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 “Affection,” from Brainstorm Media, “Speed Demon,” from Maverick Films, “The Remedy,” from Kahuam Films, “Colony,” from Well Go USA, and “Street Fighter” from Paramount Pictures!

“Affection” (2026)

Brainstorm Media

Synopsis: Afflicted by a mysterious condition that resets her memory, Ellie becomes trapped in a cyclical nightmare with a man who claims to be her husband. She soon must uncover the horrifying truth of her existence—before she forgets it all again.

Starring: Jessica Rothe, Joseph Cross, Julianna Layne

Directed/Written by: BT Meza

“AFFECTION” In Select Theaters on May 8, 2026

“Speed Demon” (2026)

Maverick Films

Synopsis: 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.

Directed By: Jon Keeyes

Written By: Domenico Salvaggio 

Starring: Katie Cassidy and William H. Macy 

In theaters, on-demand, and digital on May 31, 2026!

“The Remedy” (2026)

Kahuam Films / Breakwall Pictures / Film Seekers

Film Seekers, in association with Kahuam Films, Sparta Productions, and Breakwall Pictures, are delighted to confirm that Alex Kahuam's upcoming horror, “The Remedy,” will celebrate its World Premiere at SXSW London on 3rd June, with an encore screening on 6th June.

Directed by Alex Kahuam (“Failure!,”“Forgiveness”), The Remedy stars Timothy Granaderos (“13 Reasons Why”), London Thor (“Gen V,” “The Boys”), Doug Jones (“The Shape of Water,” “Star Trek: Discovery”), Jenny O’Hara (“Devil”) and Chris Mulkey (“Whiplash,” “Twin Peaks”).

Synopsis

Jason is a devoted son caring for his ill mother, Maria. Exhausted, isolated, and sleep-deprived, he begins to suffer from vivid nightmares of a monstrous entity devouring his mother. As his grip on reality loosens, the horrors of his dreams begin to seep into his waking life. At the same time, his estranged sister Rachel, recently released from psychiatric care, becomes convinced that an unseen evil has taken root in their home. Turning to forbidden spiritual practices for protection, she finds herself at odds with Jason, who dismisses her warnings as delusion. 

When Jason resorts to an obscure, ancient remedy in a desperate attempt to heal Maria, the results are both miraculous and deeply unsettling. As her health begins to improve, disturbing occurrences escalate around them, hinting that something unnatural may have been unleashed. As paranoia, family tensions, and supernatural forces converge, Jason is drawn into a terrifying descent. 

With no one left to trust, he must face the growing evil within the house—and within himself—before it’s too late.

“Colony” (2026)

Well Go USA

To celebrate the 10th anniversary of “TRAIN TO BUSAN,” leading international and indie film distributor Well Go USA Entertainment will bring Yeon Sang-ho’s acclaimed zombie thriller back to theaters across the U.S. and Canada on August 14, 2026, presented in 4K for the first time on the big screen. The distributor has also acquired North American rights to the director’s newest zombie feature, “COLONY,” which will make its world premiere at the Cannes International Film Festival in May, ahead of Well Go’s theatrical release on August 28, 2026. 

Yeon Sang-ho’s newest feature, “COLONY,” follows Professor Se-jeong as she is thrust into a terrifying hellscape when a mutating virus is unleashed during a biotech conference, forcing authorities to seal the facility to contain the outbreak. Unable to escape, Se-jeong and a group of survivors must fight to stay alive as the infected undergo horrific transformations and threaten to spread the virus. “COLONY” marks Gianna Jun’s (“My Sassy Girl”) first feature film since 2015’s “Assassination.” She stars alongside Koo Kyo-hwan (“Peninsula,” “Escape from Mogadishu”). 

“No one delivers zombie films quite like Yeon Sang-ho. TRAIN TO BUSAN redefined the genre for audiences around the world, and we’re excited to bring it back to theaters in 4K for its 10th anniversary,” said Doris Pfardrescher, President and CEO of Well Go USA. “With ‘COLONY,’ he takes that intensity and scale even further, delivering a bold and terrifying new vision for fans.” 

“Street Fighter” (2026)

Paramount Pictures

Set in 1993, estranged Street Fighters Ryu (Andrew Koji) and Ken Masters (Noah Centineo) are thrown back into combat when the mysterious Chun-Li (Callina Liang) recruits them for the next World Warrior Tournament: a brutal clash of fists, fate, and fury. But behind this battle royale lies a deadly conspiracy that forces them to face off against each other and the demons of their past. And if they don’t, it’s GAME OVER! Helmed by director Kitao Sakurai, Street Fighter is set to bring the battle from the arcade to the big screen with Hadoukens, roundhouses, and all your favorite characters.

In Theaters October 2026

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Stephan Franck’s sprawling California neo-noir “Palomino” is careening towards its conclusion with volume six. This crime spans multiple decades, generations, and many characters in the seedier side of the L.A. movie and music scene. In this 90s set final chapter, “every secret will be revealed, and all scores settled”. Dark Planet Comics will be bringing the final volume to Kickstarter this spring. 

Per the publisher: ”In addition to all six volumes of ‘Palomino,’ Dark Planet Comics’ Kickstarter campaign will feature exclusive merchandise including t-shirts, hoodies, mugs, and more. Fans can sign up on the Kickstarter prelaunch page to receive an email when the campaign launches.”

Stephan Franck kindly fielded some questions from Macabre Daily about the finale of “Palomino”; his responses are below.

Macabre Daily: “Palomino” ended its lengthy tale in 1995. Are you feeling the wave of 90s nostalgia or more a dim view of the decade?

Stephan Franck: “Palomino” is first and foremost a super fun murder mystery and a gripping character study, but it all plays out in a context that I would call the End of the American Century. The ’80s, where we start the series, are often seen as the place where the ’50s came to die, but when it comes to the ’90s, it’s tempting to idealize them as a pre-9/11 world where the economy was good, the Cold War was over, and everything was well—a fairly innocuous, unpolitical time of abundant shopping malls. However, I believe the ’90s were anything but. Those were the years when the seeds of today’s world were planted. Just to name a few: the onset of the digital revolution, the acceleration of wealth extraction from the middle class, and, by the end of the decade, the arrival of reality shows like 

“Survivor,” which brought full transactionality into the culture—ethics, ideology, relationship, anything can be sacrificed so you can be the last one standing. Eddie and Liz represent the exact opposite—they never let go. They will get justice or die trying.

MD: “Palomino” explores the seedier and darker side of the entertainment world. Did the constant wave of disclosures about Hollywood misdeeds over the past decade influence how you conceived of the ending?

SF: Not exactly. Leif Byron, in particular, was more inspired by older tales of legendary music producers who had lost their ways. The Lamaz episode that takes place on a movie lot bungalow was inspired by amalgamated stories about famous Hollywood producers that were made public decades ago–what’s really disturbing, though, is that in those days, some of those stories were coming out in the media and culture not as exposés, but as bragging moments!

MD: This final chapter of Palomino takes some big swings. How did you handle balancing the need for an intense, wild climax with your more delicate emotional beats?

SF: One of the funnest aspects of “Palomino” is that it keeps building from the first page of the series to the last, and it is all rooted in the characters’ emotions. We start with Eddie, a former cop turned small-time PI by day and house-band member at the Palomino by night, and his teenage daughter, whose reach into the world is limited because she’s still a child. Yet there are ghosts in their past, and those ghosts won’t stay hidden. So what starts as a slice-of-life character study relentlessly escalates, as both father and daughter get entangled in a web of mystery that involves targeted assassinations, patsies, and cover-ups reaching all the way to the top of the town’s power structure. Most importantly, those mysteries involve secrets of huge emotional significance for Eddie and Liz. So it builds and builds and builds, until the characters are pushed to their furthest limits—not only to find out the truth about the case that destroyed their family and to survive, but also to be reborn free on the other side.

MD: On that note, did you feel a need to wrap things up neatly? Are there any loose ends you would’ve liked to resolve from the previous volumes but had to cut for pace and story reasons? 

SF: The beauty of these “web of mystery stories” is unraveling the web and tying it all together in a way that is satisfying to the plot and cathartic to the characters’ journey—and we do it big time. However, real life is full of counterfactuals, dead ends, and roads not taken. For instance, in this story: what would have happened to Eddie’s relationship with Sheri Jo, or to Jarvis Pendleton’s music publishing case—how would everyone’s life have been different had Eddie lived? So there are a few could-have-beens left open on purpose as they bring a true-to-life quality to the characters, and add to a sense that the world of “Palomino” exists beyond the borders of the page.

MD: For the art, the panels become so large towards the end, with splash action, landscapes, and huge close-ups. What was the motivation behind this creative choice? 

SF: The kind of visual storytelling I’m drawn to is all about the subjective experience of the characters. Regular panels are like sequential moments in time, where I try to capture the play-by-play the characters are living through. But to me, the full pages become moments out of space and out of time—like instances in real life when you forget yourself and are suspended in the moment. It could be because you’re transported by music, an incredible vista, or any kind of heightened experience—or it could be a dramatic moment that defines you forever. Whatever it is, for me, those pages capture moments that will remain indelibly imprinted on the character’s existential core.

MD: Looking back on the half-decade of creating Palomino, what was your favorite segment of this sprawling story to write, and what was the hardest?

SF: In my experience, the funnest—and easiest—part of any story to write is always the first act. You’re entering a new world, discovering new characters, so it’s like a relationship. The beginnings are always fun and exciting, and you’re kinda basking in the glow of possibilities. The middle part is always more challenging, because that’s when you need to deliver on what was promised. You have to realize the potential of the story, lean into the right things, and, especially in a mystery, make sure it all has a fair shot at tying together. If you manage to survive that middle part, then you’re set up for a really fun ending.

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Feminine rage is all around us, and rightfully so. For centuries, men have attempted to limit, restrict, legislate, and exploit women, often for no other reason than subjugation. The issue compounds under different contexts, like mental health, where women are still underdiagnosed and discarded simply because biases prohibit some in the medical profession from treating the whole patient. Women are gaslit, lied to, abused, and more under medical care, far more than men, and the numbers are even more shocking for non-white women. This is just part of the reason why genre films are focusing more than ever on women taking back their agency from society and those who seek to minimize them, and it’s a central part of the narrative in “Die My Love,” from filmmaker Lynne Ramsay.

WHAT’S IT ABOUT?

Grace, a writer and young mother, is slowly slipping into madness. Locked away in an old house in and around Montana, we see her acting increasingly agitated and erratic, leaving her companion, Jackson, increasingly worried and helpless.

HOW IS IT?

In the realm of psychological horror, it’s easy to assign judgment and pretend that we know good from bad. Most of the time, films will do the heavy lifting for us, making it apparent who the victim is and who the perpetrator is, but “Die My Love” is a film that exists in the margins and grey area of those two titles. It’s a methodical, and sometimes maddening, exploration of loneliness, PTSD, and how relationships mutate under the weight of sadness. It’s a flawed film in some ways, but that could just be in the eye of the beholder; it’s absolutely worth the price of admission to see one of the most committed performances from one of Hollywood’s most fascinating actors, Jennifer Lawrence.

Grace (Lawrence) and Jackson (Robert Pattinson) move into Jackson’s uncle’s house after his passing to begin their life with a baby on the way. For Jackson, this is a return home that he greets with the warmth and excitement one would expect, while Grace is more cautious, leaving her life and everything behind to start fresh. At first, their relationship is filled with passion, and the opening montage gives us a glimpse into the joy the two cultivate together as they prepare the home for their child and revel in the freedom that being childless affords before it disappears when the baby arrives. When their first child is born, Jackson returns to work, leaving Grace to tend to the baby, the home, and keep herself entertained. As you can imagine, the combination of postpartum and cabin fever isn’t a great recipe for success, and the edges start to fray around Grace’s psyche.

Despite some support from Jackson’s family, including Sissy Spacek as Pam, Jackson’s mom, and Nick Nolte as Jackson’s dementia-riddled dad, Harry, adjusting to this new normal takes its toll on Grace. As the story continues, her pent-up anxiety is exacerbated by Jackson’s infedility and the realization that Pam is losing her mental faculties and following in Harry’s footsteps. All the while, Grace is fighting to find some purpose in life besides being a mother to a child and wife to a husband who’s hardly around. In many ways, Pam is a proxy for what Grace could become if she relinquishes herself to a life of domesticity and boredom, so naturally, Grace revolts in the most outlandish ways. It’s not worth going into specifics as it robs the film of its surprises, but Grace isn’t just a woman stuck; she is a woman suffocated by a small town with smaller minds that don’t fully grasp her fierce desire to live, and that desire to live can manifest in self-destructive ways, no matter what gender you are.

Ramsay’s direction is intentionally slow, allowing the viewer to feel the isolation and beauty of the rural landscape that Grace is trapped in. This mostly works, but at a minute shy of 2 hours, it can test one’s patience at times. The horror embedded within the film is not obvious and is more under the surface and speculative, because Grace isn’t dealing with anything supernatural, even though her lived experience is terrifying. Pattinson is solid, but he’s really there to help Lawrence shine, and shine she does as a woman battling more than her own personal demons. Grace is unhinged in a way that only those who have been with someone who’s mentally struggling could understand, but part of the question “Die My Love” asks is if Grace is actually unwell, or if she’s simply reacting to her situations and surroundings. The film never gives a firm answer, and that seems to be the point: that you can’t tame a person who is inherently wild, or at least that you can’t keep people locked away and expect them to thrive. There are no heroes or villains here, despite some characters not being as kind as others, as viewers we are not here to judge but rather experience the fragility of the human mind and the need to be unrestrained. At the same time, “Die My Love” warns that ignoring struggles often doesn’t lead to resolution, but resentment.

HOW DOES IT LOOK?

Mubi brings “Die My Love” to both standard 1080p Blu-Ray and a 2160p 4K UHD Blu-Ray for this release. We opted for the 4K version for our viewing, and it should go without saying that this presentation is an absolute stunner. The 1.37:1 aspect ratio may throw some off, but it works in the service of adding to the claustrophobic/cabin fever elements in the story. The cinematography from Seamus McGarvey captures the beauty and the scarcity of Montana with lush sunsets engulfing the screen in hues of orange and yellow, and a constant backdrop of earthy tones like brown, tan, and darker shades of green. HDR10 has been applied to this release, and it really flushes out the nuanced shades of darkness and grays that overtake the nighttime shots. All in all, this is a beautifully captured film that looks superb on modern screens that can showcase the range of the 4K UHD format.

Images from this release are used throughout this review.

HOW DOES IT SOUND?

The sound options included are relatively standard, including a DTS-HD MA 5.1 track and a Dolby 2.0 Stereo track in English, as well as French. While there are no Spanish audio options, there are subtitles for English, Spanish, and French included. The sound mix is vibrant in parts where the on-screen action picks up, but it’s more impressive in how well it handles the quiet moments in the film, where you can hear the natural world and the outdoors of the rural setting. The rear speakers won’t be used much for placing action, but more for creating an immersive and isolating soundscape to reflect both the location and the characters. The mix is well-balanced between dialogue, music, and diegetic sound, so you won’t find yourself fumbling with the volume like is often the case with streaming services.

ANYTHING SPECIAL?

No special features are included with this release.

LAST RITES

“Die My Love” is a psychological drama that explores how isolation and mental health are a potent cocktail for self-destruction and discovery. While it’s slow going and not always clear what the point is, the performance from Lawrence is one of the best in her career and easily worth taking the time to watch, even if it doesn’t entirely resonate with every viewer.

THE GORY DETAILS

Thank you to the fine fiends at Sumbersive Media and Alliance Home Entertainment for providing a review copy for the crypt! “Die My Love” is available now and can be purchased via Amazon!

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Just a heads up, if you go to Dr. Caroline Bicks’ website, which you absolutely should, be warned, you will leave feeling that you haven't accomplished anything with your life! Shakespeare scholar, New York Times contributor, podcaster, playwright, and actor. Oh, Stephen E. King Chair at the University of Maine. Did we forget to mention that one? It was as the Chair that Caroline’s orbit crossed with that of the Master of Fear himself. The result was a year spent at the King household, combing through his private archives to write what is now one of our favorite books of 2026. “Monsters in the Archives: My Year of Fear with Stephen King” is everything you’re looking for in a deep dive into King’s early works, but it’s so much more than that. If you love King, horror, or just a beautifully written exploration of literature, you must get this book.

Caroline was kind enough to join Paper Cuts to discuss the fateful phone call she received from King, four years after becoming the Stephen E. King Chair at UMaine, that set her on the path to writing the book. The stories she has of her time at the King household are amazing, and you’ll get a deeper appreciation of both King’s work and of the man himself. Caroline is a fantastic storyteller, and we could have talked for hours (if not days). You’ll be amazed at how much fun this conversation turned out to be.

You can purchase “Monster in the Archives” here.

You can follow Caroline Bicks on Instagram here.

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On the coast of Japan, nestled deep among a thicket of sword ferns, there’s a very peculiar house. Age-yellowed tatami mats line the floors, and the low ceilings once prevented samurai from drawing their swords indoors. 

It’s a house with a history. 

And history isn’t staying in the past.

When Lee Turner abruptly leaves his university to take refuge in his father’s new house, he’s shocked to discover that the walled-off closet occasionally opens into the late 19th century. Sen, who once shared the very same bedroom, is equally startled. What time-bending connection do they have? And more importantly—why?

Author Kylie Lee Baker is in the midst of a prolific moment in her career. Her most recent novel, “Bat Eater and Other Names for Cora Zeng,” received widespread, well-earned recognition, including spots on best-of lists by the New York Times, USA Today, Library Journal, Spotify, and Book Riot. In 2027, she’s set to release “Infernally Yours” (a YA yokai romance) and “Hell to Pay” (an adult horror novel in which three roommates encounter a demonic sigil).

But first, starting on April 14, “Japanese Gothic” (Hanover Square Press) will surely cast its spell over readers—and cement Baker as a generational talent. 

Author Photo by Greg Samborski

Synopsis:

In this lyrical, wildly inventive horror novel interwoven with Japanese mythology, two people living centuries apart discover a door between their worlds.

October, 2026: Lee Turner doesn’t remember how or why he killed his college roommate. The details are blurred and bloody. All he knows is he has to flee New York and go to the one place that might offer refuge—his father’s new home in Japan, a house hidden by sword ferns and wild ginger. But something is terribly wrong with the house: no animals will come near it, the bedroom window isn't always a window, and a woman with a sword appears in the yard when night falls.

October, 1877: Sen is a young samurai in exile, hiding from the imperial soldiers in a house behind the sword ferns. A monster came home from war wearing her father’s face, but Sen would do anything to please him, even turn her sword on her own mother. She knows the soldiers will soon slaughter her whole family when she sees a terrible omen: a young foreign man who appears outside her window.

One of these people is a ghost, and one of these stories is a lie.

Something is hiding beneath the house of sword ferns, and Lee and Sen will soon wish they never unburied it.

Scares That Slice to the Bone

Before we proceed, we haven’t told you something important about Lee. He isn’t in Japan for quality time with his father. He’s there because he remembers murdering his college roommate and frantically cleaning up the crime scene—and because, maddeningly, he can’t recall where he hid the body, or why he committed the murder at all.

As Lee anxiously waits for the dominoes to start falling back in the United States, Sen faces her own ticking clock. Her father is a disgraced samurai who failed to rebel against Japan’s Meiji era bureaucracy. She spends her days desperately foraging and hunting in the woods surrounding the sword fern house where her family has gone into hiding. It’s only a matter of time before they’re found out and slaughtered.

As Lee and Sen enter a wary truce, they begin to probe the inexplicable magic that allows them to enter each other’s timelines. Could it hold the key to their salvation? 

The novel’s plot description captures its heady magic, but it does little to convey its abundant horrors. Baker has a knack for painting vivid, stomach-churning images: Dark waves looming on the horizon; slaughtered animals littering a dusty courtyard; glossy, black blood shining mirror-like on tatami floors. Brutal violence ruptures the sword fern house’s domesticity, collapsing the century-and-a-half between our main characters and showing just how eternally humanity is plagued by self-destruction.

Lee is particularly troubled by his own unsteady grasp of his most traumatic memories. He’s haunted by a childhood recollection of the night his mother disappeared—of the suitcase her body was presumably rolled away in. Early in the novel, after meeting Sen, he flushes the Ativan and Benadryl he’s been using to fog his memory and braces himself for the revelations he hopes will surface.

For Sen, in 1877, samurai training was nothing short of horrific child abuse. Sen yearns for her father’s approval, even as he subjects her to increasingly extreme challenges. As the age of samurai draws closer to its end, Sen’s family faces starvation and societal alienation that force them to make impossible choices. Sen can’t help what she is—and her father will soon realize that he’s unable to control the young samurai he created.

Trauma warps Lee and Sen’s memories, glancing off painful events and leaving blind spots that burn like sun flares. As Baker gradually, deliberately reveals the reality of Lee and Sen’s respective circumstances, each new revelation deepened our sadness, hope, and compassion for her characters.

Final Thoughts: A Must-Read for Fans of Psychological, Gothic, and Historical Horror

“Japanese Gothic” lives up to its name, offering a vivid depiction of Japan’s dying samurai culture and weaving a vibrant thread of psychological horror and isolation akin to Catriona Ward’s “Looking Glass Sound” or Shirley Jackson’s “We Have Always Lived in the Castle.”

Baker’s layered, intersecting timelines build to a satisfying conclusion that left us reeling by the book’s end. We don’t want to risk spoiling anything, so we’ll just say this: Baker’s world-building rests on a solidly crafted foundation. The novel crescendos to an ancient, cosmic horror that, for us, was nothing short of sublime.

While “Japanese Gothic” engages with the Gothic tradition, Baker resists predictable plot beats. We felt that at any moment, anything could happen in her deeply imaginative world. For example, “Japanese Gothic” is refreshingly free of romance. Instead, Sen and Lee experience a more complex kind of mutual recognition. Their connection is all the more moving because they’re both so accustomed to being invisible to everyone around them.

We would wholeheartedly recommend “Japanese Gothic” to readers who enjoy historical horror, psychological horror, dark fantasy, crime fiction, and occasional gore—many kinds of horror readers will find something to love. 

And if you see a window that’s only sometimes there, or a light glowing in your walled-off closet, think carefully about your next move. It might just be your last.

You can purchase “Japanese Gothic” here.

You can follow Kylie Lee Baker on Substack, Instagram, and Twitter.

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The search for Prince Charming is a fairy tale as old as time, and for good reason. While the formula has been tweaked over the years, movie-goers of every age have been raised on a steady diet of stories about the search for true love. Most will think first of the fantastical and child-friendly Disney princesses. While their stories have their share of adversity and fear, they are ultimately family-friendly stories with happy endings. But the nature of the original stories that inspired Disney’s classic tales is darker and more horrific, and queer folks know better than most that when the one seeking their Prince Charming is another man, their journey can be more frightening indeed. 

Such is the inspiration for “Labyrinth Of Lost Boys” (2025), written and directed by Brazilian filmmaker Matheus Marchetti, which played at the 2026 Fantaspoa Film Festival. Does this film shine new light on the trials and tribulations of queer love in a modern era? Or does its message get lost in the labyrinthine streets of São Paulo?   

What’s It About? 

A small-town boy gets lost in the big city at night, experiencing increasingly strange sexual encounters while a killer lurks in the metropolitan shadows.

What’s The Verdict? 

“Labirinto Dos Garotos Perdidos” in Marchetti’s native Portuguese is an urban fairy tale from the start. Begun with Tuna Dwek’s powerful and mesmerizing narration, she introduces us to a world that masterfully transposes modern São Paulo and a more ancient land that is displaced in time and space, where “dreams were reality, and reality is dream.” We watch a young man knock on a door in the middle of the night. He simultaneously types on his phone. Gay men watching will immediately clock a midnight hookup, assisted by their app of choice. 

The narration and direction lend this familiar action a mysterious and magical tone. Instead of being drawn by lust, technology, and social lubrication, the narrator tells us this boy follows a “soothing voice that summoned in the dead of night.” He is not the first, she informs us, saying that many before him have marched “into the belly of the beast. Never to return…” This introduction to Marchetti’s world is engrossing and rich with subtext. We wish that the tone and storytelling had maintained this level of power through the rest of the tale. 

Soon after the opening scenes, Dwek’s narration disappears for large chunks of the film. Given the strength with which her voice propels the film into the land of make-believe, this was an unfortunate choice. When she does return, it is to connect the story with another myth about a woman giving birth (with the “help” of a witch) to twin boys, one beautiful and one monstrous. This tale and the tale of the lost boys never fully connect, leaving the narrative feeling unanchored and disjointed. Had Marchetti fully committed to one metaphor, that of the gay lost boys of São Paulo wandering their labyrinth, a killer in their midst, or the tale of the twins and their complicated relationship, we would have had a story that was better able to focus on its messaging. As it exists, “Labyrinth” tells a beautiful story, but one that doesn’t seem entirely sure what it’s trying to say other than to share some intriguing anecdotes of young gay life in the city.

The disorienting nature of Marchetti’s film may be intentional. As we were introduced to the protagonist, Miguel (Giuliano Garutti), we found ourselves frequently comparing him to the heroine of “Alice’s Adventures in Wonderland” (1865). Like Alice, Miguel is a stranger in a strange land. He wanders the night streets of São Paulo, never seeming quite as perturbed or confused as he probably should be, encountering increasingly bizarre characters. 

Miguel’s character is purposefully vague, letting him serve as a cipher for the audience to draw their own conclusions from his meetings. Some of the folk he crosses paths with are more memorable than others. Gabriel (Gabriel Muglia), a flautist he meets in the park, is particularly compelling as he grapples with his desperate need to feel something in a world where he feels increasingly disconnected from his own body. This experience of dissociation and malaise will be familiar to many, particularly queer audiences. Another encounter with a boy and his cucumber (best to let you discover this surprise yourself) shines light on the sometimes absurd nature of gay sexual lives. Similarly, the glimpses we get of the killer stalking young gay men of the city are fascinating and as beautiful as they are grotesque. Marchetti’s ability to entwine sensuality with death is uncomfortable in the best possible way, which makes it unfortunate that the storyline centering around the killing is ultimately only tenuously connected to the main plot. 

Other characters are less engrossing and overstay their welcome, such as Fernando, played by Marchetti himself, and his overbearing mother, or Pedro (Lucas Bocalon), the boy who initially invites Miguel to the city. This character, in particular, is quite underwritten, which is unfortunate because he ultimately plays such a large role in Migeul’s journey. “Labyrinth” is a movie made up of vignettes, some more successful than others. They are all well-acted and extraordinarily well directed and shot. Marchetti’s grasp of lighting and scene-setting, and his creativity, are all evident. He plays with reflections and duality, both literal and figurative, throughout the story, demonstrating the strength of his narrative voice and talent. But the parts never quite come together to create a richer whole. 

We would be remiss not to acknowledge Marchetti’s direct exploration of the physical body and intimacy in his film. Unfortunately, we live in a world where this is noteworthy, but we are, and his willingness to unflinchingly direct the gaze of both the camera and the audience at the sexuality and sensuality on display in his characters is commendable. While maintaining an artistic eye throughout, Marchetti jumps at every opportunity to draw attention to the beauty inherent in the male figure and in gay sex, both vanilla and kinky, which is welcome and refreshing.

Final Thoughts: 

With “Labyrinth Of Lost Boys”, Matheus Marchetti proves himself to be a unique and thoughtful voice in queer cinema. The story highlights some unique experiences of life, love, and connection that will resonate for queer and heteronormative audiences alike. We found the story to lack a universal and cohesive theme, which prevents it from truly coming into its own, but the film captivated our attention throughout. We found ourselves rooting for it to all come together in a way that let us love the whole as much as we enjoyed its components. For fans of arthouse cinema, dark fantasy, and queer storytelling, it is a film worth seeking out. We are eager to see what Marchetti is capable of as he continues to hone his craft. We will gladly march back into the labyrinth the next time he invites us.       

“Labyrinth Of Lost Boys” played at the 2026 FANTASPOA Film Festival on April 19, 2026.

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The pandemic brought to the surface a lot of fears and insecurities about public health and how people in a society react to change. Take something as simple as a sneeze, which at worst was just gross, but during the pandemic, it was a sign to stay away for fear of catching COVID-19. While many fears have subsided since then, remnants of the pandemic are felt across global societies and have led to increased skepticism as well as distrust of authority figures and each other. That paranoia that was cultivated has consumed so much of our lives, and filmmaker Bari Kang captures that and more in his latest feature film, “ITCH!”

Vanessa Maki from Macabre Daily recently reviewed the film, and we got a chance to speak with Bari about the limitations of filming during the pandemic, as well as the emotional core that separates “Itch!” from so many infected horror films. Bari also shares how “Itch!” started as something different, and how he learned to accept the horrific nature of the idea while still being able to layer in messaging about love, loss, and finding hope. “Itch!” is available to rent or own on VOD now in the UK, and you can watch our interview with Bari below!

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Satirizing important issues and topics isn’t a fresh thing in the horror genre, especially not with topics like ultra-conservatism, tradwife culture, and everything in between. The problem that lies within that is the satire, and the overall film needs to be interesting to merit exploring themes we’ve seen before. In the case of “Virtuous Women”, directed by Cínitia Domit Bittar, there’s so little to cling to throughout the film to make it entirely worthwhile. 

What’s it about? 

What begins as a VIP retreat for women to achieve the best version of themselves soon transforms into an absurd and dangerous journey.

What Happens, And Is It Any Good? 

“Virtuous Women” begins with a cringeworthy, all too real, and yet satirical advertisement for a Christian women’s retreat run by a popular woman named Virginia Heinzel (Bruna Linzmeyer). She’s the picture of perfection among all of her adoring fans, all of whom want to desperately attend this exclusive retreat. One woman in the crowd, whose name will eventually be revealed to be Germina (Maria Galant), is especially determined after she takes a rose from a woman she was seated next to. 

Exploring the insidiousness of pushing tradwife culture onto every woman is something we’ve seen before in the genre. Whether that be “Rosemary’s Baby” (1968),  “The Stepford Wives”  (1975), “Mother!” (2017), or  “Companion” (2025).  The themes of devotion to motherhood (or the expectation to be a mother), obeying and surrendering your desires to make a man happy, abandoning any sense of individualism, and being entirely submissive are explored throughout “Virtuous Women”. However, the problem is that the film fails at having anything interesting to say about this.

The film isn’t effective in establishing its identity as a thriller/horror film; it also spends a lot of time with dialogue rather than setting us up for a worthwhile chain of events. One could say that the pivot, as far as expectations regarding the direction of the film, is a plus. However, in this case, it would’ve been more fun because a group of women all descending into madness isn’t unwelcome in the genre. “Virtuous Women” will make you laugh and cringe at the activities at this retreat, especially when it’s clear that Virginia isn’t who she pretends to be. There’s a fakeness among the group of women, and just when you think the film is going to a place of full-blown madness, it doesn’t. In fact, it takes forever to get to what we’re actually wanting to see. 

Bittar seems to have a grasp on the rise of ultra-conservatism in our current timeline, especially on social media, with the unfortunate prevalence of tradwife influencers. The film doesn’t do much in the way of being daring. “Virtuous Women” doesn’t push the envelope or go to all that bonkers of a place by the end. Thus, it falls flat because the setting is ripe for madness, especially on a visual level. As the film carries on, we spend quite a bit of time with Germina, and we learn of her true intentions of attending the retreat. It may not be what you think it is, but her motivations do leave a lot more questions than not. Such as what she would’ve done if she didn’t successfully take the rose from the woman sitting next to her. And why didn’t she do a better job at making it seem like she wants to be there? 

While Germina is the POV we’re primarily following, she’s not remotely the most interesting of the bunch. It’s Virginia who shines, especially due to Bruna Linzmeyer’s performance that’ll pull you in throughout. As a character, she’s hiding secrets and is trying as hard as she can to seem like the “perfect woman”. It’s a facade, and she’s making money from selling what she doesn’t even believe.  The other women in the group also leave us with questions because there are a few who are simply there to fill up space. One particular character named Lorena Canollo (Juliana Lourenção), who is the wife of a political figure, was forced to bring her baby on the retreat with her. Unfortunately, any intrigue with her gets lost amongst how grating she is as an overall character. 

The latter half of the film is when the most unhinged events even take place, but considering the film’s runtime, it takes too long to get there. It may leave you wondering if this should’ve been a short film, rather than a full-length film. The ending may make the cons of this film worth it in the end. Though for some, it may be too little too late.

Verdict:

“Virtuous Women” takes quite a bit of time to get to the chaos, and you may just want it to be over by then. Folks who are itching for a bold look into ultra-conservative women won’t have their minds blown with this one. 

“Virtuous Women” was screened as part of the 2026 Fanataspoa Film Festival

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Infection and pandemic horror are almost always stress-inducing, right? It doesn’t matter if we’re dealing with zombie outbreaks or infections that make people act rabid and violent. In “Itch!” (2026), directed by Bari Kang, we’re not dealing with traditional zombies, but it’s still just as uncomfortable. This isolated apocalyptic horror movie is available to rent digitally right now.

What’s It About?

Amid a mysterious, deadly outbreak called the ITCH, a widower and his estranged young daughter take sanctuary in a department store, only to realize the real terror is inside with them.

What Happens, And Is It Any Good?

“Itch!” opens with a scene that’ll make your own skin crawl, and then we shuffle back to when the infection began. We meet our lead character, Jay (Bari Kang), a father who’s struggling to take care of his daughter, Olivia (Olivia Kang), after the tragic death of his wife. And those challenges he’s facing aren’t getting any easier when strange things begin to occur around the city. Right away, the film establishes that an infection is beginning to spread and that the department store will be where we’re spending our time.  Considering the location is very limited, there’s so little to say about the atmosphere that the film establishes, other than the fact that the paranoia, madness, and discomfort regarding the infection are consistent enough. Jay’s struggles as a father are a huge focus in this film, and ultimately, we’ve seen the struggling father trope play out many times in the genre. But in this case, it makes sense for the plot.

In the first half of “Itch,” we get to meet the characters that we’ll be dealing with in the department store. From an employee named Lisa (Mia Ventura Lucas), disgruntled former employee Miguel (Patrick Michael Valley), Miguel’s niece Gabriella (Ximena Uribe), and a customer named Henry (Douglas Sterling). The poor decision-making from the characters in the film does make for more than a few eye-roll moments. Especially with Miguel and his niece, because they cause chaos that could’ve been easily avoided. 

Everything that occurs in this film goes from downright terrible to worse because the threats aren’t simply on the outside of the building. When people descend into chaos in what should be a place of safety, that’s when conflict really escalates. As a character, Jay can only do so much to keep Olivia safe and the place under control. And that may tug on the heartstrings of some viewers, if they happen to connect with Jay somehow.  While this film is about the infection, it’s also about what a desperate man might do in the face of an impossible situation. The feeling that “Itch” wants to maintain throughout is more intimate than it is explosive. Some scenes’ll make you wince, especially in the latter half of the film, but “Itch” isn’t focused on the potential global ramifications of this infection like other films might. 

We’re given slight updates about what’s going on and what the infection actually is here and there throughout “Itch!”. But leaving some details to be relatively ominous might’ve worked in the film’s favor because we aren’t visually privy to much beyond the happenings in the store. And it may leave viewers feeling a little underwhelmed in the end. Regarding the performances, they’re occasionally lacking for most of the characters. Bari Kang and his real-life daughter have natural chemistry together, which helps the film. He knows exactly how to craft the scenes between him and his daughter. Though when it comes to the other characters, they occasionally feel like they’re trying too hard to convey something, or their line deliveries are questionable. All of which hurt the film during certain scenes, unfortunately. 

As the characters reach more dire positions, especially Miguel and his niece, who didn’t even need to be at the store that day, it becomes incredibly clear that there is no assured light at the end of the tunnel. The struggles that everyone is experiencing can’t be remedied so easily, certainly not from the inside of a department store. And we’re not given much in the way of resolutions for these characters. Where the kills are concerned in “Itch!”, they’re messy and scrappy rather than action-oriented as many zombie or infected films would be. The latter half of the film is when things begin to get really bad for everyone, and there are a few scenes that’ll make your eyes widen bigger than saucers. Especially a particular scene in a bathroom that likely nobody was expecting. 

The ending of this film is mostly what you might expect, though, which will either work for you or it won’t. But that doesn’t have to be a bad thing; it only is if you’re expecting subversion. Overall, “Itch!” isn’t a torturous watch by any means, but it also isn’t going to blow you out of the water. It’s slightly rough around the edges, the acting is spotty at times, and you’re left with a fair amount of questions that won’t ever be answered.

Verdict:

“Itch!” isn’t doing anything we haven’t seen from other infection horror movies, but it’s not the worst venture into an infected scenario that you’ll ever go on. If you want something explosive with tons of action, you won’t find that here.

”Itch!" will be released on VOD in the UK from Seven Tales on 20 April 2026.

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The family from hell is back in this concluding issue of Mike and Todd Mignola’s demonic royal court comedy. The lies and treachery pile up fast, and bad blood leads to backstabbing as Hellboy’s half-brothers vie for their father’s favor and the chance to win the throne. Who will rise and who will fall? Who will wear the crown?

What is it about?

Hellboy’s half-brothers, Gamon the warrior and Lusk the scholar, are locked in competition for the throne. Lusk is their father’s favorite, but schemers are afloat at Castle Azzael, and succession is never so straightforward. Gamori, their sister, prevented by her gender from ascending herself, is plotting and planning.  

HOW IS IT?

“Guess who sold you out?” This playful opening line sets the tone for this issue, which is a little wilder and goofier than its more serious predecessor. If Shakespeare’s courtly dramas, such as “King Lear” and “Macbeth,” were more of a model in issue #1, issue #2 drifts into “Much Ado About Nothing” territory. Yes, these are powerful and dangerous demons, but at the forefront are essentially a group of feuding children with some major parental issues. Once again, the “Succession” vibes are so strong that listening to Nicholas Britell’s iconic theme right before reading will get you in the perfect mood. 

Of course, it would be hard for Gamon, Lusk, and Gamori not to have some severe mommy and daddy issues. When your father keeps your mother chained to a literal rock in a literal pit in literal hell as punishment for betraying him, it’s bound to cause some psychological trauma. It doesn’t help when the grandfather is Satan himself, and he isn’t exactly the most present or doting patriarch. There’s a lack of good role models all around here; Hellboy’s rough childhood in the B.P.R.D. is comparatively paradise. At least he had some friends and people who loved him.

The bitterness and pain of this incredibly dysfunctional family are rotting underneath the goofy surface of this comic, but the tone largely stays light until the consequences of everyone’s actions start to sink in. There’s less complexity and machinations in this comic than in the first issue, and when the final page drops a classic “to be continued”, it became apparent that what I’d just read was just the setup to something much bigger that Mignola has already planned. This is a two-sided coin, because while what’s being set up for the future is very interesting and will be a big deal for “Hellboy” fans, the ending here is a tad abrupt. I was enjoying my time with Gamon, Lusk, and Gamori, and while the resolution in issue #2 is the natural, if not inevitable conclusion, it still feels too soon. I was enjoying the scheming and the rivalry, and a little more back and forth would’ve been nice before it was all over, just like that.

Perhaps the release format is to blame here. The resolution wouldn’t have felt so abrupt if there hadn’t been a two-month wait and heavy anticipation between these two issues. Having just loved the amount of depth and texture put into “Uri Tupka and the Gods” as an eighty-page graphic novel, I wish I’d had the same amount of time with these terrific characters. “The Crown: A Tale of Hell” is truly terrific, and that’s why it’s a shame it’s so short. Perhaps when this story is released all in trade form, likely packaged with either future content or past pages from “Hellboy in Hell,” it’ll flow better. This is frequently true for Mignola works; there’s a reason all the shorts get pushed into trades so fast, and then the trades are rearranged into omnibuses. His work is often better consumed when it is collated. This isn’t always the case, but it’ll definitely be true for “The Crown: A Tale of Hell”.

For those who love to read and collect good old floppy single-issue comics, it’ll be worth it just for Warwick Johnson-Cadwell’s art, which is as delectable as it was in the prior issue. His mastery over the facial expressions and body language of the demons is absolute; every character in this comic is expertly realized, every smirk, furrowed brow, or wince of fear is perfection. The environs of hell are spectacular, so much detail is put into the demonic walls and pillars of Castle Azzael and its surroundings. Cadwell does a ton of heavy lifting in managing the tonal swing, bringing the weight to his characters at the end. His final panel really makes that unexpected “to be continued” work.  

LAST RITES

“The Crown A Tale of Hell” is a delightfully good story of sibling rivalry and demonic family dysfunction, and the only true drawback is that there isn’t more of it! Despite an abrupt ending, this two-parter is a must-read for Hellboy fans, especially those who loved “Hellboy in Hell”. 

“The Crown: A Tale of Hell #2” is on sale in comic shops and digitally on Wednesday, April 22nd

THE GORY DETAILS

STORY BY 

MIKE MIGNOLA & TODD MIGNOLA

ART & COLOR BY

WARWICK JOHNSON-CADWELL

LETTERS BY

CLEM ROBBINS

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The final scene of a film can make or break a viewing experience. The coda that a filmmaker places on their story can be an opportunity to reinforce central themes, bring their viewer’s emotional experience to a crescendo, or sometimes subvert expectations in a way that leaves us questioning all that came before. We experienced all three of these as the credits rolled on “Forever Home” (2023), directed by Sean Oliver and co-written with Drew Leatham. Sadly, for us, it was too little too late, offering us a tantalizing peek in the final moments at a more captivating story than the one that preceded it. 

What’s It About? 

A young couple unwittingly spends all their money on a new home only to discover that it’s haunted. After inviting a medium into the house, they learn a terrible secret that puts not only their lives, but their afterlives at risk.

What’s The Verdict? 

We should put our main critique of “Forever Home” front and center here, so readers can decide for themselves how much it will apply to their viewing experience. Oliver’s film is a horror-comedy that is heavy on the comedy. Ultimately, we just did not find the film to be that funny. The jokes come fast and frequently and are mostly absurdist in nature. We could imagine a world in which the humor and plot of “Forever Home” is condensed down into a five-minute skit on Saturday Night Live (1975). Honestly, it might have worked much more effectively for us had this been the case. 

Humor is subjective, and unfortunately, the humor of “Forever Home” just never landed for us. But if exaggerated accents, manic energy, and aggressive levels of quirk tickle your funnybone, your experience with “Forever Home” might be very different than ours. The humor of Oliver’s film can best be distilled through the characterization of Max (Cody Hunt), who is Jules’ (Sammie Lideen) eccentric brother. He shows up ten hours after they’ve moved into their new home (he’s unpredictable!), having discovered their location by threatening their realtor (he’s wacky!), and within minutes is soaking his bare feet in their kitchen sink while recounting his tale of being fired from his job in Mexico and needing a place to crash (he’s silly!) If, like his sister and his brother-in-law Ryan (Drew Leatham), you find yourself chuckling and rolling your eyes at good ole Max and his antics, this may be your film. We found ourselves cringing or smiling uncomfortably, wondering if we were missing the joke. 

Further underscoring the style of humor is the music, which reminded us of early Nickelodeon-style sitcoms. Whimsical violins, flutes, and trumpets play alongside the antics of the main characters, guiding the audience along their viewing experience and suggesting when to laugh. It gives the movie the feel of a children’s program, perhaps even an episode of the classic “Are You Afraid Of The Dark” (1990). However, the jokes and content are more adult in nature, leaving us confused about who exactly the target audience is.

When they lean away from the wacky hijinks, we found ourselves settling into our surroundings more comfortably and quite enjoying the time we spent with these characters. Leatham and Lideen have a quiet and captivating chemistry that lends their relationship a strong air of relatability and appeal. As they become more accustomed to the ghostly presences in their home, the film allows the characters, both living and dead, moments to bond and add depth to their dynamics. A haunted house story rarely gives room for genuine relationships to build between the protagonists and their spectral companions. Leading up to the aforementioned finale scene, which is emotionally expressive and powerful, these are the elements of the film we connected with the most. Unfortunately, these relationships were deprioritized in favor of humor and diluted scares that were far less captivating.    

The basic premise of “Forever Home” is clever, and the creators deserve credit for putting a unique spin on the haunted house story. A couple begrudgingly learning to coexist with the haunted inhabitants of their new home isn’t entirely fresh, but it is uncommon enough to serve as a captivating hook. The movie goes to great lengths to create a broad range of spectres. We get to know two mischievous children, a melancholy (and mysteriously water-logged) cellist, a suzie home-maker type with a splitting headache (for reasons to be revealed), and even a disembodied hand that lives inside the toilet (it’s as gross as it sounds). The creativity on display is clear, but again, the film’s sophomoric humor tends to prevent these characters from making much impact.

Final Words: 

“Forever Home” is a horror-comedy that unfortunately fails to deliver on either front. For fans of hyper-silly, slapstick humor, there may be some laughs to be had as our protagonists fumble their way through their new haunted home, but we were left cold as a corpse by most of the jokes. The indie filmmaking spirit is strong in Oliver and Leatham’s film. The joy they had making this film shines brightly throughout. The actors clearly had an absolute blast making this film together. That energy can be infectious at times when the characters are given room to breathe and connect meaningfully with one another. The final act of the film explores nuanced, loving themes that we wish had been spread more throughout the rest of the movie. The kernels of a fun, ghostly story are here, but the film ultimately fails to manifest its potential, leaving us ready to put this particular home back on the market.  

“Forever Home” is available on UK digital on April 20, 2026, from Miracle Media

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There’s a long history of filmmakers who excel at telling their stories visually, using highly stylized, gripping shots to mesmerize audiences, surpassing the standard plot-driven narrative and creating something unique and beautifully immersive. Terrence Malick may be best known for this. Ask any cinephile what his movies are about and you’re bound to get a few puzzled looks, but ask them to rattle off their favorite Malick shots, and you’d better be ready to settle in for a while. His long, extended scenes of tall grass bathed in golden sunlight, hypnotically swaying in the breeze, are both dreamlike and haunting, adding a depth to “The Thin Red Line” that dialogue could never manage. There’s an alchemy to this type of filmmaking. It doesn’t always work, but when it does, it’s transcendent. Director David Lowery (“The Green Knight”), known for beautifully intricate shots layered with seductive color combinations, aims for this in his new film, “Mother Mary,” a perplexing mash-up of gothic tropes, pop-culture deities, high fashion, and toxic frenemies. If that last sentence gives you the feeling this film is bursting at the seams with ambition, you’d be right, and also wrong. For a film that strives to reach transcendence, it’s bizarrely lifeless, bordering on vapid.

SYNOPSIS:

Long-buried wounds rise to the surface when iconic pop star Mother Mary (Anne Hathaway) reunites with her estranged best friend and former costume designer, Sam Anselm (Michaela Cole), on the eve of her comeback performance.

LET’S UNPACK:

The first twenty minutes of the film set up a fairly basic plot. Mother Mary, a Taylor Swift-esque pop superstar desperate for her former friend and costume designer, Sam Anselm, to conjure up the perfect outfit for her comeback performance. When, in the first few minutes of the film, Mother Mary gatecrashes Anselm's gothic wet dream manor house, as a Hammer Films lightning bolt literally cleaves the sky, you’d be forgiven for thinking Lowery is going for a horror story dripping with atmosphere. As the leads retreat to a barn that’s been converted into a grandiose atelier by way of Dr. Frankenstein, your expectation of a horror film seems to be delivered. As Hathaway and Cole proceed to bait and banter like Caine and Olivier in “Sleuth,” you can feel it all building toward something sinisterly delightful, and then tragically, like a soufflé that fails to rise, the air just leaves the film. Scenes go on endlessly, circling back on the same theme of betrayal and abandonment. Wash, rinse, and repeat. Cole’s performance is mesmerizing in these early scenes, playful, commanding, and in complete control. Hathaway is n all-wounded fawn with a secret. Wide-eyed and kowtowing, she plays the entitled celebrity to a tea.

Their back-and-forth is mesmerizing at first, but then it stalls as the actors reach the end of the runway. Lowry fails to transition those early scenes into a workable second act. At an hour and fifty-two minutes, it’s not until the fifty-minute mark that we brush up against any semblance of the supernatural. There’s a ghost at the heart (literally) of this film, more metaphorical than spectral, but at least it's something. This is the shared catalyst between the leads that drives the narrative for the remainder of the film, and it’s as threadbare as the crimson fabric used to personify the wayward spirit. For a filmmaker so adept at imagery, we were baffled by the choice made to personify the ghost.

No spoilers here, but it took us completely out of the film, feeling more akin to early-1980s Dark Disney-level effects than anything from this decade. Less metaphor, more Del Toro would have gone a long way to binding this film to a legitimate ghost story. But that may be the film's biggest flaw. This isn’t really a ghost story at all; it’s a story about friendship, accountability, and the possibility for redemption. The vehicle for this is sewn up inside the corpse of a ghost story, but it's all so weak, both metaphorically and narratively. When Hunter Schafer, as Cole’s assistant Hilda, shows up at the end of the film, after appearing a scant few minutes in the beginning, to deliver a crescendo of exposition explaining Hathaway’s grand gesture toward Cole, you can’t help but think, “Who are you again?” And more importantly, “Why are you monologuing?”

FINAL THOUGHTS:

We would have loved to have gotten behind a film about ridiculously talented people who need each other to inspire their creativity, even as they toxically sabotage each other and themselves in the process. That’s interesting, and fertile ground for any number of thematic choices. Lowry lands on a kind of ghost story that may have looked thrilling on paper, but lies flat on the screen. It’s all so heartbreaking because there’s so much skill at hand here. It’s all half measures, unfortunately. There’s no doubt that David Lowery is a fine, accomplished director with a keen eye. “Mother Mary” isn’t the film that sets him apart, but someone with that much talent will eventually find the film that does just that.

A24 will release “MOTHER MARY” in theaters on April 17, 2026.

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In the world of the found footage subgenre, there are plenty of techniques that fall under the umbrella of found footage. There’s more than just classic found footage like “The Blair Witch Project” (1999), such as surveillance, dashboard, livestreams, screenlife, live television, mockumentary, and the list goes on. In the case of “Compliance” (2026), directed by Kyle Mangione-Smith, we’re dealing with a blend of forms of found footage, with a hyper focus on surveillance footage. “Compliance” made its world premiere on April 16th and April 17th at the Fantaspoa festival.

What’s It About? 

After a rape scandal causes noticeable fallout for a tech startup called UVisit, a PR worker named Sam Cornell (Megan Wilcox) is given the task of cleaning up the mess. When Sam realizes that she’s in over her head, she becomes tangled up with an organization that’s more powerful than she could’ve imagined. And they’re aiming for the destruction of UVisit by exposing them by any means necessary. 

What Happens, And Is It Any Good?

“Compliance” kicks off with an early morning phone call that interrupts Sam’s slumber, and from there, Sam is caught up with the situation that UVisit is facing. We see crime scene photos, the identification of the survivor whose name is Sarah (Lindsey Normington), and we’re also privy to the 911 call that was made. It’s meant to be uncomfortable for both us as the viewers, but also for Sam, who is a complicated protagonist. Especially as she’s working for horrible people, who frankly don’t treat her with any respect. 

As the film isn’t operating with traditional filmmaking, we get a fair amount of on-purpose glitching and grainy footage here and there. It’s the one aspect of found footage horror that makes us feel uneasy. The film feels quite real for the most part, especially in how Sam’s employees are behaving towards the scandal. It feels all too pertinent to our waking life and how survivors are often swept under the rug. “Compliance” isn’t solely about the scandal; it’s more about conspiracies, modern surveillance, and crimes based on the dark web. As we’re living in our current age, it’s not unusual to know that there are plenty of surveillance cameras around us. Whether that’s for the safety of a building or otherwise. What “Compliance” highlights is the way that power is handled, depending on the hand that holds the power. 

During the beginning of the film, we slowly get to know Sam, how she functions, how she’s treated by her boss, and the way her PR job is affecting her. The situation with Sarah is far more complicated than Sam is actually prepared for. And she drops the ball when she puts on her former social worker hat. The person that Sam wants to be is in conflict with the person she has to be as a PR representative. This plays out in a very dramatic way throughout the course of the film. We can’t spoil what occurs during the back half of the film, but what can be said is that “Compliance” will make you think of everything that happens daily in the world. Whether that be domestic terrorism, Nazis, corrupt people in power, dark web organizations, and the varying degrees of vigilantism.  

Verdict:

All in all, “Compliance” is an intriguing found footage horror film that does what it needs to do and doesn’t overstay its welcome. Combined with the performances, the unease and discomfort, as well as the effective ways that surveillance footage is used, you’re in for a specific type of treat with this film. If you consider yourself a big fan of found footage, then some satisfaction may be guaranteed with Kyle Mangione-Smith’s indie gem. 

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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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