As someone who went through an Egyptology phase in my youth, I have a soft spot for movies about mummies. As a kid, “The Mummy” with Boris Karloff was probably my favorite Universal Monster movie. So, when I heard that Lee Cronin (whose “Evil Dead Rise” blew me away) was taking a stab at the sub-genre, I was really excited. I even skipped the trailer because I wanted to go in completely blind. Sadly, “Lee Cronin’s The Mummy” leans too far away from what I want from a mummy movie.

Writer’s Note: This review will lean into spoilers, but I will do my best not to completely ruin the ending of the film. Consider yourself warned.

What’s It About?

In “Lee Cronin’s The Mummy,” ‎The young daughter of a journalist disappears into the desert without a trace—eight years later, the broken family is shocked when she is returned to them, as what should be a joyful reunion turns into a living nightmare.

How Is It?

I always like to start with what I like about a film, and while this one didn’t entirely work for me, it’s not without some good bits. I do appreciate that it made the attempt to do something different. It didn’t stick the landing, but the effort is admirable. The film itself looks really cool thanks to the cinematography by Dave Garbett and editing by Bryan Shaw. Both were involved with “Evil Dead Rise,” so this doesn’t come as any surprise. Given this creative team, it shouldn’t surprise you that if you want gore and goo, this movie absolutely delivers. In terms of my own personal taste, there are lots of gastro horror moments that will quite possibly make you gag. 

All of that sounds great, right? Herein lies the issue: the aforementioned visuals and gore. The film leans into them almost to the detriment of the story. It’s a film that says, “hey, who wants to see something gross?” instead of giving us a well fleshed out story and lore. All the more upsetting is that this occurs in a film with a 2-hour and 15-minute runtime. If you’re going to make your movie lean more into demonology instead of actual mummies, you need to build up that story. Who is The Magician, and why did Layla seem not to meet the fate of the rest of her family? Did the demon cause the plane crash? Who was the group of people helping The Magician? So many things could have made this a really interesting folk horror film. Instead, we just got another eyeball shot.

Speaking of demons, I understand a filmmaker not wanting to make a run-of-the-mill mummy movie, given that they can be tropey and lean into stereotypes. Unfortunately, leaning into demonology with a family under siege in a dimly lit house with dark hallways just came off like a rehash of “The Conjuring.” There is even a moment where the demon sings “You Are My Sunshine,” and I thought about “Annabelle: Creation,” and it’s hard not to feel like James Wan had his fingers all over this. Despite that, having a tape recorder and the heavy, similar styling of “Evil Dead Rise” create the feeling that they hoped we’d overlook a lack of story for nods to past works. Had Cronin taken the time to build up the lore around the demon and the mummification process, instead of giving us scene after scene of Katie falling deeper and deeper under the demon’s control, it may have been far more compelling.

The characters are woefully underdeveloped, which makes it hard to care about them beyond the surface level. I found myself wanting to know more about what happened in Cairo than about the main family or seeing Katie barf again, and May Calamawy’s Detective Zaky was vastly underutilized. The performances were about as good as they could be, given that the story didn’t leave them much to work with. The behavior of the parents felt very by the numbers, almost as if we’ve seen it before in films like “The Conjuring,” “Insidious,” and the like.

Verdict 

There will definitely be a fan base for this film, and I didn’t actually hate it; just disappointed that it didn’t try to be a little more of things we haven’t seen rather than things we have. Mileage will definitely vary for folks, and I really do wish it went a bit further for me.

“Lee Cronin’s The Mummy” is now playing in theaters from Warner Bros. and Blumhouse

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Retro survival horror takes the spotlight in developer Malformation Games’ debut title "GROUND ZERO".  Published by Kwalee, the title is set in post-apocalyptic South Korea, two months after a meteor devastated the areas surrounding Busan.  Players take on the role of Seo-Yeon, an elite Korean operative, who, along with her Canadian counterpart Evan, ventures to Gamcheon to investigate the impact site and the meteor’s effects on the local environment. However, the two find more than they bargained for as a deeper conspiracy unravels and a new threat makes itself known.  Taking cues from the heyday of survival horror, “Ground Zero” mixes the gameplay, visuals, and combat of classic titles like “Resident Evil”, “Silent Hill”, and “Dino Crisis” with a range of modern sensibilities.  What results is an incredibly fun tribute to the genre’s origins that also stands competently on its own as a thrilling entry in the modern horror landscape.

“Ground Zero” opens with a brief introduction to the game’s world and characters, literally.  At a military briefing, Seo-Yeon and Evan are tasked with traveling to South Korea to investigate the meteor's impact on the region. It becomes immediately clear that Seo- Yeon and Evan are very different in their approach to the mission, with Seo-Yeon taking a very professional approach.  Evan, on the other hand, is very off-the-cuff, garnering two warnings from the council before the briefing’s end.  This dynamic carries forward to the game itself and is bolstered by the title’s authenticity in replicating similar partner dynamics from games like the original “Resident Evil”, in which Jill and Barry offered varying levels of camp in their interactions. Much of the story in “Ground Zero” is discovered through its gameplay choices and various collectible documents, leaving the interactions between Seo-Yeon and Evan as the primary filter through which the title’s events and major story beats are delivered. What’s more, these story beats won’t be the same for every player, as “Ground Zero” gives them control over the path Seo-Yeon and Evan take to their final goal.

Mere moments after the team lands in South Korea, Seo-Yeon and Evan decide to split up, with players choosing which area they want to explore as Seo-Yeon, and which Evan should take.  Choosing one locks players out from exploring the other, effectively shaping the strategy they will need to take, puzzles they will need to solve, and items they will collect on their way to the next forking path.  This decision is not exclusive to the early game, as “Ground Zero” throws multiple major obstacles players’ way, forcing them to choose which areas of Busan they will experience, and which will be locked out for Evan.  In so doing, “Ground Zero” offers multiple gameplay experiences, rewarding replayability and investment in the title’s world and lore, which players will garner a much greater understanding of by exploring all areas and collecting all documents.  To further sweeten the deal, “Ground Zero” includes various hidden collectibles and unlockable cheats to make those follow-up playthroughs even more enjoyable.

Gameplay-wise, “Ground Zero” looks, feels, and controls like it was pulled straight out of the 90s, with tank movement and combat mechanics, fixed camera visuals, and a variety of complex puzzles and locations.  The level of excellence with which the title replicates the experience of early survival horror titles is truly impressive.  The controls feel extremely intuitive, and the combat feels challenging but not unfair.  The game’s arsenal and strict item-management mechanics reward accuracy and strategy, making every shot count and every visit to the safe rooms a key strategy for success.  Likewise, perhaps to modern gamers’ detriment, the puzzles and storytelling in “Ground Zero” are entirely up to the player to decipher, much like those older titles. Hints, directions, and objectives are rarely offered, leaving players to thoroughly explore their environment, filling their map as they discover locked doors, puzzle locations, and safe areas as they desperately search for anything that could fit the limited description of a required item or partial puzzle solution.  This type of gameplay is exactly what will drive fans of the survival horror genre, particularly veterans, to immerse themselves in the “Ground Zero” experience, though it may come as quite the wake-up call for those who are accustomed to the modern era’s penchant for action over strategy.  Luckily, Malformation Games has included a few modern tweaks that players can choose to play with, such as an updated control option and difficulty settings for both puzzles and combat.

Visually, “Ground Zero” nails its aesthetic in nearly every way.  Boasting graphics from somewhere in the cross-section of the PS1 and Dreamcast, the title delivers a world brimming with cosmic body horror.  The title’s various locales feature a host of grotesque enemies, with many playing into the core concept of whatever area players choose to have Seo-Yeon explore.  Each of these areas also pays tribute to a particular inspiration for the title’s retro-style, with locations like the Police Station, Amusement Park, Hospital, and more.  Likewise, eagle-eyed fans may spot some direct references to classic titles, hidden throughout the game, offering some fun moments of levity and surprise. Unfortunately, there is one rather glaring misstep in the game’s visual representation, which can be found on an assortment of in-game models and images.  While it may be unintentional or remnants of an earlier build, the version of “Ground Zero” I received for the PS5 features imagery from other IPs on a small assortment of interactable objects.  This could be easily remedied before public release, but, as it stands, the inclusion in the review copy is worth noting.

Regarding audio, “Ground Zero” delivers exactly what it means to, a quality of audio compression, crunchy sound clips, and campy dialogue players seemingly lost in the modern era.  Enemies make distorted, disgusting, and repetitive noises as soon as you enter a room, while being blocked from sight by the title’s fixed cameras.  Seo-Yeon and Evan discuss matters both dire and delightful in a way that will make players roll their eyes and smile from ear to ear simultaneously.  The game absolutely captures the essence of the era to which it is paying tribute, and fans of that bygone age of survival horror are sure to feel right at home as they experience the various sights and sounds that “Ground Zero” has to offer.

In the end, “Ground Zero” succeeds on nearly all fronts as both a tribute to the heyday of survival horror gaming and the bold debut of a modern indie horror developer. Featuring solid characters, addictively old-school gameplay, and a compelling world and narrative, the title offers fans both old and new an experience to return to the genre’s roots. What’s more, it brings those elements into the modern era with its various gameplay options, branching paths, and variety of puzzle types. "Ground Zero” may not be the biggest indie horror title releasing this year, but it is certainly one of the best surprises the genre has delivered in the past decade.  Whether you’ve played its many inspirations before or are thinking of giving this style of game a try for the very first time, “Ground Zero” is sure to deliver a thrilling and deeply rewarding experience.  Those interested in discovering everything that “Ground Zero” has to offer can do so quite soon, as the title releases on PC via STEAM, PS5, and XBOX Series X/S on April 16, 2026.

More information can be found at the publisher’s website.

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Right around this time of year, when the snow has melted, and the birds begin to sing, we here at PAPER CUTS think of one thing, and one thing only: “SUMMER SCARES” is coming! What is “SUMMER SCARES,” you ask? Well, it’s just the most wildly creative reading program from the Horror Writers Association in partnership with Book Riot, Booklist, iRead, and NoveList that provides a recommended reading list, which has been carefully chosen by a committee of six Librarians, best-selling author Jennifer McMahon, and Co-Chairs Konrad Stump and Becky Spratford. If you had a genie in a lamp, you couldn’t wish for a better crew of people to pick your books out for you!

We were overjoyed to have creators and organizers Becky Spratford, Allison Nellis, and Kate Federiconi join us to discuss the fascinating process of choosing which books will be included for that given year, the astounding amount of work that goes into the program to provide a varied array of literary choices, and the phenomenal teamwork that happens to roll the reading program out everywhere. We’re not kidding when we call these amazing people superstars. Their tireless efforts not only put books in hand but also open new worlds to readers worldwide. After you listen to this interview, we’re sure you’ll have a newfound respect for the work that goes into this fantastic reading program.

You can check out the ‘SUMMER SCARES” programming guide here.

You can listen to Konrad Stump and Jennifer McMahon talk about the “SUMMER SCARES” program on “Books in the Freezer” here.

NYPL’s “Best New Horror for Adults 2025” can be found here.

Contact libraries@horror.org if you’re interested in the “SUMMER SCARES” reading program.

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From Dark Sky Films and Watermelon Pictures, “Mārama” (MAH-rah-ma) is a gothic tale of a Māori woman trying to connect with her past.  Set in 1859 England, writer/director Taratoa Stappard’s debut feature focuses on young Mary (Ariana Osborne), who is summoned to a Yorkshire manor by the mysterious Nathaniel Cole (Toby Stephens).  Can she discover the truth about her heritage before she’s subsumed by the Old Dark House?

Fresh off the film’s run at The Overlook Film Festival last week, the effusive Stappard delved into his family history and how it inspired a tale of legacy and retribution. We also went into his transition from shorts to features and how his collaboration with his cast and crew helped form the Henry James-ian “Mārama.”  Stappard may have just created the Māori “Get Out” (or “Haare Atu” if you actually speak the language.  Hey, I had to do my research).

“Mārama” is only in theaters April 17th, and on digital May 12th.  For more information, including a list of theaters, go HERE.

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The death of a child is an almost incomprehensible loss. While the grieving process is often characterised like any other by Elisabeth Kübler-Ross’s “Five Stages of Grief” - denial, anger, bargaining, depression, and acceptance - a child dying is a uniquely non-linear, all-consuming, profound loss, with no parent expecting to outlive their children. While a child’s death onscreen is hardly unfamiliar within the horror genre, it is still somewhat taboo, as is the debilitating grief that follows. One of the standout titles among the current slate of grief horror is Danny and Michael Philippou’s “Talk To Me” (2022). The feature debut, which explored grief through the lens of the teenage protagonist Mia (Sophie Wilde), became an instant hit, with genre fans eagerly anticipating its follow-up. What came next was “Bring Her Back” in 2025, a grotesque yet beautiful film that treats child loss not simply as a backstory, but as an active, all-consuming, transformative force that drives the film’s horror.

“Bring Her Back” follows teenagers Piper (Sora Wong) and Andy (Billy Barratt), stepsiblings whose lives are thrown into disarray with the death of Andy’s father. Originally set to be split up by the foster care system, Andy advocates for them both to be housed with Laura (Sally Hawkins), a social worker also dealing with her own grief following the loss of her daughter, Cathy. As well as Piper and Andy, Laura also cares for Oliver (Jonah Wren Phillups), a mute young boy whose origins are unknown. Andy begins to suspect all is not right in Laura’s home as her behaviour towards him becomes increasingly hostile, eventually uncovering rituals that endanger the lives of those around her. 

As Andy and Piper move in with Laura, her home is filled with song and warm tones, a stark contrast to the oppressive blue and grey colour palette that soaks most of the film’s scenes, personifying the grief that permeates them. Laura immediately embraces Piper and knows her name, but not Andy’s, taking a photo of the three but blocking the latter from the frame. It foreshadows Piper’s role as Laura’s ‘replacement child’, a term used for a child born or adopted shortly after the death of a previous child, often intended - consciously or unconsciously - to fill the emotional void, replace the lost child, or soothe the parents' unresolved grief. The mood changes when Andy asks if the tape used to keep a rug in place was for Piper, to which Laura explains it is for her daughter, who is blind. She explains that Cathy, her child, has died, but her use of the present tense when speaking about Cathy’s blindness shows she is still in a state of denial about her death. Piper asks how Cathy died, and, despite what many may perceive as being a morbid topic, Laura smiles at the chance to talk about her daughter, keeping her memory alive.

We immediately cut to see the swimming pool empty, the scene where Cathy died. It can be seen as emblematic of Laura’s life, empty following the loss of her child. The area itself has been left to rot, strewn with leaves and debris, a metaphor for the disarray and disaster that her life has become while ignoring her grief. We see Cathy’s handprints in the cement next to the pool, just one of the many reminders of the teen. Laura’s home has become a shrine to Cathy, a tangible manifestation of grief that serves as a way of maintaining a connection with her daughter. Cathy’s room has been suspended in time, every item left in place and decoration untouched, ready for Piper to take over the space, once again showing her position in Laura’s life as the replacement child.

Laura slowly begins to morph Piper into Cathy, from marking her height on the wall next to her daughter’s name, to gifting her the hand-knit cardigan Cathy wore, and fixing her hair just like her. In contrast, Cathy is actively hostile towards Andy and Oliver. 

Laura marks Piper’s height on the wall next to Cathy, using her as a surrogate daughter. She is noticeably more hostile towards Oliver and Andy than towards Piper. Andy’s room is a cupboard, and Laura slowly subjects him to increasingly abusive behaviour, from invading his privacy to manipulating him into believing he has soiled his bed, and goading him into violent confrontations. Oliver, meanwhile, is simply used as a vessel for Cathy’s spirit in the ritual to bring her back. As a result of her grief being left unchecked, Laura becomes abusive towards two vulnerable children in a bid to resurrect her own, showing how complicated grief, prolonged grief disorder, or unresolved grief can lead to significant physical, mental, and social consequences.

Laura’s life is consumed by the ritual that is briefly shown at the start of the film, in which she must sacrifice another in the same way Cathy died to transfer her spirit into the new body. She will go to any length to achieve her goal, a feeling many parents will be able to relate to in the same position, wishing anything to see their child again. Her plan is set in motion before Piper and Andy arrive, checking the rain forecast to see when the swimming pool will be full again, and the weather replicates the day Cathy died. She methodically tortures Andy to put a strain on his relationship with Piper, isolating the young girl in a bid to kill her. Oliver, we find out, was kidnapped months prior, and his appearance changed so that no one would recognise him, so that he could carry Cathy within him. Every night, we see Laura study tapes of the ritual while also longingly watching home videos of Cathy to remain dedicated to her cause. As well as highlighting Laura’s pain, her behaviour shows that there is not one, airbrushed, palatable face of parental grief. It can be ugly and bring out some of the darkest emotions and behaviours within us. It can make those suffering behave in ways that they can scarcely imagine themselves, let alone others. There are many scenes in which Laura’s face is blurred in water, which can be seen as a metaphor for her loss of identity after Cathy’s death, and also not recognising herself in her behaviour that follows.

The brief moments of happiness we see Laura experience throughout “Bring Her Back”  are in those she feels connected to Cathy, whether that be talking about her or in the brief moments she senses her presence through Oliver. On the day of Andy and Piper’s father’s funeral, Andy asks Laura how she has coped, to which she responds: “I didn’t. When we buried her, I didn’t want to leave. It felt like I was abandoning her, you know? How could I go home without my daughter? How could I sleep in a bed while she’s in the ground? I used to stay at the cemetery for days just so I could feel close to her. I’d give anything to hear her call me mum one more time. Just one more time. That’s all.” The scene frames Laura in an uncomfortable, claustrophobic close-up, showing the suffocating nature of child death. When her ritual threatens to derail, we see Laura lose her usual calm, calculated composure, screaming and crying that she has “nothing” without her daughter, going as far as to spilling her own blood and that of others to make it happen.

Ultimately, the ritual fails. After killing Andy and the children’s social worker, Wendy (Sally-Anne Upton), when they discover the extent of her crimes, she attempts to drown Piper. But when Piper calls her mum, the one title she has longed to hear since Cathy’s death, she surrenders and allows Piper to escape. This scene can be seen as Laura reaching the final stage of grief, acceptance, in admitting to herself that she cannot resurrect her child from the dead, no matter how much she wills it to be, and the lengths she is prepared to go to. She retrieves Cathy’s body and, after spilling her blood into the pool, lies in there with her. At the same time, we see a home video of her waking Cathy, and it is the first time we see her face fully smiling. It is an intimate moment that most parents are the only ones to witness, the smile of a child when they wake and see the parent they love and adore. It is a final gut-wrenching reminder of the love Laura has lost in Cathy’s death, the pure, all-encompassing devotion and admiration of a child towards their parent. The final scene of the film is a high-angle shot of Laura embracing Cathy in the pool, as if they are the only people in the world.

“Bring Her Back” explores the profound grief of a child dying as few other films do, placing death at the front and centre of its narrative rather than lurking in the background. Through Laura and her refusal to accept Cathy’s death, we see how grief can warp a person into a monstrous, obsessive figure, as well as the sadness and despair that we commonly associate with death. Her behaviour sees monstrous abuse and even further death occur, showing how detrimental unchecked grief can be. Laura’s character will go to any lengths to resurrect Cathy, a metaphor for the notion that a parent would do anything for their child, in life and in death. Even the film’s title, “Bring Her Back,” keeps this yearning central. But in the end, Laura must process her grief and end the trail of destruction she has spearheaded, accepting Cathy’s loss and letting her suffering, and that of others, come to an end.

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Not every actor works in genre films, but it’s safe to say that so many of them not only got their start there, but many of them have built careers from it. Jamie Lee Curtis famously leveraged her status as a Scream Queen to pivot out of horror and into more mainstream action, drama, and comedy films. Of course, Jamie Lee has famously returned to the role that made her for Blumhouse, but some actors have not just stuck with horror; they’ve embraced it. Laura Ellen Wilson is one such actor who has made a name for herself in genre films, and isn’t planning to turn away anytime soon!

Laura Ellen Wilson was born and raised in Lancashire, United Kingdom, and is the first in her family to embark on a career in entertainment. After developing an interest in acting at the age of 13, she enrolled in acting classes and at 16, went to college to study acting and musical theater. Laura had always wanted to travel, so upon graduating, she embarked on a 6-year career as a singer/dancer in hotels and cruise ships worldwide, working in destinations such as Mexico, Spain, Italy, and various Caribbean Islands. After 1 year back in England, recovering from a dance injury, where she would never dance at a professional level again, she decided to dive straight into acting, something she had wanted to do since a child. She is now 7 years into her career and lives in Los Angeles, California, where she has been for 2 years.

Laura was kind enough to answer a few questions for us about her work in horror, and you can read her responses below!

MD: What was the first thing you saw/read/heard that scared you?

Lauren Ellen Wilson: Without a doubt, the first thing that I watched that genuinely scared me was “Jaws”! I had absolutely no business watching it alone at 6 years old, but it was definitely the start of my love for horror!

MD: When did you realize that you wanted to be an actor, and was there a particular film/TV show or other piece of media that hooked you?

LEW: I was obsessed with British procedural TV shows “Casualty” and “The Bill” growing up and asked my mum how I could be on them. She told me I needed to take acting classes, so I enrolled - not even wanting to become an actor, just so I could be on the shows and meet the actors! I enjoyed the classes so much that I went on to study acting and musical theater at college, have a 6 year career as a singer/dancer in hotels and on board cruise ships until 7 years ago when I decided to pursue acting full time. The rest, as they say, is history!

MD: You've done quite a bit of work in the horror genre. Were you a fan of the genre when you were growing up? Any particular pieces of media that left a lasting impression on you?

LEW: I started to become a real horror fan around the age of 11 when I was interested in 15+ and 18+ horror movies from trailers that I saw online or on the TV and my parents told me I couldn’t watch them. One thing you should know is that if someone tells me I can’t do something, I will find a way! My first real horror movie was the first “SAW” when I was 12. That one really made an impact on me, not just for the gore and tension throughout, but for the cool twist at the end. I must give an honorable mention to “HOSTEL” too which I watched at 13.

MD: How do you prepare for the roles you take on? What specific rituals or practices do you find most effective for getting into character?

LEW: Depending on the type of role, I prepare slightly differently each time. If I know I am going to be crying a lot, I’ll make sure I don’t cry or get emotional at least 2 weeks before filming starts, that way the tears come a lot easier when the time comes. Recently, I have been cast in antagonist roles, which are really fun. My voice is naturally quite high and with those kinds of roles, they tend to be quite domineering and intimidating, so I do a lot of voice work beforehand in order to speak with a lower tone, without damaging or losing my voice halfway through the shoot!

I don’t think I have any specific rituals, however, I do pay very close attention to the description of the location and surroundings in which the scene is placed in the script and try to put myself in that place. Combining that with the tone and emotion of the scene really helps me a lot to get a sense of how my character is feeling and reacting in that moment.

MD: What's the most challenging and most rewarding part of the work?

LEW: Without a doubt, the most challenging part would be continuous takes of emotional scenes, especially on an indie shoot when the days could work 18+ hours. Those days can really deplete your energy, which sometimes rolls over into the next day too. One of the most rewarding parts would be the moment we wrap the final scene of the movie and celebrate our hard work with the new film family I made! The other is arriving at the premiere, seeing my friends again and finally getting to watch our baby come to life on the big screen!

MD: How do you decompress after a tough day of shooting material that is often challenging?

LEW: The first thing I do is put some music on and get in a super hot shower to wash the day away. Once I am out of the shower, the tough day is behind me and forgotten and I start anew. I’ll put my comfy clothes on and curl up in bed with a movie or a TV show and some snacks. Very boring, I know, but after a tough or long day, that’s exactly what I need!

MD: Your Horror Hero and why?

LEW: It would be criminal if I didn’t mention my good friend, Eileen Dietz, who played Pazuzu in “The Exorcist,” as well as over 85 other horror movies! I’ve known Eileen for almost 5 years and hearing her stories of her struggles in the industry and how she overcame them, is truly inspiring. She’s been in the industry over 60 years and is continuing to work within horror and of course, travels the world to appear at conventions!

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Welcome back to another edition of Spinnin’ Scaries! In honor of April being my birthday month, I decided to choose one of my favorite horror/fantasy film scores that was also composed by a stellar artist. Not to sound pompous, but this score really is fantastic and should be recognized for all that it is. Now Presenting: Alex G’s masterpiece for Jane Schoenbrun’s “I Saw The TV Glow.” Releasing in May of 2024, this film instantly became one of my all-time favorites with its beautifully tragic storyline, outstanding performances from Justice Smith and Jack Haven, dreamy cinematography and color palette, and an unforgettable score.

Not to be mistaken, the soundtrack is just as good as the score, and they both blend really well together, but the real standout is Alex G’s compelling tracks. Originally, only the soundtrack for the film was released, which I also added to my collection. A little over a year later, the score was finally being pressed for vinyl, and to say I was ecstatic is an understatement. Both variants come from A24 Music with the score being a limited edition pressing for the film’s anniversary (which has now sold out), but the soundtrack is still available.

Alex G’s composing for this score is a warm and inviting blend of nostalgic 80’s synthesized tracks that give you a euphoric sense of being, while also combining edgier sounds to balance out that fever-dream-like sound. In all seriousness, though, some of these tracks really do make you feel as if you could melt into their sound. Love Theme from The Pink Opaque is one of those. At a minute and 15 seconds, its soothing, somewhat sensual tone takes you back to that 80’s vibe I previously mentioned. Producing a slow-burning, moody beat that is the perfect essence of what it must have felt like to be curled up by your fireplace, next to your jaguar glass coffee table, and cassette tapes.

Ice Cream Transformation is a unique track and is one of the shortest at only 40 seconds. Its mixture of stringed instruments and deep reverberating bass undertones exudes a classical sound that adds depth to this already eccentric score. Following shortly after is Marco Polo. Named after the two “nasty little demons” in the film who are Mr. Melancholy’s henchmen. This is definitely one of the creepiest and most dramatic-sounding tracks on the album. Two high-pitched synth keys sound off. Static interference meshed with what sounds like a blaring alarm repeating over and over plays for almost the whole minute of the track; and then it suddenly cuts and moves on. I wouldn’t listen to this one with the headphones on full blast…

Planetarium (Outside) and Planetarium (Inside) coincide with each other and have their similarities, but also their differences. For almost having the same “chorus” I guess you could say, the tone of Outside is a little more melancholic and dreary, where Inside sounds more hopeful in a way. Both play during peak points in the film and highlight Owen and Maddy’s demeanors and how they slowly fade into forgetting who they are.

The Fun Center absolutely embodies the scene; it's over so well, and I will never get over it. It takes place in the Fun Center, where Owen works for a short period of time, which is a big indoor arcade and spot for birthday parties. 80’s synthesized beats, but in a style that sounds like it could be in a video game. Although the way this track speeds up and is so different from the others really makes it sort of uncanny, like it doesn’t belong. This is also where Owen has his outburst in the birthday room as he realizes that he is slowly dying, as he can’t reach his true self.

From A24 Music:

I Saw The TV Glow Original Score: Alex G Anniversary Release

This limited edition pressing features a holographic cover, comes with a Mr. Melancholy sticker, and is pressed on blue glow vinyl. A stunning record with a score to match, and is perfect to add to your collection if you’re a fan of the film or Alex G’s works.

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Severin Films, as one of the leading American boutique home video distributors, has proven time and again its commitment and care for international works that might otherwise never have received a proper disc release in the States. Among their steady output of environmental horror, creature features, Italian Gothic, and the like is a selection of titles from the seemingly endless back catalog of pictures helmed by Spanish auteur Jesús Franco. More than a decade ago, their Blu-ray releases of "Vampyros Lesbos" and "She Killed in Ecstasy" (both 1971) seemed to be widely accepted as the definitive high-def presentations for his most beloved cinematic efforts, though they are now available in UHD for the first time ever, with audiences given an opportunity to double dip and revisit the latter, which has been described as a showcase for Soledad Miranda "in her greatest role." Is this psychosexual erotic thriller worth the 4K upgrade?

WHAT’S IT ABOUT?

Soledad Miranda stars as a vengeful widow who seduces and murders the men and women responsible for her husband’s suicide.

HOW IS IT?

Shot immediately in the wake of "Vampyros Lesbos" and almost considered to be a simultaneous production and extension of the month-long task, "She Killed in Ecstasy" is yet another co-production between Spain and West Germany, utilizing mostly the same composers, cast, and crew. It is a loose, hallucinatory remake of Jess Franco's 1966 "Miss Muerte" (aka "The Diabolical Dr. Z"), with narrative elements also borrowed from his equally obscene "Paroxismus" (aka "Venus in Furs") from 1969, and acts brilliantly as a true companion piece to the supernatural softcore erotica that ultimately defined his career. Soledad Miranda, again credited under her Susann Korda pseudonym, which was thought to be internationally appealing, steps back into the spotlight as the mourning wife of a mad scientist, Dr. Johnson (Fred Williams), who takes his own life after being barred from further scientific experimentation once he is caught by the medical board performing on human fetuses. Her character has no name and no detailed backstory, and serves solely as a vessel for pure revenge, eventually using her mind and her body to gain the upper hand and take down the individuals whom she deems responsible for her husband's untimely death.

It is a brutal, shocking feature that offers a deliberately dark central storyline and leading performance, foregoing the should-be scream queen's vampiric method of mind control in favor of an equally hypnotic portrayal of the grief process through spells of bloody hypersexuality, lesbian affairs, and even brief bouts of necrophilia! Though the revenge cinema of the 1970s is traditionally centered around sexual assault and male coercion tactics of both hard and softcore qualities, this is never particularly explicit and instead works to usher power to the woman, further exploiting unethical practices of biological enhancement and warfare. Victims are often represented as deserving of their grisly fate; here, a group of conservative medical personnel succumbs to seduction as a means for entrapment and striking violence, the film continuing themes of tragedy, told from the perspective of a disturbed, unreliable narrator. Furthermore, it feels like a testament to the strong unit Franco built behind the scenes, with recurring collaborators such as the late Miranda, Ewa Strömberg, and Paul Müller, who manage to bring us beneath the surface of their simplistic characterizations and full frontal antics by way of moody body language and tense emotional breakdowns into insanity.

HOW DOES IT LOOK?

"She Killed in Ecstasy" initially debuted on 4K Ultra HD for the very first time as part of Severin's 2025 Black Friday slate, and this worldwide UHD premiere is finally open for a wider retail release. Disc 1 presents the main feature in 2160p Full 4K Resolution, with a transfer expertly encoded to be compatible not only with HDR screens, but also with Dolby Vision displays. Luckily for those still stuck in Blu-ray format, Disc 2 offers a 1080p Full HD presentation, which is region-free and works with virtually any player on the market. Both discs provide an equally exquisite viewing experience, the film now available in its original 1.66:1 aspect ratio in the highest quality possible with fine-grain detail, natural colors, and restorative efforts successful in retaining the organic, uncanny vision of Jess Franco and his view of the world. The film is set within the Xanadu complex designed by Ricardo Bofill, and often focuses on unconventional, maze-like architecture, which beautifully contradicts the mundane human subjects as they are picked off one by one, red popping with each castration and cut of a knife.

Images from this release are used below and throughout this review.

HOW DOES IT SOUND?

From the back cover, Severin's UHD re-release sports a single German Mono track. More specifically, both discs utilize 2.0 DTS-HD Master Audio, with optional English subtitles for those uninitiated in the original language. Dialogue is clear from start to finish, but instances of voiceover narration offer even greater touches of clarity, taking center stage in any sequence that has been dubbed over. Most importantly, the soundtrack and score, which were composed by "Vampyros Lesbos" alumni Manfred Hübler and Sigi Schwab and previously available on CD, add depth to the piece with groovy jazz music that further elevates the project's surrealist tone.

WHAT ABOUT THE SUPPLEMENTS?

Notably missing from this set are a mini poster and the "3 Films by Jess Franco" CD that were provided with the last release of the film. Certain supplements on "She Killed in Ecstasy" are recycled from Severin's 2015 Blu-ray version, including a 17-minute interview with the director discussing the project's origins as a bonus production in the immediate aftermath of "Vampyros Lesbos," as well as his fond memories of his muse, Soledad Miranda. Interviews with historian Amy Brown surrounding the career of the late central star, as well as actor Paul Muller about his time on Franco's sets, can also be found amongst the archival material. New and exclusive to this 4K edition are an expanded, highly detailed retrospective on the film by Stephen Thrower, which contextualizes the piece, its themes, and its significance in a period when Franco was still battling censorship in Spain, as well as a 21-minute location featurette that puts scenes from the auteur's filmography side-by-side with the real-life spots captured on camera. Those who collect deluxe packaging are in luck, as Severin is currently offering a limited edition exclusive to their website, complete with a sturdy, spot gloss slipcover!

SPECIAL FEATURES

Disc 1 (4K UHD)

• Newly scanned in 4K from the original camera negative (01:20:27)

• German Trailer (02:44)

Disc 2 (Blu-ray)

• Newly scanned in 4K from the original camera negative (01:20:27)

• “Ecstasy In Rage” – Interview With Author Stephen Thrower (2025, 41:56)

• “In The Land Of Franco Part 13” (2025, 21:07)

• “Jess Killed In Ecstasy” – Interview With Writer/Director Jess Franco (2015, 16:56)

• “Sublime Soledad” – Interview With Soledad Miranda Historian Amy Brown (2015, 20:23)

• “Paul Muller On Jess Franco” – Interview With Frequent Franco Star (06:32)

• German Trailer (02:44)

THE VERDICT!

If you're in the mood for 81 minutes of procedural, psychological erotic insanity with arguably the greatest leading performance in a German horror film of the 1970s, give "She Killed in Ecstasy" a shot! Severin's dedication to providing top-tier viewing experiences at home is evident from the meticulous UHD presentation, sourced from a new 4K scan of the film's original 35mm camera negative. Fans who previously bought their Blu-ray release from 2015 might want to hold onto or combine the two sets, as each includes unique physical and on-disc extras that are equally worthy of a spot on your shelf. Very highly recommended!

Thank you to the fine fiends over at Severin for providing a review copy for our crypt!

“She Killed in Ecstasy” is now available on Blu-ray and 4K Ultra HD from Severin Films!

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Last month, we hosted MARCHtial Arts Week and dedicated a slate of articles to a genre that is adjacent and often overlapping with horror. The tradition of exaggerated arterial spray and legendary Asian ghost stories is infused into martial arts films, as is the tradition of bone-crunching violence and gore. The action film is having a sort of comeback in a way, or at least it has ever since films like “The Raid” showed the world what martial arts fans have known for a long time: these films fucking rock. “Assassin,” from director Jiuqin Zhou and writer Huang Lin, takes an “inglorious” approach to revisionist Chinese history.

WHAT’S IT ABOUT?

Shanghai. 1930s. Occupied and on the brink of war.

 When elite fighter Mubai is recruited for a top-secret assassination, he’s thrown into brutal battle against the Japanese military machine. Hunted through city streets, train lines, and enemy strongholds, Mubai fights his way through ambushes, explosions, and brutal close-quarters combat to reach a single target who could change history. With time running out and bodies piling up, survival depends on speed, skill, and nerve.

HOW IS IT?

I have to admit that much of my hope in preaching the gospel of martial arts films is in the hope that I can convert just one person every so often. It would seem easy enough, considering how propulsive and often violent these films are, to convince folks that many are sleeping on a wealth of great, fun films that ask nothing more of you than to sit back, enjoy, and be entertained. The best of them will make you feel something besides empathetic pain for the people getting their teeth kicked in onscreen, but even the great ones just take you for a fun ride. “Assassin” falls squarely in the latter category. A film riffing on Tarantino’s “Basterd” formula with a decidedly Chinese twist, as they once again fight off the imperial Japanese enemy in a faux 1930s, is the perfect antidote to our current moment of vast injustice.

“Assassin” is a squad film through and through. Mumbai leads a squad of specialists who are tasked with assassinating the incoming Japanese General. Those unfamiliar with this history would be well-served to do a quick Google search to understand that at this time, Japan was aggressively attacking and eventually occupied for some time. Many Chinese action films reference this period in history, and in this case, it’s all done in a rather pulpy and revisionist way. It’s also extremely entertaining from start to finish, and it doesn’t overstay its welcome. The typical players are present, from a series of “mini-bosses” who serve as our main antagonists, the ones protecting the General. The video game comparison is intentional because the action is both over the top and still grounded enough not to veer into absurdity. The occasional moments of broad humor intended to bring levity don’t always work, but that may be more to cultural taste than an objective reflection of quality.

The action is the star of the show here, and hats off to Zhengguang Lu, the action choreographer, and Guan Su, the action director, for their masterful work of creating (mostly) practical stunt scenarios. The combination of martial arts and gunplay always hits the dopamine sweet spot, and that’s sure to be the case as people use their handguns almost as extensions of their bodies to create poetic violence on the screen. There’s really not much more to say about it because “Assassin” doesn’t demand much of you besides letting it entertain you. There’s no deep message to ponder, at least not one you couldn’t find better historical material for, and its story of triumph over invading enemies is sorely needed right now, even if it feels ripped right out of a comic book.

LAST RITES

“Assassin” is a supremely entertaining piece of action cinema that blends revisionist history with martial arts action and pitch-perfect production design. The light story and high-octane action are a delightful mixture that will delight action fans of all kinds!

THE GORY DETAILS

“Assassin” is available on VOD and Digital on April 17, 2026, from Omninbus Entertainment!

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We get a lot of news here at Macabre Daily, and frankly, we just can’t cover it all. The signs of a healthy horror genre also mean that the volume of announcements can become overwhelming, but at the same time, we know this means that the genre is alive and thriving. At Macabre Daily’s Trailer Park, we aggregate some of the best trailers coming out so you don’t miss out on a single new piece of horror media!

Trailers are our window into the future, or at least they give us quite a few hints about what a film’s vibe will be, what it’s about, and, more importantly, give us just enough information to tantalize us into seeing it. Whether you avoid trailers or run towards them, we have a roundup of some of the best and brightest previews coming soon to a theater and VOD service near you, including “Frankie, Maniac Woman,” from Two Witches Films, “The Fuzzies,” from Terror Films, “Devil May Cry: Season 2,” from Netflix, “Ice Cream Man,” from The Horror Section, and “Insidious: Out of the Further” from Sony Pictures and Blumhouse!

“Frankie, Maniac Woman” (2025)

Two Witches Films

We love “Frankie, Maniac Woman,” and we are beyond happy to see this amazing film get a theatrical release. The dynamic duo of Pierre Tsigaridis and Dina Silva is both an amazing slasher movie as well as a cutting commentary on how society views women who aren’t skinny. It’s darkly funny as well as deeply contemplative, and we cannot encourage everyone enough to see this when it comes to theatres on April 24, 2026!

Synopsis: Battling against the legacy of childhood trauma, internalised misogyny, and the image-obsessed fat shaming of the LA music business, aspiring singer-songwriter Frankie Ramirez finally snaps, with bloody results.

Find Tickets Here

“The Fuzzies” (2026)

Terror Films Releasing

TERROR FILMS RELEASING has teamed with filmmakers Josh Funk and Dustin Vaught to release their wildly original horror-comedy, “THE FUZZIES.” 

Starring Rocío de la Grana (Rose), Baylee Toney (Mary), Dustin Vaught (Mick) and Gordy Cassell (Shirley / Sunny Smiles), the film centers around a group of friends who reunite at their childhood friend’s eerie estate after her death where they soon uncover a nightmare: the grotesque puppets from her famous children’s TV show are alive. Blending practical puppetry, stop-motion horror, and dark humor, “The Fuzzies” explores friendship, fame, and buried monsters.

Written and produced by Funk and Vaught, Funk directed the film and shared his thoughts about the making of the film:

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

The film will be available beginning May 1st, 2026, across a variety of platforms, including Vudu, Amazon, Tubi, Chilling, and more. Check out the official poster and trailer, courtesy of TERROR FILMS RELEASING.

“Devil May Cry: Season 2” (2026)

Netflix / Studio Mir

Release Date: May 12, 2026

Synopsis: A war between worlds ignites as Dante must battle the only force that mirrors his own: his estranged twin brother Vergil. In Devil May Cry season 2, Dante must confront his own devils and the feeling of family he lost as a child. With the reemergence of Vergil, will Dante lay to rest old demons or fall victim to them?

Showrunner: Adi Shankar

Animation Studio: Studio Mir

Cast: Johnny Yong Bosch as Dante, Robbie Daymond as Vergil, Scout Taylor-Compton as Lady

“Ice Cream Man” (2026)

The Horror Section

SYNOPSIS: “Ice Cream Man” follows an idyllic summer town descending into madness when an ice cream man serves kids sweet delights with horrifying results.

DIRECTED BY: Eli Roth

WRITTEN BY: Eli Roth & Noah Belson

In theaters on August 7, 2026

Official Site: www.icecreammanmovie.com

“Insidious: Out of the Futher” (2026)

Sony Pictures Entertainment / Blumhouse

Synopsis: Having earned over $740 million at the global box office, the “Insidious” franchise returns with a new family and a terror that redefines what The Further is capable of.

In “Insidious: Out of the Further,” Amelia Eve stars as Gemma, a young mother raising her daughter in the house she grew up in, who discovers she can travel into The Further, the purgatorial realm of lost souls at the heart of the “Insidious” universe. When something evil comes after her, Gemma discovers an ability that changes everything: she doesn’t just enter The Further, she can bring what lives there back to the real world. Once the demons realize her power, our world becomes their playground.
 
With Lin Shaye reprising her iconic role as Elise Rainier and Jacob Chase (“Come Play”) directing, “Insidious: Out of the Further” opens August 21, 2026. Screenplay by Jacob Chase. Story by David Leslie Johnson-McGoldrick and Jacob Chase.

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Maverick Film and Complex Corp have acquired the anticipated horror film, “SPEED DEMON.” The film will be released in theaters, on demand, and digitally on May 31, 2026.

Written by Domenico Salvaggio (“Die”), the film was directed by Jon Keeyes (“The Cult Killer”). “SPEED DEMON” stars Katie Cassidy (“A Nightmare on Elm Street”) and William H. Macy (“Fargo”).

“Speed Demon delivers exactly what you want from the horror genre,” said Maverick Film President Richard Switzer. “Jon Keeyes keeps the tension high throughout, Katie Cassidy delivers a terrific performance, and William H. Macy brings an added level of gravitas. It’s a strong film we’re excited for audiences to see.”

In “SPEED DEMON,” when Father Novak and Sister Lu board a train from Montreal to New York City, they aren’t prepared for the danger and evil that would pursue them. After the train is taken over by the demon Asmodeus, Father Novak and Sister Lu must battle possessed passengers on a runaway train, with Sister Lu forced to overcome her faltering faith and perform the first exorcism done by a nun. 

"‘SPEED DEMON’ is an intensely fun horror movie. It's got a strong story, demons, action, plenty of special effects, and truly unique characters,” said Keeyes. “Getting to work with Katie Cassidy and William H. Macy was a complete joy. Bill was incredible as our Father Novak, and such a professional, bringing a real heart to the character. And Katie nailed it as a nun who has lost her faith, struggles with addictions, and must overcome her past in order to become this kickass warrior nun."

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Recently, FX debuted a show called “The Beauty,” which is based on a comic book by Jeremy Haun. The show centers around an experimental drug that completely remakes a person to become the most beautiful version of themselves, and is transmissible like an STD. The problem is that the drug requires boosters to keep the patients from literally burning up and exploding. Despite knowing the side effects, many people still want it because it allows them the ability to completely love themselves physically. Society constantly tells us that we aren’t good enough in a myriad of ways, and some become so beholden to it that they dedicate their lives to chasing the dream of perfection, and by proxy, happiness. “Helter Skelter,” from filmmaker Mika Ninagawa, explores the pursuit of adoration through beauty and the cost it takes both physically and mentally.

WHAT’S IT ABOUT?

Top model and fashion idol Lilico (Erika Sawajiri) is used to being the centre of attention - the living epicentre of her own universe and of a multimedia-saturated hyperreality in which everything is airbrushed and color-adjusted to perfection. When she begins to suffer traumatic side effects from her repeated illegal cosmetic surgery sessions, she finds fame comes at a cost, as she is plunged into a nightmarish world where her sense of self-image and identity begins to fracture.

HOW IS IT?

88 Films has always been one of the labels keen on bringing lesser-known genre films to audiences, and “Helter Skelter” could not be more pertinent to our current moment in time. While the film is well-known amongst the more learned genre fans among us, “Helter Skelter,” which came out in 2012, was far ahead of its time. Mika Ninagawa curates a Japanese pop culture nightmare, drenched in psychosexual tension and absolute lunacy that is as tense as it is vibrant. Perhaps one of the greatest kept secrets in modern J-Horror, and certainly a film that influenced Refn’s “The Neon Demon.”

Lilico has it all, but according to her madam/agent, Hiroko Tada (Kaori Momoi), who she refers to as “Mama, only “her eyes, mouth, and pussy are hers.” Lilico is a fashion icon whom every man wants, and every woman wants to be, and what keeps her looking so good are some shady surgeries that are starting to require more and more maintenance. Desperate to be loved and maintain her position, while also fighting off the younger, up-and-coming Koze (Kiko Mizuhara) from shoving her aside. By Lilico’s side is her assistant, Michiko Hada (Shinobu Terajima), who loves her seemingly unconditionally as Lilico berates her and treats her with complete disdain. Lillico’s surgeries are starting to wither away, showing her literal destruction as the figurative one is happening around her.

“Helter Skelter” is a descent into madness, and the viewer has a front row seat. Ninagawa combines the beauty of luxury and excess with the nastiness of loathing and self-sabotage in the search for the unattainable infinite beauty. Lilico’s world is first alluring and intoxicating, but as we become more immersed, we realize how much is rotten underneath the superficiality. Mama is perhaps the best example of this, as she serves more as a physical manifestation of Lilico’s id. Reminding her how she is losing Mama money, without any sign of a return on her investment for her beautification. In fact, for a film that features much less violence and gore than other horror contemporaries, something is revolting and uncomfortable about the saccharine fakeness that is on display. It’s the feeling you get when you eat too much candy, the realization that something so sweet can turn so sick.

There’s a lot to unpack with “Helter Skelter,” and this short review won’t do it much justice. Easily a film where the influence can be felt on multiple modern masterpieces, including Coralie Fargeat’s “The Substance.” “Helter Skelter” is a film that is soon to be a favorite amongst many who have yet to experience it, and it works on so many levels, from the dynamic cinematography and lush production design to the captivating score courtesy of Kôji Ueno. Few horror movies can make fear look so good, psychosis so strikingly beautiful, and still be a hyper-relevant film despite being 14 years old.

HOW DOES IT LOOK?

88 Films brings “Helter Skelter” to blu-ray in glorious 1080p HD with the film’s original aspect ratio of 1.85:1. The film is a rather recent production, and was shot on a digital with a Red One MX camera, so there doesn’t seem to be much, if any, work done to the film for this release. The colors are bright and vibrant as they shift across multiple palettes, ranging from bright whites to deep, blackish reds, but they all look great in this release. One does wonder what a 4K UHD release could’ve offered here, particularly with an HDR layer on top, but this is still a fabulous release from the 88 Films team.

Images from this release are used throughout this review.

HOW DOES IT SOUND?

There are two sound options for folks on this disc: the original Stereo audio track and a new 5.1 DTS-HD track. I opted for the 5.1 mix, and it sounds great, particularly with the score, with all of its epicness and gravitas. There’s not a lot of action to make great use of the rear channels, but that’s okay, as it adds more to the ambience and also claustrophobia with scenes where Lilico is surrounded by flashing cameras. Both mixes include English subtitle options, and the mix never seems to favor one part of the audio over another, resulting in a balanced listening experience!

ANYTHING SPECIAL?

Those who read this column often know that we don’t usually cover commentaries, but in this case, exceptions. Tori Potenza and Amber T., both of whom have contributed some outstanding genre essays for the likes of Arrow Films, Second Sight, and more, deliver a highly entertaining and informative exploration of all things “Helter Skelter.” From comparisons to “Caligula” to minor controversies with the star, Erika Sawaji, Tori and Amber are both well-versed not just in the film’s history, but also the historical and cultural context required to place this in its cinematic place. Commentaries such as these are the best because the listener is a fly on the wall for a fascinating discussion around genre between two really smart film friends. Fans of the film will find themselves nodding along, laughing, and even taking notes about other films or even Manga that are suggested throughout.

To make matters more interesting, there’s a newly commissioned essay from Violet Burns that is as poetic as it is enlightening in its analysis of Ninagawa’s opus. Burns articulates how “Helter Skelter” represents a post-capitalist dream turned nightmare, with Lilico standing in as a proxy for women fighting the demands placed upon them by the world around them. Burns unpacks themes in such a captivating way through the use of illustrative language that goes beyond just reframing ideas and into creating entirely new ways to receive the topics in the film. Perhaps the section that summarizes this best is, “...’Helter Skelter’ unzips the already hyperbolic contours of our late-capitalist consumer hellscape, flattening and enhancing the gendered guts for display.” Burns’ conceit is that Ninagawa’s experience as both a high-fashion photographer and model herself gave her the tools to make a cutting take down of female beauty standards and the economic and social policies that covet them.

A full list of special features is listed below.

Special Features

• Audio Commentary By Tori Potenza And Amber T.

• Interviews With Erika Sawaji And Director Mika Ninagawa

• Behind The Scenes Footage Of The Making Of Helter Skelter

• Production Site Press Conference

• Japanese Premiere Stage Greeting

• Opening Day Stage Greeting

• Taipei Film Festival Introduction By Mika Ninagawa

• Stills Gallery

• Teasers And Trailers

• Booklet Essay By Violet Burns

• Original And Newly Commissioned Artwork By Luke Insect

LAST RITES

“Helter Skelter” is one of the most beautiful and damning explorations of capitalist culture and beauty, and how all of it is fueled by narcissism that pits person against person in the game of life. Ninagawa’s film is a sort of canary in the coalmine for the influencer culture we now find ourselves both immersed and fatigued by, and this release from 88 Films is easily one of the best of the year so far! 

THE GORY DETAILS

Thank you to the fine fiends at MVD Entertainment for providing a review copy for the crypt! “Helter Skelter” is available now and can be purchased via MVD DIRECT!

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There are books that sit on the shelf for eternity, the moment you’ve finished with them. Then there are books that are so good they're destined to be passed around from friend to friend, family to family, until the original owner gets a dog-eared, spine-cracked, torn-cover casualty back that shows all the signs of being well-read. Carter Keane’s “Morsel” is just that kind of book. A thrilling, quick read that keeps you on the edge of your seat the moment it gets going. We’re used to books packing a punch early on and then slowing down to catch their breath. “Morsel” hits the gas and never lets up. This novella will keep your blood pressure in the red until the very last page.

Carter joined us to talk about their real-life work experience that was the catalyst for the book, the toxic destruction of corporate America, and even worse, Hustle Culture, and the Appalachian folklore at the heart of the story. Carter is fascinating, genuine, and fun as hell. We had the best time chatting, and couldn’t get enough of our new “must-read” author. Have a listen to our conversation, and enjoy!

You can purchase “Morsel” here.

You can follow Carter Keane on Instagram here.

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Writer Lee Loughride and artist Marz Jr. are bringing a spooky, supernatural superhero twist on high school horror with their genre-bending new comic “The Adequates”. Per the publisher, “High school is full of cliques, and Savannah High is no different. From The Elites, an overachieving bunch of nerd-jocks, to The Goths, a group of nonconformists, and now, a group of misfits known as The Adequates.” The Adequates will have to navigate the epic highs and lows of high school life while dealing with their newfound superpowers and a powerful demon! Can they survive high school and the forces of darkness? You’ll have to read to find out!

“The Adequates #1” releases via Comixology Originals on Tuesday, April 14th!

Lee and Marz Jr. took some time to talk about their influences, life in high school, and the special southern flavor of “The Adequates”. The interview has been edited for clarity.

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Macabre Daily: Lee, is that a “Mean Girls The Musical” joke I detected with the Elite? There’s a fairly unique set of cliques in “The Adequates”. How did you decide on Jocks, Goths, and having Super-Nerds be at the top?

Lee Loughridge: There were so many cliques in my high school, I definitely wanted to showcase them in this series.  Marz came up with the idea of the Elites, the super-smart nerds who rule the school. It was way funnier to have the Jocks as the Elites’ lap dogs instead of them being at the top of the food chain. The second high school I attended felt like it had an elite class.  It was cool to get straight A’s there.  However, they were not awful people like in this story…

Marz Jr.: The inspiration for the Elites came from my cousin, who is a high school physics teacher. He has to deal with parents putting pressure on him to give their kids good grades, not caring if their kid earned the grade; just the good grade itself giving the outward appearance of greatness.

MD: Marz, following up on that, how did you approach the design of “The Elites”

MJ: I wanted the Elites to look put together and snotty. They want to implement a school dress code, and that’s the outfit they’re wearing. But, I designed their jackets to drape over their shoulders kind of like a cape- after all, they do rule the school!

MD: Lee and Marz, if you were at Savannah High, would you be part of the Jocks, Goths, Elite, or Grey’s crew?

LL: I would definitely be a floater, for sure part of Grey's crew, and peripherally friends with the Goths. 

MJ: Definitely Grey‘s eclectic crew! I tried to put as much of myself into that bunch.

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MD: Lee and Marz, how did you approach trying to create Bayou, Void, and Moss, and creating a specific southern superhero identity?

LL: The way the kids obtained their powers was always from some sort of green goo/gas from underneath the graves of the world’s fallen superheroes. When Marz and I linked up, we discussed modifying the story to not only be geared for kids but to also take place in Savannah, where we both attended art school.  Thus, creating the swamp references.

MJ: Yeah, Savannah is known for its ghost/supernatural history, and it holds so many great memories for us!

LL: Grey/Futuro was the first character I created.  The hook is that he can see 15 seconds into the future but has a 14-second stutter.  This was always funny on its face.  I wanted to design characters that had powers, but they were ironically useless.  The real hurdle was creating a story to have them exist in.  I wrote countless scripts before linking up with Marz.  When we got together, we took the best of the old scripts and injected them into this new, more kid-friendly story.

MD: Lee and Marz, do you have any favorite high-school movies or TV shows that you pulled on when working on “The Adequates”?

LL: Probably subconsciously….I mean any John Hughes film first and foremost. I love all high school movies, from “Mean Girls” to “Superbad” and even as far as “Bring It On”…Right?…”Can’t Buy Me Love”??

MJ: Oh- John Hughes for sure! I also love “3 O’clock High”, “Just One of The Guys”, “Karate Kid”, “The Goonies”, “Can’t Hardly Wait”, and even some horrors like “I Know What You Did Last Summer”. 

MD: Lee, if you had to use just one word, what would you say readers can expect from the future issues of "The Adequates”

LL: Perseverance, Marz should answer this, too.

MJ: Camaraderie!

“The Adequates #1” releases digitally on Comixology on Tuesday, April 14th!

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There are times when slashers can fail to entice even the most hardcore of slasher fans. It doesn’t matter whether they’ve got a huge budget or a small budget. And it’s unfortunate that “Red Rabbit Lodge” (2026), directed by Kevin Khachan, is a choppy attempt at an homage to the deliberately trashy slasher masterpieces of the ‘80s.  This Australian horror movie is available digitally on April 13th, and we’re going to dive into this messy pool to talk about it. 

What’s It About?

A group of women moves into a place called the Red Rabbit Lodge, a house that lodges students for a period of time. Only for them to realize that the house has a disturbing history, and a relentless serial killer living there.

What Happens, And Is It Any Good? 

The film opens with a flashback that features what one might say is similar to bad adult film star acting. A young woman has her home broken into, and she ends up raped and severely beaten before the masked man flees the scene. After a bizarre opening credits sequence featuring innards being stuffed into a doll, we switch to dealing with our main cast of characters. In the present day, we meet an elderly woman who, according to Miss Victoria (Cate Feldmann), is facing potential foreclosure on her home. And she must lease out her home to students once again, despite her reluctance after an incident that occurred in her home before. It’s abundantly clear that Miss Victoria is a very particular woman, and that’ll be a problem when several rebellious women show up to stay in the house. 

There have been several slashers where a killer is either residing in said home or is intruding and is mostly picking off women or girls, one by one. For example: “Black Christmas” (1974), “The House on Sorority Row” (1982), or “The Slumber Party Massacre” (1982). It’s not an original concept in the slightest at this point, but it can be done in a way that’s endearing for slasher fans. Unfortunately, in the case of “Red Rabbit Lodge”, it’s anything but that. Much like with any subgenre, slashers can disappoint even the most dedicated fans in the horror world. “Red Rabbit Lodge” doesn’t come across as a film that was thoroughly thought out on a script level. It mashes so many clichés and tropes together and fails to properly execute any of them.

Despite a common assumption, slashers aren’t all flat with nothing but terrible characters who are picked off until, usually, the final girl is left standing. Slashers are capable of being subversive, or at least a fun watch. Though it’s almost as if “Red Rabbit Lodge” has no idea what it wants to be. Including how capable its main character, Abigail Mason (Rachel Myskiv), is as a final girl. Rather than taking the time to flesh her out, we’re left to question who she is and left trying to fill in gaps for her as a character that should be inherent to the film. The other characters we meet in the film are either forgettable or deeply unlikable. This is especially glaring as the vast majority of the film is spent on the group just hanging out, flirting with unlikable men, and later ending up at a day party. Given that we spend so much time with these characters, the lack of development is more noticeable. And for what it’s worth, the kills aren’t much to write home about, thus missing a massive opportunity to delight slasher fans with the most basic requirement, decent deaths.

“Red Rabbit Lodge” reveals in the back half of the film that the flashback was from 20 years ago, who the woman was related to, and the result of the rape she endured. It’s a plotline that feels heavier than what the film is willing to unpack. And a matter of questioning why anyone thought the twist would be good in the first place. As a whole, the third act is somewhat confusing because of the scene cuts, and Abigail isn’t going down as a great final girl. Nor will the killer be remembered for anything other than their weird mask choice and a lack of a proper face reveal. And the ending teases something that’ll likely never come. But if nothing else, the unabashed nudity and the very minimal campy moments might make folks feel a little less bored. 

Verdict

“Red Rabbit Lodge” attempts to summon slasher vibes from ‘80s slashers and isn’t all that successful, aside from occasional nudity and unlikable leads. If you’re hoping for a novel slasher that doesn’t lean into tropes, you may very well find yourself disappointed with “Red Rabbit Lodge”. 

“Red Rabbit Lodge” is on digital 13 April from Seven Tales in the UK.

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Public access television and the now (sadly) defunct Corporation for Public Broadcasting were the home of DIY television. While the latter was more akin to a traditional entertainment studio, the former was essentially the first version of YouTube before the rise of home internet. Public access television was where anyone with the time, enthusiasm, and dedication could carve out a small niche for themselves in their local market doing anything from running a classic talkshow-style interview program to teachable lessons in skill transference. Folks old enough will remember the iconic, Bob Ross. A former air force veteran who made a name for himself on his PBS show, “The Joy of Painting.” What Ross excelled at was showing the beauty of the artistic process, while breaking down traditional learning barriers so that every viewer could enjoy the titular joys of art.

In 2026, we don’t have Bob Ross. In fact, few, if any, shows on major television networks highlight DIY programming, at least the kind that doesn’t require a budget and a production crew. At the same time, technology is attempting to commoditize art into an algorithmic solution that is void of any human effort aside from creating a word-based prompt. It’s in times like these, when art is under attack, that the world needs a hero. That hero is Skinner, a Bay Area artist who is the star of “Art Show! With Captain Skinner.”

Skinner and his production partner/director/editor Allen Cordell were kind enough to speak with us about the effort that goes into making something like “Art Show!,” and how intense the editing process is for something as sensory exploding at “Art Show!.” New episodes of “Art Show!” are appearing weekly on both Etch’s YouTube and Substack pages.

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There’s a rich history of successful buddy comedies that work incredibly well because of the natural chemistry between the leads or the polar opposite dynamic between the two, or, frequently, both. “Dumb and Dumber,” “Bridesmaids,” and “The Nice Guys” come to mind for the former, and films like “Midnight Run,” “Lethal Weapon,” and every single “Abbott and Costello” come to mind for the latter. In the realm of horror, we’ve been treated to fantastic films like “Tucker and Dale vs. Evil” and the Joe Dante classic “The Burbs,” to name just two. It’s a rich tapestry to work from, and if done correctly, can be incredibly fun. Gille Klabin (“The Wave’) tries his best with his new film, “Weekend at the End of the World,” and quite literally throws everything against the wall, but despite some lively visuals, a stellar supporting cast, and a novel idea for a movie, it’s all a bit of a mess. The leads never get out of first gear, leaving them permanently stuck in “annoying” for the duration of the film. It’s a heartbreaking mix of unfulfilled potential that leaves the audience with an idea of what could have been, but sadly, is not present onscreen.

SYNOPSIS:

When Karl’s girlfriend rejects his proposal and shatters his dreams of happily ever after, his childhood friend Miles takes him away to his Meemaw’s cabin to regroup, come together, and help flip it before the property bubble bursts. The cabin and the once deceased Meemaw have different plans, however, and Miles and Karl are forced to face both their metaphorical and very real demons. After opening a portal to The Allness (the realm between realities), a weakened Meemaw guides our heroes through various trials as they help her gain the strength she needs to close the portal forever and save our world.

THE BREAKDOWN:

“Weekend at the End of the World” is incredibly frustrating because there’s style for days onscreen. We loved the purposefully janky special effects that work with the film, not against it. We loved the beautiful pink/purple color scheme of the supernatural shenanigans. It reminded us of 2019’s “Color Out of Space” and the phenomenal indie gem, “Time Travel is Dangerous” from 2024. We’re seeing this color scheme become something of a mainstay in cosmic horror, and we’re here to tell you we’re absolutely okay with it. The editing for the film is tight and kinetic, kudos to Lana Wolverton for that, and Aaron Grasso does the most he can with the cinematography. We liked the shot composition, especially the rapid-fire close-ups. The technical aspects are on point and really come together to make the most of this indie feature. Where things come off the rails has everything to do with the script.

For a buddy comedy to work, even one in the horror genre, there has to be a semblance of likability for the leads. Lloyd and Harry in “Dumb and Dumber” are genuine morons, but they’re sincere in their naivety. Tucker and Dale are just two put-upon good ol’ boys caught up in a never-ending cascade of lethal misinterpretations, but they’re inherently likable, and you’re always on their side. Carl (Clay Elliot) and Miles (Cameron Fife) begin as two shallow dude bros and never evolve beyond that. They both have character arcs that should show empathy, understanding, and eventual growth, but we never come close to getting there. It’s not the fault of the actors. Elliot and Fife have real chemistry and are believable as friends with history. They work. What doesn’t work are the words they’re made to say, or the choices made on how to say them. We never get beyond the dude-bro of it all. Add to this a tonal shift in the second and third acts that slows the action down, killing the momentum Klabin had built in the first act.

The most egregious mistake the filmmaker commits is having a genre superstar like Thomas Lennon (“Reno 911”) on board, only to make him essentially mute for two-thirds of the film. Lennon does the most with the role of Harry the weird neighbor, and is easily the best part of the film, but we’re still scratching our heads over sidelining such a comedy powerhouse. Bizarre choice. Troian Bellisario (“Pretty Little Liars”) is game as “MeeMaw,” but she doesn’t have much more to do than set up stakes and provide exposition for the leads.

FINAL THOUGHTS:

Not to belabor the point, but “Weekend at the End of the World” is one missed opportunity after another. The script is half-baked and needs a few more passes to flesh out the leads and give them a proper arc, and what we’re left with are half measures that never fully land, leaving the viewer with a feeling of “what was this all for?” The fact that there’s so much onscreen that worked made us a bit frustrated that the writing couldn’t rise to the level of the filmmaking. 

“Weekend at the End of the World” will be released digitally on April 20th, 2026.

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It’s unfortunate and true that people often shrug off extreme horror as a subgenre that has nothing to say, only aims to gross people out, and that there’s something inherently off about those who enjoy consuming extreme horror. For those who aren’t as privy to the subgenre, extreme horror is a controversial subgenre that often features graphic and or sexual violence, transgression, taboo content, and is meant to make you uncomfortable as a whole. In terms of literature, splatterpunk is occasionally used interchangeably (though some folks have differing definitions, and that’s alright). Regardless, extreme horror media is meant to push people’s boundaries visually and or narratively. 

“Reflections of Extremity” is a column where I’ll be digging into and analyzing extreme horror media across formats. With a particular focus on media that I’ve never personally written analysis for before, or doesn’t receive as much attention. Therefore, if you’re hoping for musings about the subgenre’s heavy hitters like “Martyrs” (2008), “I Saw the Devil” (2010), or  “The Sadness” (2022), you won’t find that here.  

Considering it’s not a commonly accepted subgenre and isn't mainstream like, say, supernatural horror, it’s easy for general horror fans to lack knowledge of it. Despite that, extreme horror media is still worthy of discussion, whether or not they have been critically reassessed after previously being panned. “Deadgirl” (2008), directed by Marcel Sarmiento and Gadi Harel, is certainly a title that people certainly rejected upon initial release, especially as it’s a particularly difficult extreme horror film to watch. And what better way to kick off this column than with this lesser-discussed extreme horror title? 

“Deadgirl” offers its audience no reprieve from the grit and grime, and the topics are both deeply upsetting and uncomfortable. Check the content warnings before reading this or watching this film. Without further ado, let’s dig into “Deadgirl”.

Spoilers And Discussion Of Sensitive Topics Ahead

At the beginning of “Deadgirl,” we meet our deeply unlikable teen main characters, Rickie (Shiloh Fernandez) and J.T. (Noah Segan). They’re immediately positioned as different sides of the masculinity spectrum. Viewers may assume that Rickie isn’t as bad as J.T., simply because he’s not aggressive or as outward with his misogyny. Meanwhile, he’s very much the “nice guy”, whose misogynistic tendencies are less obvious, but eventually will become known. Especially with the longtime object of his affection - Joann (Candice Accola). 

“Deadgirl” wastes no time in making it clear that these teen boys are going to be problems within their world. They do the typical rebellious shtick where they cut class, J.T. is fluent in homophobia, they hang around an abandoned psychiatric facility, and that leads them to the basement that will change their lives forever. Instead of finding a serial killer with bloodthirsty intentions, they make a startling discovery: behind a sealed door is a naked, as well as mute, woman (Jenny Spain), and she’s chained to a table. 

One would think someone would call the authorities or tell responsible adults to do so themselves. Of course, that’s not what J.T. or Rickie do when they find this woman. The immediate response from J.T. is not what we would hope or expect. Instead of trying to figure out how to improve this situation, he treats it as if he’s won some sort of “prize.” She’s an object to him, and one that doesn’t have the agency to resist him, as so many other women around him do. She is a body to rape and use as he pleases. It’s disgusting, and it cements the characterization of J.T. going forward. Rickie’s reaction to J.T.’s decision is one of being appalled, but to the viewers’ dismay, Rickie’s protest of his friend’s behavior falls flat when he becomes complicit by not telling anyone. 

The film could’ve easily fallen into taking the exploitation route by solely focusing on the horror of the situation without ever addressing the root of the men’s psychological issue with consent. It could’ve left us to despise J.T., as well as the other boys in the film, and root for Rickie because he’s not going down to the basement to participate with his friends. Rather than force us to clap for the classic “nice guy” - our supposed hero, “Deadgirl” asks us to question how altruistic Rickie truly is, and how much conviction he has for doing the right thing. This dichotomy is shown through Rickie’s desperation for Joann to love him back, or at least go on a date with him, which is walking a fine line between admiration and obsession. And by the end of “Deadgirl”, the reality of who Rickie is can’t be hidden beneath his performative attempts to be the “good guy.” 

Rickie doesn’t come from a loving household; his biological father isn’t around for some reason, and his mom is absent while constantly working. Therefore, all that Rickie has in terms of an adult role model is his mom’s boyfriend, Clint (Michael Bowen). And Clint isn’t doing Ricky any favors as he teaches him that he needs to “be a man” with how he handles his problems. You could say that further plays into the events that occur much later in the film. This speaks to the notion that how men view themselves, and women, isn’t something hard-coded, but rather something nurtured and validated by peers (J.T.) and adult figures like Clint. After J.T. and Rickie have a brief falling out because of Rickie rejecting J.T. ‘s initial idea to keep the chained woman around and continuing to abuse her, they speak again, and from there, the film presents us with one of the most taboo subjects, necrophilia. J.T. goes on a disturbing monologue that confirms that “deadgirl” is a zombie, and it’s at this moment that the film’s thesis around consent comes to a truly dark head.

The themes surrounding rape culture, misogyny, and toxic masculinity are on full display. Regardless of initial intention, Marcel Sarmiento and Gadi Harel tap into what society is also complicit in. Just like it is for Rickie. rape culture is normalized, and staying silent isn’t a harmless action. Silencing victims in general is part of rape culture, and the dead girl being unable to speak for herself feeds into the lack of consent and complicity that silence brings with it. She’s physically chained up, she has no autonomy by way of her physical state, and she’s a sex slave for horrible teen boys. The fact that J.T. and Rickie see her, chained up and helpless, and immediately assume that they are entitled to her body operates under the same assumption that a patriarchal society does: that women are for the taking. There’s no confirmation as to how she can be a zombie. Nor is there confirmation as to who killed this woman, though our imaginations are certainly enough to paint an ugly picture. These things happen to people all the time, and we live in a world where people don’t care about what happens to women in particular. 

The assumption is that an equally horrible man left her there after they were finished with her. Whether they were her killer or not. It’s a vicious and hideous cycle that several men in this film continue because they feel like they’re owed something. Even the women who are alive suffer the misogynistic slings and arrows, such as attempted kidnapping, kidnapping, and male entitlement. It’s not just J.T. and anyone else who participates in what’s going on in the basement; it’s also Rickie who continues to believe he deserves Joann. After all, he’s so nice and treats her better than her loser boyfriend. In his mind, he truly loves her,  and that leads him to both a sense of entitlement and validates his lusting as incel-like behavior disguised as chivalry.

There’s no hiding from the themes and depictions of sexual violence, or the discarding of women in “Deadgirl.” As soon as Deadgirl becomes too gross-looking, due to the wounds inflicted upon her throughout the film’s runtime, a plan to replace her is set into motion. Both J.T. and his friend Wheeler (Eric Podnar), who actively participates in raping deadgirl, try to kidnap a woman to kill her so she can serve as a more visually appealing replacement. It further validates that it’s not enough to have control over a woman’s body; they also get to dictate the terms of beauty. Deadgirl’s appearance is because of their actions, and the consequence disgusts them so much that they have to find a visually suitable alternative. The catharsis comes when they get beaten up, a small moment of justice in an incredibly bleak film.

Unfortunately, it’s the only time we see another woman in the film, and that’s certainly intentional because we’re following the events of the film from the perspectives of men. Thus, further highlighting how women don’t seem to exist to them, other than for their pleasure. Once we finally reach the climax that involves Joann being irate about knowing what happened to her boyfriend (who had his penis bitten off by Deadgirl and becomes a zombie like her as a result), there’s nowhere to go but further downwards for these characters. Of course, she ends up kidnapped by J.T. and Wheeler, and Rickie tries to come to her rescue. And from there, chaos ensues for everyone involved. 

Both J.T. and Wheeler meet grisly fates by way of Deadgirl, violently attacking them and finally escaping. Joann is stabbed before J.T. dies, and just when people think that Rickie will save her, he purposefully fails after she rejects him again. “Deadgirl” was always pointing towards Rickie being this way, but the ending further hammers home that he was always monstrous deep down. Failing to save Joann, simply because she rejected him again, is one thing. But accepting J.T. ‘s dying offer to turn her into a zombie is another.  The moment that we get confirmation that Rickie did take J.T. up on that disturbing offer, Joann continues to be an object even in her death. Rickie can do what he wishes with her because she’s no longer alive to reject or deny him of his desires. The entitlement that Rickie feels is finally rewarded by way of his lack of action. The “love” he felt for Joann was never real in the first place. 

“Deadgirl” not only forces viewers to take a grimy look into what entitled men do or don’t do, but it dissects and dismantles the “nice guy” trope from start to finish. There are no good male characters that we get to know in this film. And nobody comes to save Joann to help her avoid a terrible fate like Deadgirl. The film ends on a grim note on purpose, and perhaps that reminds us of the reality of rape culture, misogyny, and toxic masculinity. Not everyone is held accountable in the end. 

Being young is supposed to feel like a perpetual dumpster fire of debilitating heartbreak, terrible decision making, and non-stop identity crises… right? Enter stage left “PUNK’N HEADS,” the latest punk rock graphic novel collaboration from critically acclaimed, Eisner-nominated creators Dave Baker (“Mary Tyler MooreHawk”) and Nicole Goux (“This Place Kills Me”). The iconic, Los Angeles-based creative duo—who have previously joined forces for works such as “Fuck Off Squad,” “Forest Hills Bootleg Society,” “Everyone is Tulip,” and many more—get the band back together for this raucous and revealing new graphic novel about a campy horror-punk band that plays together, lives together… and unfortunately two of them are sleeping together. The DIY love letter to youthful messiness about making music, making mistakes, facing your past, and choosing your future will debut with an eardrum-splitting bang this April from Top Shelf Productions.

In “PUNK’N HEADS,” Hannah Lipsky isn’t sure what’s happening. She dreamed of becoming a fine art painter, but after breaking up with her girlfriend, she suddenly dropped out of art school, moved into a flophouse, and got roped into singing in a campy horror-punk band. With costumes. To make things even more complicated, she might be hooking up with her housemate/bandmate/high school crush, Jerry. Whatever, I’m sure it’s fine… Now put on your punk’n mask and let’s rock!

Dave and Nicole were kind enough to answer a few questions for us about “Punk’N' Heads,” and you can grab your copy now!

Macabre Daily: If you could each pick one album for a reader to listen to pair with Punk’n Heads, what would it be?

Dave Baker: Oh, man. Probably either “Walks Among Us” by the Misfits or “Glow On” by Turnstile. I was listening to both of those records while working on this and there’s a bunch of hidden little things gems in the book that reference them. I also like “Her’s” a lot. Different genre, I know. But I’m sure there’s something in there as well. So, Songs of “Her’s” would be another solid contender. “Punk’n Head”s probably looks like a coming of age drama set in the world of punk and DIY artists in LA, from a far, but I hope it’s the texture from stuff like this that really sets it apart.

Nicole Goux: It’s not punk per se, but “Who Really Cares” by TV Girl Is something I was listening to a lot while making it. There is something so atmospheric and melancholy and so essentially LA about that album. If we ever made a show out of “Punk’ns “I could definitely see scenes set to the backdrop of these songs.

MD: Horror and Film are both clear influences on “Punk'n Heads,” from Hollywood Forever Cemetery to Hannah's Matte Painter Uncle. If you could each pick one film for a reader to pair with Punk’n Heads what would it be?

Nicole: This might seem like a bit of an odd choice, but the “Vourdalak” is a 2023 French horror fantasy about a vampire-like folk monster that I think about all the time. It’s not really the content of the film that makes me pair it with “Punk’ns” (though it’s great and definitely worth a watch). It’s more about how low budget and DIY it is. The film was made for very little money, the monster is very obviously a puppet, but it is just as (if not more) effective as any big budget movie. I think that do-it-yourself on a wing and a prayer energy is something that makes a lot of sense for our book, and for our own personal experiences with making comics in general.

Dave: Oh, man. Nicole’s answer is so good. But, I think for me I’d go either “Mystic Pizza” or “Zodiac.” “Mystic Pizza” because it’s this really shiny up-beat thing on the surface and then once you delve deeper into it, it’s a really bleak portrayal of teenage life. And “Zodiac,” because it’s the closest thing I’ve seen on screen to what it’s like being an artist. I know those seem kinda slightly off from what “Punk’ns” looks like on the surface, but I’d love to screen either of them and then have a book club discussing them in context of the book. That would be so fun. 

MD: The portrait of bisexuality is so honest and real, avoiding many negative media tropes. How did you approach writing Hannah’s beautiful, delicate and complex romantic life?

Nicole: I don’t want to say that being bisexual is just like being any other sexual identity, they each have their nuances and difficulties. But we’re more interested here in the difficulties of each individual relationship. Dating is hard, whatever your sexuality, and every person, every relationship has its specific challenges. Whether the person you’re seeing is a man, a woman, or non-binary, they are an individual and what you have with them will be different from anyone else you’ve already experienced. I also think it’s important to show bisexual people just existing and not making their identity the whole point or plot of the story. Yes, Hannah is bisexual, and yes, it affects her experience of the world. But this story, is about how complicated it is to just be a human and navigate the nooks and crannies of love and friendship and figuring out what you want.

MD: The flashback panels bookending every chapter give great insight, but they’re very brief and specific. How did you go about writing and composing those to convey exactly what you wanted to in just three panels?

Dave: I think we had some alternatives, but honestly, when you live with these characters for this long, sometimes you have all these great fragments of ideas for them. And you don’t have a place to put them. They feel wasted. And that motif gave me a great canvas to put all those little stray moments.

MD: Vickie is such an interesting character; it would be easy to portray her in a cruel two dimensional light, but she’s got true interiority. How did you approach crafting her story and relationship with Hannah?

Dave: I think there are a lot of people in the creative world who think of things as a competition. There are a limited number of slots or only so much success to go around, maybe. And they get professionally jealous. And we wanted to make Vickie a character from the outside who you’d expect to be someone like that? Or maybe have a pre-conceived view of? And then work over the course of the book to say that there are no villains, just damaged people trying to make art. 

Nicole: I mean, Dave kind of said it, but every villain of every story is the main character of their own tale. Unless it’s some 2D fable that's just about the nature of good and evil, every person has reasons for doing what they do, and most people aren’t out to get each other. They’re just trying to protect themselves. Taking a look at your own emotions and when the negative thoughts get the best of you, should be enough to show you how easy it is to make the wrong move and treat someone poorly.

MD: For Nicole, the “Punk’n Heads” and their costumes are instantly lovable. How did the genesis for them come about? Was the fun pun the first thing that came to mind, or was it the visual of costumes?

Nicole: Honestly, the whole conceit of this book came from the pun. I genuinely just thought a book about punk kids who played wearing pumpkin masks was a hilarious idea. From that seed, Dave and I were able to build a story about real people (they’re real to me) that hopefully has some heart to it. The design of the masks came later and went through many iterations. Finding a design that was spooky and expressive, but not too cartoony, was more challenging than initially expected, but I think we made it work!

MD: For Dave, you refer to yourself in your afterword as an “Apostle of Hypersincerity”, which is fascinating because that phrase is often used negatively. With this comic, you really wear your heart on your sleeve. How did you find your way into doing that in our difficult and often cynical modern times?

Dave: Yeah, I think it can be a negative thing, but irony and cynicism aren’t an inoculation against living an honest life, either. And I think therein lies the struggle, right? And I’d rather side on the path of “wearing your heart on your sleeve” as you said, than being cruel and dead inside. So it’s less a choice and more a thematic religious calling, I guess. But, y’know, life is long. Catch me in six months making my next book: “Irony Bros: Cynicism Tournament,” haha.

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Sharks have notoriously been given a bad rap, and it’s in large part due to Steven Spielberg’s “Jaws.” The landmark 1975 film single-handedly made the Great White the most terrifying creature on the planet and changed how we perceive sharks. Since “Jaws,” horror has unleashed a literal zoo of animal-attack features, from orcas to grizzly bears, but the shark film still stands as royalty in both aquatic horror and when animals attack films. In Tommy Wirkola’s latest film for Netflix, “Thrash,” a natural disaster gives way to sharks infesting a small town, but does the film sink or swim in these infested waters?

WHAT’S IT ABOUT?

When a Category 5 hurricane decimates a coastal town, the storm surge brings devastation, chaos, and something far more frightening: hungry sharks.

HOW IS IT?

Netflix has made a name for itself as the home of second-screen entertainment. Films and series that are littered with exposition dumping and intended for audiences to only passively pay attention to. To be fair, this is not the case for all of Netflix's content, but it is quite pervasive amongst the streamer's biggest shows, like “Stranger Things.” The intent behind second-screen entertainment is to accommodate viewers who are on their phones while having something on in the background, and the hallmarks of this kind of content aren’t hard to spot, assuming you’re paying attention. “Thrash” is a film that was made for the second-screen viewer, because it relies so much on underdeveloped characters and pulling cheap emotional punches to get the audience to care. Not to mention, for a film that is supposed to be about shark attacks, they seem to be only a secondary or even tertiary problem in the narrative.

"Thrash" is very much indebted to 2019's "Crawl" in that both follow almost the same story beats while swapping gators for sharks. However, where "Crawl" was intense and focused, "Thrash" struggles to elicit any genuine connection to the characters, despite weakly raising the stakes by making one of the female leads pregnant. Not only does that narrative choice create a false sense of urgency, but it also immediately calls into question any empathy for a character who wouldn't heed warnings to evacuate a flood zone. It's just one example of how "Thrash" uses cheap tricks to gloss over glaring deficiencies in the story, but it's not the only one, as every single main character in this movie carries significant baggage.

If these aspects of their characters were essential to the plot, it would be a different story. Instead, it feels as if these traits were tacked on to feign sympathy and trick viewers into caring for shallow characters and situations that aren't fully realized or believability-checked. The shark attacks are the biggest positive the film has going for it, and even those feel underwhelming given how infrequent they are, as more time is spent trying to figure out how to get out of the flood than fighting off the sharks in the water. Not to say there can't be two conflicts, but in this case, the marketing would have you believe the threat is sharks, but the reality is, it's Mother Nature.

All of this said, “Thrash” isn’t the worst film, and if you’re a fan of aquatic horror or shark films, there’s enough here to keep you invested throughout the short runtime. When the sharks are on the screen, they are stealing the show, and the blend of both practical and digital effects to really accentuate the violence is admirable. One scene in particular sees a character we know is not going to make it get rammed and then attacked by an aggressive bull shark. The sequence alone is played for full shock and schlock value, but it also represents what would’ve made “Thrash” and what made “Crawl” work so well. The more over-the-top and absurd these movies are, the more they lean into their exploitative roots. In “Thrash,” they want to have their shark cake and eat it, but never fully commit to the insanity of the situation (save for an ending that is ripped right out of another Spielberg joint) by acknowledging that this doesn’t have to be this serious. The characters carry with them traits that are designed to make you feel for them, but these traits exist not out of necessity, but to make you think you should care. The reality is, these characters should mostly be fodder for the shark enemy, because that’s what we’re here to see.

LAST RITES

“Thrash” is the epitome of second-screen entertainment, and for some, that may be enough, but for others, well-versed in genre and animal attack films will likely find this effort lacking in both conviction to character and to the genre’s exploitation roots.

THE GORY DETAILS

“Thrash” is available on Netflix today, April 10, 2026!

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