trial of Jodi Arias. It was a case that became a cultural spectacle long before a verdict was decided. The documentary positions itself as a quieter, more contemplative alternative to sensational coverage. It does so by promising overlooked evidence, untold perspectives, and renewed insight into why the trial unfolded the way it did. While this approach is admirable in theory, the execution often feels disconnected from the present moment, as though the film is attempting to restart a conversation that concluded years ago.

From a technical standpoint, “Dear Jodi” is competently made. The cinematography is clean, interviews are professionally staged, and the overall presentation reflects a level of care that exceeds many low-budget true-crime releases. Visually, the film looks good. Unfortunately, that polish does not translate into an engaging viewing experience. There is a persistent sense that the documentary lacks urgency or purpose, making it difficult to feel invested despite the gravity of its subject matter.

A major issue lies in the documentary’s reliance on repetition. Much of the runtime is devoted to rehashing the crime and trial in ways that will feel overly familiar to anyone with even a passing knowledge of the case. Rather than trusting its audience, the film frequently reiterates well-known details, creating the impression that viewers are being lectured rather than invited into a deeper analysis. This approach unintentionally undermines the intelligence of its audience and stalls any forward momentum.

The documentary’s collaboration with The Within Range Podcast further complicates its identity. While cross-platform storytelling is not inherently problematic, “Dear Jodi” often feels less like an independent documentary and more like an extended visual companion piece, or even a commercial for the podcast itself. The emphasis placed on the podcast’s perspective and framing gives the film an oddly promotional tone, blurring the line between documentary filmmaking and branded content. It also feels the crime and case around it seem more like a joke to them, more than a serious subject revolving around the loss of a human life.

This structural issue raises a larger question about format. Much of what “Dear Jodi” presents would arguably function more effectively as a long-form YouTube video or podcast episode rather than a feature-length documentary. The conversational pacing, reliance on opinion, and lack of investigative progression make the film feel stretched beyond its natural scope. Instead of building a cohesive narrative, it drifts between commentary and reiteration, never fully committing to a clear investigative goal.

“Dear Jodi” features appearances from Jared Suter, Dominic Vaquez, Darren Burch, Joe Arpaio, Noah Gruber, Vanesha Guidry, and Andrew Leal, whose contributions range from reflective to speculative. While their insights are provided earnestly, the documentary rarely challenges or contextualizes their claims with substantive evidence. This results in a presentation that feels more interpretive than factual, prioritizing perspective over verification (especially with the unneeded reenactments).

One of the more uncomfortable aspects of “Dear Jodi” is its recurring focus on Jodi Arias’ appearance. Despite positioning itself as a critique of media sensationalism, the documentary frequently revisits the same superficial elements that fueled the original media frenzy. The emphasis on her looks, demeanor, and perceived allure contributes little to a meaningful understanding of the case and instead reinforces the spectacle it claims to reject. This fixation detracts from any serious attempt at factual analysis and feels particularly out of place in a film that purports to offer clarity.

Similarly, the documentary devotes significant attention to a song Arias sang while in prison, framing it as a kind of emotional confession. This interpretation feels strained, especially given that Arias had already been convicted at the time. Treating this moment as revelatory borders on performative symbolism rather than substantive insight. Instead of uncovering new information, the film leans into conjecture, mistaking emotional interpretation for evidence.

Perhaps the most troubling aspect of “Dear Jodi” is how the tragedy itself becomes secondary. While the murder of Travis Alexander is acknowledged, the emotional impact on his family often feels overshadowed by the film’s continued fascination with Arias. In attempting to reframe public perception, the documentary risks minimizing the human cost at the center of the story. The result is a film that, intentionally or not, feels like it is cashing in on a tragedy without offering meaningful advancement in understanding.

That said, “Dear Jodi” is not without merit. Its restrained tone avoids overt sensationalism, and there is a genuine desire to examine how media narratives influence public perception and the justice system. These ambitions matter, particularly in a genre often driven by excess. However, intention alone cannot sustain a documentary when its insights feel redundant and its timing feels misaligned.

Ultimately, “Dear Jodi” is a film caught between reflection and relevance. While competently made, it arrives too late to meaningfully reshape the narrative surrounding one of America’s most infamous cases. Instead of illuminating new truths, it reiterates familiar ones, leaving viewers with the sense that the documentary exists more to extend discourse than to deepen it.

As true crime continues to dominate modern cinema, projects like “Dear Jodi” highlight the importance of discernment in storytelling. Not every case is in need to be revisiting, and not every perspective needs to have a feature-length treatment behind it. While the film raises worthwhile questions about media, obsession, and narrative control, it ultimately struggles to answer the most important one of all: “why this story, and why now”?

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

Christopher James 12/13/25 Christopher James 12/13/25

“HERMAN” (2025): A Haunting Journey Through Inner Torment

Courtesy of VP Independent and LBM Pictures

Psychological thrillers that weave religion into a character’s personal hell strike a deeper chord than the average horror movie. These stories don’t rely solely on jump scares or external threats. They dig into guilt, faith, memory, and the terrifying possibility that the darkness haunting us might be of our own creation. When a film blends spiritual unease with the unraveling of the human mind, it feels raw and intimate. It forces audiences to confront their internal fears rather than the ones lurking outside the frame, creating a type of horror that lingers long after the screen goes black.

HOW DARK & TWISTED DOES IT GET?

While psychological thrillers often promise a descent into the human mind, “Herman” delivers something far more unsettling. It drags you into the places you’ve avoided, the locked rooms you refuse to visit, and the shadows you hope no one else ever sees. I walked into this film expecting a traditional slow-burn story about a troubled man in isolation. What I got instead was a harrowing emotional excavation that made me feel the dread within myself in ways I didn’t anticipate. Director and writer Andrew Vogel has crafted a film that doesn’t just ask you to observe Herman’s unraveling. It forces you to sit beside him, breathe the cold air he breathes, and confront the echoes of your own buried pain.

Colin Ward plays Herman with remarkable precision. His performance is controlled yet explosive, fragile yet defiant, and it captures the complicated duality at the heart of the story. Herman is a mountain recluse haunted by a dark force, but the film makes clear early on that the most terrifying intruder is the one already living inside him. When Suzann Toni Petrongolo appears as Sr. Mary, one of his late-night visitors, her presence pushes him toward a reckoning he can no longer postpone. Petrongolo delivers a haunting mix of compassion and quiet authority, amplifying the film’s religious undertones without slipping into cliché.

The supporting cast adds crucial texture. Lawson Greyson brings Alice to life with raw emotional honesty, offering glimpses of what connection might look like for Herman if fear didn’t strangle every attempt at vulnerability. Andrew Vogel, stepping in front of the camera as Max, shows an intuitive grasp of the story’s rhythms. Alex James, as James, adds another layer of tension, a reminder that once the past comes knocking it rarely knocks only once. Soni Theresea Montgomery gives Sr. Josephine an otherworldly calm that unsettles as much as it soothes. Lamar Alexander, playing The Man, delivers a lean yet unforgettable performance, the kind that makes you lean closer without realizing it. Every performer is operating at full force, and the result is a cast that carries the film with unified intensity.

Much of the dread in “Herman” comes from its willingness to sit in silence. Cinematographer Jess Dunlap transforms the mountain setting into a living organism. The fog sequences are some of the most gorgeous horror images I’ve seen this year. The camera doesn’t simply frame Herman’s world. It breathes with him. The fog rolls across the landscape like a memory you’ve tried to outrun, swallowing the cabin, the tree line, and eventually Herman himself. This visual strategy gives the film a mood that reminded me of wandering through “Dante’s Inferno,” each step bringing Herman deeper into his own personal Hell. I could feel the weight of that descent in my chest, as if the film were quietly asking me to examine the painful moments I’ve shoved into the corners of my own mind.

The themes at play here resonate with a sharpness that lingers long after the credits. Herman isn’t only haunted by supernatural threats. He’s pursued by the accumulated dread of his past, the choices that carved pieces out of his soul, and the secrets he swore to take to his grave. These secrets aren’t vague suggestions dropped in to build tension. They are woven through the film’s structure and become the scaffolding that supports the third act. That final stretch is one of my favorite cinematic turns of the year. It’s bold, blistering, and emotionally devastating. I felt as though I were watching two versions of Herman battle for the right to exist. The duality of self is explored with a precision I rarely see in horror, and it made me question how much of my own pain I’ve learned to carry without acknowledging its weight.

Vogel’s writing excels here. The dialogue is tight and meaningful, and not a single line feels like filler. The pacing is steady, allowing suspicion and dread to build organically. Nothing is rushed, yet nothing feels indulgent. As a director, Vogel demonstrates a deep understanding of how mood, silence, and visual storytelling can shape psychological horror. His control of each scene is confident, and his decision to merge spiritual symbolism with emotional trauma gives the film a sense of mythic gravity. The religious elements never overexplain themselves. Instead, they act as a compelling guide rope as Herman stumbles through the labyrinth of his inner world. I found myself clinging to that rope right beside him.

The production companies, VP Independent and LBM Pictures, deliver a film that looks and feels polished without losing the intimate grit that makes psychological horror so effective. There is an artistry here that respects the viewer. The film assumes you’re willing to think, to feel uncomfortable, and to question yourself. I appreciated that level of trust. Every scene feels handled with purpose, from the smallest gesture to the sweeping, fog-laden shots that belong on a large theatrical screen.

Emotionally, the film hit me harder than I expected. Herman’s fear is tangible, but it’s the quieter moments that cut the deepest. When the visitors arrive at night and force him closer to the truth he fears most, I found myself leaning into the discomfort. The movie made me think inward, confronting my own dread as though I were the one trapped in that isolated cabin. That level of emotional reflection doesn’t happen often, especially in horror, and it speaks to how powerful the story is when every element works in sync.

As the final moments unfolded, I realized I wasn’t just watching Herman fight for his sanity. I was watching him fight for the right to be seen, understood, and forgiven. That yearning is universal, and the film captures it with heartbreaking authenticity. By the time the last frame hit, I felt like I had walked through Herman’s Hell alongside him and emerged with a deeper understanding of my own psychological scars.

“Herman” is the perfect way to close out 2025. It’s stunningly beautiful, emotionally fearless, and crafted with an artistry that deserves high praise. The writing is exceptional. The directing is confident and captivating. The acting from Colin Ward and the entire cast elevates the film into something unforgettable. Jess Dunlap’s cinematography deserves awards recognition for its hypnotic fog sequences alone. This is a film that earns every shiver, every gasp, and every quiet moment of reflection it inspires.

You can stream “Herman” now on Amazon Prime, and I highly recommend experiencing this psychological nightmare for yourself. Hit play, turn down the lights, and let Herman’s world pull you under. If you’re brave enough, take the journey into the dark and see what secrets you’ve buried there.

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

TERROR FILMS RELEASING’S “FEY” (2025) Captures Fear in Perfect Focus

Terror Films Releasing is taking 2025 by absolute storm. The indie-focused distributor has been stuffing its library with fresh, genuinely exciting horror releases, from eerie original titles to rock-solid sequels like “Hell House LLC: Lineage,” which sent fans buzzing all over again. If the company’s mission is to outdo itself every few weeks, it is succeeding. Their latest addition, the unnerving found-footage thriller “Fey,” continues that hot streak with confidence, precision, and a creeping sense of dread that lingers long after the credits fade.

LIGHTS OFF, CAMERAS ON - LET’S DIVE IN:

“Fey” stars Madeline Doherty (who also wrote and directed the movie), Zoe Bishop, Michael Raleigh, and Sam Howard. The cast (for the small moments they are on screen) brings a grounded authenticity to a story that is already unsettling on its own. The movie centers on Maddy, who has entered the final phase of a trauma study following a deeply scarring incident that still has its hooks in her psyche. As part of the study, Maddy must film her time alone since the event in her childhood home. Her job is to record, reflect, and attempt to reclaim her sense of safety. Unfortunately for her, and very fortunately for us horror fans, that sense of safety evaporates almost immediately as the old feeling of being watched returns. The more she records, the less alone she becomes.

What makes “Fey” shine is how perfectly suited the story is for the found-footage format. Some films use the style as a gimmick. “Fey” uses it as a narrative engine. The choice to ground the entire experience through Maddy’s camera turns every shadow into a threat, every distant sound into a warning, and every frame into an accusation that something is there even when we cannot see it. The tension works because the camera never feels like a prop. It is an extension of Maddy’s unraveling emotional state, a lifeline she desperately holds onto as the walls start to close in again.

Doherty, as Maddy, delivers a performance that sells every crack in her emotional armor. She plays trauma in a way that feels painfully real, not theatrical. When fear hits, it hits like something she has lived with too long. Zoe Bishop, Michael Raleigh, and Sam Howard support the story with grounded, believable performances that keep the world of the film intimate and authentic. In a genre that sometimes sacrifices character work for spectacle, “Fey” builds its terror by relying on strong, lived-in performances. You believe these people, and that makes the horror punch harder.

The writing from Madeline Doherty is remarkable in its restraint. Rather than explaining every detail, the script trusts the audience to fill in the spaces that trauma leaves behind. We get enough pieces to understand Maddy’s fear, but the film wisely avoids spoon-feeding its mythology. That decision pays off because it keeps viewers focused on the emotional reality instead of logistics. The screenplay understands something essential: fear becomes more potent when the unknown is allowed to breathe. Every quiet moment, every lingering shot, and every subtle shift in Maddy’s behavior stacks like bricks toward an outcome we feel but cannot predict.

Not just is this an amazingly written movie, the directing by Madeline Doherty is equally impressive, balancing documentary-style realism with slow-burn menace that builds scene by scene. The film avoids cheap tricks, quick cuts, or needlessly bombastic scares. Instead, it gives the audience a front-row seat to Maddy’s vulnerability. The tension is not created by loud noises or sudden jolts. It is created by dread—the kind that grows in the pit of your stomach as you start to realize something is truly wrong and getting worse by the minute. Doherty directing understands the power of stillness, of silence, of letting fear creep instead of explode. It is a mature approach that sets “Fey” apart from other entries in the found-footage space.

Props must be given to Terror Films Releasing for putting this movie under their banner. It is a smart, thoughtful piece of horror that aligns perfectly with the company’s current streak of quality releases. They have always been a haven for filmmakers working on the fringes of the genre, but this year seems particularly strong. “Fey” fits seamlessly into their lineup of ambitious, character-driven titles that aim to do more than simply scare. It reflects their talent for spotting films that offer something different, something sharpened by vision rather than budget.

What truly elevates “Fey” is the way it keeps you perched on the edge of your seat, constantly guessing what might happen next. Not many horror films pull off that slow tightening of suspense without showing their cards too early, but this one nails it. Each recorded night brings a shift in Maddy’s environment that is subtle enough to question yet disturbing enough to dread. The progression never feels forced. It feels natural, like creeping paralysis that starts at her feet and slowly climbs its way to her throat. By the time the final moments arrive, you realize you have been clenching your jaw, leaning forward, and gripping the armrest like the experience is happening to you.

The film’s commitment to authenticity never wavers. The lighting, the framing, the pacing—everything feels like it was captured by someone simply trying to get through the night. That is the magic of well-executed found footage. It traps you in the character’s perspective until you forget that there is a director, a writer, and a crew behind the lens. You are just there, breathing with Maddy, listening for anything that might move in the dark.

“Fey” never overplays its hand. It does not try to reinvent the wheel, nor does it need to. Instead, it presents a compelling and thrilling story through a lens that amplifies every moment, crafting a narrative that is simple in premise yet nerve-shredding in execution. The film proves that found footage, when done well, is not a gimmick but one of the most emotionally effective tools in the horror toolbox. It is a reminder that what we imagine is often far more terrifying than what we see.

By the time the credits roll, “Fey” has done its job and then some. It leaves a mark. It scratches around in your mind long after you stop watching, making you wonder what you would find if you left a camera running while you slept. It is the kind of horror film that sticks with you not because of what it shows, but because of what it suggests.

“Fey” is a must-see for found-footage fans and anyone who loves horror driven by tension, emotion, and razor-sharp storytelling. Terror Films Releasing added another winner to its 2025 slate with this one, proving again that the company knows how to pick films that leave an impact. You can watch “Fey” right now on the Found TV app, and trust me, you are going to want to experience this one with the lights off.

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 12/10/25 Christopher James 12/10/25

BREAKING GLASS PICTURES Announces New True-Crime Documentary “DEAR JODI”

True crime continues to fascinate audiences, even those who are the most seasoned or new to the venture of the dark history of everyday life. The horrific tales of true crime blurs the line between the unthinkable and the undeniable. They often remind us that the darkest monsters aren’t supernatural creations that we sometimes look up to in awe on the silver screen from the night out to the movies, but they’re ordinary people pushed (or pulling themselves) into extraordinary acts of violence. The raw authenticity of true crime taps into a primal curiosity that makes us ask ourselves “Why do people commit horrific acts?” or “How do victims that survived go on with their lives?” It makes make you wonder what patterns hide beneath the surface of everyday life that would make someone take that corner into insanity. Modern horror films have absorbed this cultural obsession, shifting away from purely fantastical terrors and moving toward grounded, human-driven nightmares inspired by real cases, criminal psychology, and societal fears. This influence has reshaped the genre’s tone and texture, encouraging filmmakers to lean into documentary-style techniques, procedural structures, and morally ambiguous storytelling. The result is a wave of horror that feels more intimate and unsettling as it carries the uneasy weight of possibility, simply proving that, sometimes, the scariest stories are the ones rooted in the reality in which we comfortably live.

Recently I got word that Breaking Glass Pictures has announced a new true-crime documentary “Dear Jodi”, a reexamination of the Jodi Arias case. Here is a bit more info on that from Breaking Glass Pictures and their recent press release:

“Breaking Glass Pictures is proud to announce the upcoming digital release of “Dear Jodi”, a gripping new true-crime documentary that revisits one of the most scrutinized and controversial murder trials in American history: the case of Jodi Arias and the death of Travis Alexander.

After years of sensational headlines, viral speculation, and courtroom theatrics, “Dear Jodi” steps back from the noise to focus on overlooked evidence, untold perspectives, and new reflections from individuals close to the case. Directed by Clive Christopher, the film collaborates with The Within Range Podcast, who bring forward a guest connected to key figures involved in the investigation and trial.

With unprecedented access and unfiltered interviews, the documentary reopens the central questions that continue to fascinate and divide true-crime audiences worldwide:

What really happened that night?

And why did the trial unfold the way it did?

Featuring appearances from: Clive Christopher, Jared Suter, Dominic Vaquez, Darren Burch, Joe Arpaio, Noah Gruber, Vanesha Guidry, and Andrew Leal.”

Stay tuned to I Love Horror Movie reviews for the in-depth review of this new true-crime documentary “Dear Jodi”, coming soon.

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

Christopher James 12/9/25 Christopher James 12/9/25

“CUDDLE” (2025): A Short Film With Big Scares

If there’s one thing horror has taught me, it’s that the moment you try to relax is exactly when something decides to ruin your night. “Cuddle” takes that universal truth and crafts a tight, clever, and wildly entertaining short that transforms a body pillow into the most demanding sleep companion since Freddy Krueger stalked Elm Street. I didn’t expect to fear plush bedding, but here we are.

What immediately grabbed my attention was the cinematography. The directing trio of Violet de la Torre, Brittany Cairo, and Frederick Nuti clearly came to play. The camera glides with confidence, panning back and forth between the quiet room and the encroaching forest, creating a steady pulse of suspense. That visual rhythm sets the tone early, making me feel like something is always watching from just outside the frame. It’s smooth, sharp, and intentional, exactly what a horror short needs when it only has minutes to make an impact.

Then there’s the moment the body pillow disappears from the couch and reappears on the bed with a threatening little note that simply reads, “CUDDLE ME NOW.” I laughed, then immediately questioned why I laughed, because that is the exact kind of command I would not take lightly in the middle of the night. The film knows how absurd its premise sounds, and instead of running from it, it leans in with style. The humor enhances the tension, rather than breaking it, and that balance is what makes the whole thing so enjoyable.

The short digs into a fear most of us have felt at one point or another: sleeping in an unfamiliar place while traveling. I’ve experienced that creeping paranoia myself. The way the walls feel too thin, the quiet feels too loud, and every item in the room seems capable of subtle judgment. “Cuddle” takes that already unnerving setup and pushes it into fun, sinister territory. I could practically feel that out-of-town discomfort creeping in as the story played out, and the film uses it to great advantage.

When the pillow finally decides it’s done being ignored, the tone shifts in the best possible way. Thanks to the red lighting, the room transforms into a nightmare space that feels ripped straight from a Krueger fever dream. The shadows stretch longer, the colors intensify, and everything grows more hostile. It’s a smart stylistic choice by the directors, giving the pillow’s “revenge arc” a surreal, hellish flare. It’s playful, unnerving, and genuinely impressive considering the short’s format and runtime.

The performances seal the deal. Sophie Cooper brings grounded, relatable energy to the chaos, and R.L. White balances vulnerability with the kind of comedic timing that horror shorts thrive on. The two play off the absurdity of the situation without ever slipping into parody, and that restraint keeps the tension intact even when the story gets wild. Their chemistry makes the final moments land with even more impact.

By the time the short film ends, I found myself wanting more, not because anything was missing, but because the story clearly has room to expand. The final beat leaves a tantalizing question hanging in the air: who’s the next unlucky traveler this pillow plans to “bond” with? I’m absolutely here for a sequel, a series, or a full-length escalation of cuddle-driven terror. It is is clever, stylish, well-acted, and crafted with real love for the genre. I highly recommend checking it out. Just maybe keep an eye on your bedding tonight. You can watch “Cuddle” now on YouTube and Screamify.

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 12/4/25 Christopher James 12/4/25

Suspense Builds Quietly in “SOMETHING OF A MONSTER” (2025)

Pregnancy horror at times can be a hit-or-miss corner of the horror genre. It’s a niche that either connects deeply with audiences who appreciate its emotional weight or leaves viewers frustrated when the metaphor that might overwhelm the movie. I recently had a chance to watch “Something of Monster”. The movie was directed by Brandon Duncan and written by Hyten Davidson and Christian Missonak. It’s a solid thriller with atmosphere to spare, even if it leans on a handful of tropes that can stretch your patience long before the payoff hits.

HOW DOES THE MOVIE STACK UP?:

Set in 1984, the movie follows a woman experiencing a phantom pregnancy, sent away to a remote Catskills inn as if isolation will somehow restore her sanity. From the moment she arrives, it’s clear that solitude is the last thing she’s going to get. Duncan wastes no time hinting that something is off, that something is watching, and that something isn’t planning to keep its distance. The setup is simple, but sometimes simplicity is all you need to let the dread settle in.

Star Ashley Bacon anchors the movie with a performance that balances desperation, exhaustion, and a stubborn sliver of hope. Joy Avigail Sudduth and Ameerah Briggs round out the cast with grounded, layered performances that make the inn feel lived in instead of like a set dressed for a scare. Yet the character work, while strong, is constantly undermined by the movies’s most irritating trope: nobody believes the main character Amelia.

This trope isn’t just present, it’s practically weaponized. Even when the movie lays out clear, undeniable evidence that something supernatural or sinister is unfolding, the people around her don’t simply shrug it off; they aggressively blame her. There are scenes where the victim-blaming is so sharp and so persistent that it becomes genuinely uncomfortable to watch. Instead of creating tension, it pushes the story into repetitive territory. I’ve seen plenty of horror movies use this device that works like “Rosemary’s Baby” to “The Unborn” but rarely has it felt this stubborn. The refusal to acknowledge the obvious borders on narrative laziness, and it’s the one element that repeatedly pulls the story down.

Courtesy of PersimmonCourtesy of Persimmon

Ashley Bacon deserves extra attention for her performance within this setup. She carries the emotional weight of the movie, and for the most part, she does it well. There are moments early on where her acting leans a little over the top, particularly in scenes where panic takes over but she eventually finds her footing. Once she settles into the rhythm of the story, her performance becomes grounded, compelling, and fully in sync with the film’s emotional core. Her ability to rebound and deliver a strong second half keeps you invested even when the script’s choices make you want to yell at the screen.

Still, for all its frustrating decisions, the movie eventually rewards your patience. The movies’s slow-burn pacing (at times can be a bit too slow) gives way to a final 20 minutes that completely change the temperature of the experience. When the movie kicks into full gear, it’s genuinely gripping. The tension sharpens, the pieces fall into place, and suddenly the emotional through-line of the movie lands with clarity and force. Those last moments are where the story’s deeper themes finally shine: the painful weight of pregnancy trauma, the psychological aftermath of loss, and how society often responds to women’s suffering with dismissal instead of compassion. It’s a pointed message, delivered with enough sincerity that it lingers long after the credits roll.

Cinematographer Brendan McGowan deserves an entire paragraph to himself. His work elevates the movie far beyond what the script sometimes allows. The framing is deliberate and unnerving, often revealing just enough in the background to raise your pulse without resorting to obvious scare tactics. He uses the woods, the hallways, and the cluttered corners of the inn to build a sense of presence, as if something always is lingering just out of reach. The inn itself becomes a character thanks to his lens. You can almost smell the old wood and feel the cold draft under the door. Nothing is over-lit or over-calculated; McGowan understands that the best horror hides in the architecture and the shadows. It’s a beautifully shot movie, and his work alone makes it worth at least one viewing.

What truly gives the movie emotional weight is its commentary on pregnancy and loss. Without spoiling anything, “Something of Monster” captures the internal collapse that can follow phantom pregnancies, miscarriages, or the loss of a child. It demonstrates how grief can warp someone’s reality, not because they’re fragile, but because the trauma is profound. Through its thriller framework, the movie highlights how society tends to stereotype women in these situations rather than support them. It’s uncomfortable, but intentionally so. That thematic honesty makes the movie stand out, even when its storytelling choices falter.

The supernatural element (or possibly psychological element, depending on how you read it), serves as both metaphor and menace. The mysterious woman in the woods is one of the most effective parts of the narrative. Duncan smartly keeps her at the edges, using presence over proximity to create dread. She embodies both literal and symbolic threat: the fear of someone taking what isn’t theirs, the fear of losing what you believed you had, and the fear of being replaced. That layering adds dimension to a story that otherwise risks slipping into familiar territory.

While the movie has its problems, I still found myself invested. The tone, the imagery, and the tension work more often than they don’t, even if the script struggles with repetitive beats and frustrating character logic. The inn setting, the cold 1984 atmosphere, and the creeping presence in the trees all work together to build a world that feels isolated and suffocating. The filmmakers know how to shape mood, which is half the battle in horror.

By the time the credits roll, “Something of Monster” lands as a one-time watch, but a watch you’ll enjoy. It doesn’t reinvent pregnancy horror, but it respects its themes, delivers a strong lead performance, and ends with a pulse-pounding third act that’s absolutely worth waiting for. If you can push past the aggravating stretches of disbelief and the heavy-handed victim-blaming, you’ll find a thriller with a clear voice and an emotional core that resonates. The think to get in mind with this movie is this, sometimes a movie doesn’t need to be perfect to get under your skin—it just needs to be honest enough to haunt you. “Something of Monster” from Persimmon is available today, December 4th on VOD.

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

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

Get Ready For Dismembered December on FOUND TV

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

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

MARK YOUR CALENDARS FOR THESE RELEASES:

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

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

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

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

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

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

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

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

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

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

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