Genre films have used tropes like time travel and time loops for far more than simply going backwards or forwards. In genre film, time can be an abstract concept that propels something more mysterious, a la “Donnie Darko,” but it can also be a narrative device like “Memento.” How filmmakers play with the concept of time offers seemingly limitless possibilities, yet we generally seem stuck on what happens during, but not after, a time-altering event. In the case of “Again Again,” from actor/co-directors Mia Moore Marchant and Heather Ballish, with a script from Marchant, we get to experience what the day after a perpetual Groundhog Day brings.

Mia was gracious enough to spend some time speaking with us about the inspiration for the film and what it was like cultivating her first feature film. “Again Again” will debut at the Dances with Films LA festival with a sold-out show on Wednesday, June 24, 2026, followed by an encore on Saturday, June 27, 2026. Tickets are available here!

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One of the first things we noticed when cueing up our screener for “Our Effed Up World” (2026) was a shift in the title card’s formatting. Historically, her films have proudly declared themselves to be “a transgender film by Alice Maio Mackay.” But in her latest feature, one word was notably absent. “Our Effed Up World” is simply “a film by…” 

It is a minor but notable change for a filmmaker who has traditionally structured her stories so centrally around queer, and particularly trans, identities. In her most recent feature film, “The Serpent’s Skin” (2025), the lead character’s power exists not despite their trans identity. And in this reviewer’s first introduction to Mackay, “T Blockers” (2023), the protagonist’s ability to detect the threat to their community seems mysteriously connected to their gender identity. 

With “Our Effed Up World”, Mackay appears to be expanding the scope of her work. While still creating a story that features both queer characters and sensibilities, she is also integrating these themes into the larger world in a novel way. Does her more grounded approach to queer storytelling work within this sci-fi story of extraterrestrial invaders? Or do the ideas get lost in space? 

What’s It About? 

“Our Effed Up World” follows Sheri, who thought her biggest problem in life was dealing with the recent loss of her beloved grandma. But when a mysterious entity crash-lands in the woods, only she and her group of shitkicker friends stand in the way of an insatiable, intergalactic hunger.

What’s The Verdict? 

This thought first occurred to us when we reviewed Mackay’s last feature film, “The Serpent’s Skin”, which we said at times felt like the “...extended pilot to an ongoing supernatural drama.” It recurred, and even strengthened, while watching “Our Effed Up World”. At some point, we need to see Mackay helm a television series. As with her past films, the brightest star in this story is the natural rapport and chemistry that Mackay evokes from her actors, and we can only imagine what kind of character development she would be capable of if given more time to let them breathe. 

The science-fiction narrative around these characters at times feels incidental to their everyday interactions, which we found captivating every time they take center stage. Wordless sequences following Sheri (Sara Thompson) and Poppy (Annapurna Sriram) as they navigate their humdrum day jobs at a local market simply vibrate with platonic love and intimacy. The same can be said of moments when they are joined by their friend Finn (Jess McLeod) or Sheri father, Hank (Scott Major). 

Whether they are breezily chatting about cheesy old horror movies, exploring their complicated grief and philosophies on death, or teasing one another about their astrophobia (that’s a fear of space, which this movie may reinforce for some viewers), these actors inhabit their characters and their relationships effortlessly. Mackay’s filmmaking style creates the sense that we are watching old home videos of real friends and family rather than watching actors perform a role. We found ourselves frequently wishing we could step into this “effed up world” so that we might find friends and family like those on-screen. 

Mackay's ability to develop and depict such nuanced and powerful relationships, combined with the ‘creature of the week’ style of science-fiction and horror scenarios she builds, would lend itself so well to a weekly series. The central plot of “Our Effed Up Life,” as well as easter eggs dropped throughout the film (We LOLd when Hank mentioned calling his contacts at Miskatonic University!), make it clear what a fan Mackay is of properties like “Scooby Doo! Mystery Incorporated” (2010), “Buffy The Vampire Slayer” (1997), and “Doctor Who” (2005). The story of Sheri and her ‘Scooby Gang’ fighting back against a mysterious extraterrestrial threat features loving tributes to these properties, including witty banter during research sessions, monsters serving as metaphors for real-life struggles, and cheesy (but enjoyable) costumes and special effects.

Mackay’s sensibilities in storytelling are both a strength and a weakness of the film. When focusing on the personal relationships and deeper themes of death, grief, and the innate chaos of human nature, “Our Effed Up Life” is mesmerizing, returning to the impressive performances and the direction of the core staff. However, the plotting that surrounds these relationships is sketchy at times. To fully cement the film as an immersive viewing experience, some additional attention is needed to make the main story and battle against the extraterrestrial threat more engaging. We can forgive some cheesy special effects, but the confrontations between Sheri, her friends, and the alien being lack any real stakes or tension.

We suspect viewers will connect most with Mackay’s latest film through her signature ability to tap into queer sensibilities. As mentioned, this may be one of Mackay’s least explicitly queer stories. Sheri’s sexuality is never fully explored, but she and her father present on the surface as heteronormative in their relationship choices and expression. That being said, we took great joy in seeing that even Sheri’s selfish (but gorgeous!) doofus of a boyfriend is seen sporting a “Protect The Dolls” t-shirt. Sheri surrounds herself naturally with a diverse group of friends. Their gender and orientation are never the driving force of their character arcs, but these elements are woven effortlessly into their characterizations. Furthermore, the themes of chosen family and the resilience of the underdog are reinforced throughout the movie in ways that viewers from all marginalized groups will resonate with. “Our Effed Up World” is a wonderful example of a more modern queer story that would work without LGBTQIA+ characters, but is made exponentially more potent by their inclusion. 

Final Thoughts: 

Fans of Mackay’s earlier works will find much to love about the latest entry into her filmography. While she does evolve her storytelling and themes somewhat from past films, we would be excited to see Mackay push herself even further into new territory in the future (perhaps that aforementioned television series?). “Our Effed Up World” is a science-fiction story, but the science and the fiction are incidental to the powerful relationships and character studies depicted. One’s enjoyment of that formula will depend upon what you come to the movie looking for. Where it is light on plot, the film hits hard with emotional beats and highly realized and nuanced characters.

“Our Effed Up World” will have its world premiere at the 2026 Frameline Film Festival on June 19th. Learn more about the festival here.

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Comics these days run the gamut from superheroes to regular folk just trying to survive, and the medium is all the better for it. The range of storytelling we have been seeing in comics and graphic novels over the years continues to bush the boundaries of the format, the aesthetics, and introduce novel techniques to engage readers in stories only the way comics can. One series that has had a vice grip on our attention spans is “Ghost Box” from Mike Carey and Pablo Raimondi. The fifth and final issue of the re-released “Black & White” version of the series hits shelves next Tuesday, June 23, 2026, and we have an exclusive preview to share with you lucky readers!

Synopsis

The true origin of the ghostbox is revealed as Chloe goes up against the Estival and detective sergeant Warren launches a new investigation – from inside the box! The souleaters are determined that nobody will walk away from this one, and they’re prepared to destroy the whole of London to get back what’s theirs.Told in pure black and white, this last issue also includes the ten-page epilogue originally produced for the print edition.

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It’s official: The long-rumored “Resident Evil: Code Veronica” remake was announced at Summer Game Fest last week, opening the night with a full trailer! Many differences are evident already, from the title being shortened to “Veronica” to an apparent complete rework of the opening. Based on the trailer, the famous Matrix-style helicopter shootout has been replaced with a moodier, first-person sequence featuring an old lady and an abduction by HUNK. Clearly, this is far more a re-envisioning than Capcom’s previous remakes.

From the information Capcom has put out since the trailer, we know there will be heavy changes. From the characterization of villains Alfred and Alexia Ashord, to adjustments to fit with later continuity, the changes to story and character are expected to be significant. Likewise, gameplay will of course be heavily altered from the original’s fixed-camera style, but Capcom has already hinted at changes from previous remakes. Social media teasers of zombie “hordes” and a possible dual-wielding mechanic imply a departure from the “Resident Evil 2” & “Resident Evil 3” remakes. To preserve the spirit of what made the original so beloved, while making the game fresh for 2026, Capcom developers have their work cut out for them, and here are five things Capcom needs to nail to continue their hit streak and make “Resident Evil: Veronica” a classic for the modern era!

Massive spoilers for the original “Resident Evil: Code Veronica” Lie beyond!!!

First and foremost, Claire Redfield needs to be a badass. Even if we don’t get her blowing up helicopters and fighting off an army of mercenaries, Claire needs to be portrayed as a tough, scarred veteran of the Raccoon City outbreak, one who seeks danger. If Capcom tries to create a Grace-Leon dynamic with Chris and Claire, it will be a huge disservice to her character and what she experienced in “Resident Evil 2”. Claire is one of the staple protagonists of “Resident Evil”, and just as tough as Chris, Jill, or Leon. With her turn to the spotlight for the first time this decade, she needs to be the unequivocal hero that she was in “Resident Evil 2” and “Resident Evil Revelations 2".

Secondly, Chris Redfield needs to have a real and consistent personality. There’s no debate that portrayals of Chris Redfield in the past decade have frustrated many fans. From his strange and baffling new look in “Resident Evil 7” to his gruff, borderline antagonistic relationship with Ethan Winters in “Resident Evil: Village", Chris’s angry, depressed nature has verged on self-parody from “Resident Evil 6” onwards. Early hints of chain-smoking and pill popping indicate that we will see Chris’ descent into darkness, but hopefully it’ll be one with more depth than he’s had recently. Resident Evil is not a series known for deep characterization, but "Requiem" and “Shadows of Rose” showed some good strides in that direction. “Veronica” is an opportunity to give us stronger Chris character work than ever before, or at least take us back to the Chris we knew and loved from “Resident Evil 5”.  

Capcom can fix a lot of issues by acknowledging that Albert Wesker needs a boss fight. Albert Wesker hasn’t been a fightable enemy in a mainline Resident Evil game in over fifteen years. His fights and dialogue in “Resident Evil 5” remain some of the most iconic elements of the entire series. After “Resident Evil: Requiem” declined to provide a boss fight with Wesker’s implied clone Zeno, it’s time to put the man in the black shades back in the ring. A mere cutscene is not going to satisfy fans these days. To solve this, Claire should now have the final boss fight against Alexia, and Chris’s fight with Wesker should be turned into actual gameplay. Not only will this solve the original game’s sidelining of Claire at the end, but it’ll allow Capcom to expand on the terrific hand-to-hand combat of the HUNK fight in “Requiem”. Although since HUNK is now appearing in “Veronica”, perhaps we’ll get a boss fight with him too!

Something that shouldn’t change is that Rockfort Island Prison needs to be terrifying: As a private concentration camp where political enemies and their families are experimented on, Rockfort Island is one of the most memorable hellish locales in a series filled with nothing but. Even for the Umbrella Corporation, the cruelty and horror of Rockford is nearly unparalleled, and when the outbreak occurs, it only becomes worse. Rockford should be one of Capcom’s scariest environments yet, a genuine nightmare. If it’s too scary, just tell yourself it’s all a game.  The idea that a megacorp like Palantir or X could have a secret island where they execute their political enemies and dissenting employees with guillotines is totally ridiculous. We probably don’t have to worry about that. It’s not like Palantir CEO Alex Karp has openly talked about scaring his enemies or killing them. It’s not like billionaires have secret islands where they do crimes on anything like that. It’s just a game.

What isn’t just a game is the way the original game treated Alfred Ashford. I don’t want the game to tone down the character or remove the implied incest subplot, but it’s possible to do some freaky fun without calling people freaks. I would love to see Alfred queen out in Alexis’s clothes and hair without Claire mocking him as a “cross-dressing freak”. Yes, Alfred was unfortunately a representative in the original of the “creepy crossdresser” trope (think Buffalo Bill/Norman Bates), but erasing Alfred’s kinky side isn’t the answer. It’s an issue. Capcom has already said that they’re going to be addressing it with some modern sensitivity, and hopefully some talented writers and voice actors can handle Alfred’s beautifully campy nature in a classy way. 

There are a few other minor things Capcom should keep or change, like Steve Burnside still needs to be the goofy, annoying, Canadian emo that we know and loathe from the original. Trying to make him cool and modern will just be sad. The dual-wielding has to be implemented carefully; it’s an important part of the original, but could be overpowered with modern controls. Finally, the gorgeous, sweeping gothic music is as much a part of “Code: Veronica” as the flamenco guitar is “Resident Evil 4”; the teaser is promising, and hopefully the full score lives up to that. 

“Resident Evil: Veronica” is a game that diehard fans have been hoping, begging, and praying for ever since the “Resident Evil 2” remake was simply announced. “Code: Veronica” was always the neglected odd child of the mainline franchise, and its fans have felt vocally neglected. Seeing it finally get the remake it deserves is beyond exciting, especially for Claire devotees (of which I am one). Capcom has been on a hit streak since “Resident Evil 7”, and if they can nail “Veronica,” it’ll mark a full decade of making incredible “Resident Evil” games without a miss.

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Greetings, fellow horror (and music) lovers alike. For this issue of Spinnin’ Scaries, I decided to branch out a bit when it came to choosing what to cover. Not necessarily considered a horror film, but a true work of art and obscurity. Let’s just go with psychological thriller for the genre, shall we? What we have spinning this month is Michael Andrews classical and moody score for the 2001 cult favorite, “Donnie Darko.”

Now I’m fully aware that this movie gets a lot of hate, but in the last decade has also been shown a lot of love and resurgence in popularity. With that being said, it doesn’t change the fact that the score/soundtrack is absolutely phenomenal. I’ve watched this film an embarrassing number of times (more than I’d like to admit), and the music is just so entrancing every time. A melancholic, hopeful, curious, and eerie blend of sounds that encompasses the idea of “Donnie Darko” so well.

It can’t go without mention the inclusion of the tracks from Tears For Fears, Joy Division, and Echo and The Bunnymen. I don’t think I’ll ever be able to hear “Head Over Heels” again without thinking of Donnie and his friends walking through their high school hallway. The whole soundtrack is just so well-rounded and leaves you remembering it for a very long time.

Comprised of 18 tracks and clocking in at 37 minutes, each song matches up with essentially every focal point in the film. I typically enjoy a lengthy list just to really explore the diversity of its sound, and this soundtrack is a prime example. The shift in tone is profound as you listen through the track list of “Donnie Darko,” and I think that is what makes it so unique.

There are a few songs that I have a particular liking for; Did You Know Him? is actually one of the last played in the film, and it has such an uneasy sadness to it that makes me feel so grief-stricken for someone I don’t know. The slow piano keys at the end gradually increase in lightness and are so dreamy to listen to, yet so harrowing. On the topic of dreaminess, Philosophy of Time Travel has a similar vibe but with a more ambient sound.

Cellar Door was dubbed in the film as being the most beautiful set of words put together in the human language. One would be curious to wonder if Michael Andrews created this track to match that phrase because it is just that beautiful. Angelic hymns blended with delicate piano keys that leave you feeling ethereal.

Slipping Away blends the moody curiosity of the film with a sense of hope, or could it be determination? It starts out very angelic, similar to some of the previous tracks mentioned, but the second half of the song picks up with fast, deep-sounding string instruments that “lead” you through the rest of it. By lead, I’m implying that the beat sounds like you’re progressively moving through something. Sort of how Donnie is moving through this alternate reality.

The Tangent Universe is definitely one of the darker tracks compared to its peers, with low-sounding wooshes or echoing mixed with intruding loud bell tolls. This one always gives me a weird, uneasy feeling after listening. Alas, we see some of the tonal diversity peeking through. Burn It To The Ground is another that feels like a dark cloud floating above. Even more so noticeable when you know the context of the scene this track is played over.

It’s incredibly difficult for me to pick a favorite track off this album…Frankly speaking, if you were to ask “what’s your favorite movie?” it’s going to be “Donnie Darko” without a doubt. That may sound incredibly absurd, but it’s true; this film has resonated with me since the first time I watched it and will always hold a special place in my heart. Having to choose, though, I would say that “Time Travel” encapsulates the entire essence of what this film represents. It sparks your inner curiosities about otherworldly possibilities while conveying such a beautifully melancholic curated sound. I catch myself replaying it often just to hear the first 20 seconds or so; the beat that is made with the piano keys in repetition and slowly fading into choral hymns is so nostalgic and comforting for some reason.

Celebrating its 25th anniversary this year, it has been quite some time since the initial release, which is mind-boggling to think, since it felt like the early 2000’s were just yesterday. This soundtrack is just as thought-provoking as the film itself, and Michael Andrews did an outstanding job creating this through what I consider to be some of his best works.

It may sound odd, but listening to this soundtrack can often leave me with a feeling of emptiness and confusion, but also a yearning for something more. Does time travel really exist? Or does the baseline of “Donnie Darko” intrigue you so much that you believe it does? There really is no definitive conclusion to the film, either, which some people have a very strong dislike for. Personally, I really enjoy watching something that leaves you wondering after the fact. It leaves open possibilities to theorize what you believe happened, and those ideas will encompass thoughts for at least the next hour and a half (not speaking from experience or anything).

Vinyl Details:

Donnie Darko 20th Anniversary Exclusive LP - Soundtrack by Michael Andrews (Newbury Comics Exclusive Color Pressing) (blue & white marble)

LTD: 600

Label: Everloving Records

"Music from the 2001 science fiction psychological thriller film “Donnie Darko”, written and directed by Richard Kelly. It consists of 16 instrumental tracks and two covers of "Mad World" by Tears for Fears, sung by American singer Gary Jules.

If you have yet to watch “Donnie Darko” for some reason, then this is your sign saying, “What are you waiting for?” A cinematic viewing experience paired perfectly with an astonishing listening experience as well. This one is for the lovers of classical music with an obscure and unsettling flair. Happy spinning, and I’ll be seeing you for our next issue of Spinnin’ Scaries!

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What would you do if you relived the same day over and over again? How would you reconcile the experience of knowing exactly what’s going to happen next, and even more directly, how would one maintain their sense of sanity when it feels like they’re stuck in a literal timeloop? It’s easy to assume how we might react, specifically if the day in question we are repeating is a “good” one, but even that could eventually turn sour with time, as the redundancy becomes a trap that encapsulates this one day in amber. “Again Again,” from co-directors Mia Moore Marchant and Heather Ballish, with a script from Marchant, explores something often not tended to in time travel films: what happens when it stops? How does life proceed when what you’ve come to expect changes suddenly, and you lose the sense of control in exchange for the mysterious unknown?

WHAT’S IT ABOUT?

After reliving the same day over and over again for 10 years, Agatha awakens to realize she's escaped and now faces the horrifying reality of a brand new day.

HOW IS IT?

Deep down, a lot of us are hopeless romantics. We want the storybook ending where we meet our “one,” and we want the happily ever after, but that’s where a lot of stories stop, at the end. The emphasis is always on what leads to ever after, but not what ever after actually looks like. This is just one of the many themes that “Again Again” grapples with as it weaves a deeply human story about what happens when you are asked to face the unknown of “ever after,” and at the same time, infuses a poignant story about finding love as a Trans woman that doesn’t center Queerness, but rather reminds us that all of us want love and we’re all scared of loss.

Agatha (Mia Moore Marchant) is stuck reliving the same day every day, but it’s not the worst day one could imagine. She’s in her RV with her partner, Tessa (Aria Taylor), and their days are spent playing music, lying around in bed, and adoring each other. Tessa is unaware of this loop, but Agatha is plagued by it, repeating the same beats every day, down to the point where the predicability begins to erode any sort of happiness that could be derived. That is, until one day things don’t repeat, and Agatha is forced to confront what’s next after perpetually being able to predict what the next day will bring. Agatha’s experience can be read in many ways, but at a base level, it’s about her fear of having to move forward and the uncertainty that comes with it.

 “Again Again” dabbles in sci-fi elements, but it never becomes the point, a wise decision considering how nitpicky folks can be about imagined science. Instead,  “Again Again” focuses on the love story central to Agatha and Tessa, and how what led to the time loop can help explain why it's so hard for Agatha to move on once it stops. What we come to learn about Agatha and Tessa’s past reminds us of the struggle that Queer folks, and in this case, a Trans woman, go through when trying to do the most human thing possible in finding love and companionship.  “Again Again” never makes Queerness the vehicle for the story, but it could certainly generate a fascinating discussion on how Agatha’s fear of moving on from the repeated day reflects society's fear of how our understanding of gender and sexuality is evolving. But perhaps the film’s greatest triumph is that it weaves a tender romance between Agatha and Tessa that is so lived in and real it can relate to anyone, no matter how you identify. Tessa’s hopefulness is in direct conflict with Agatha’s fear that she now has to deal with the repercussions of time, which have been stifled for 10 years, and my God, what an existentially terrifying idea that is for anyone.

Ballish and Marchant craft a film that looks as beautiful as the love story within it, and the rural Washington state backdrop is equal parts serene and mysterious, much like the unpredictability of the character’s next few days after the loop. Cinematographer Laffrey Witbrod uses visual flares and clever camera work to make  “Again Again” an interesting watch on a technical level, and there are various time jumps that can sometimes be a bit jarring when it comes to orienting what’s happening and when. For a first feature, these are minor quibbles that shouldn’t take the place of commending just how confident this story is. What becomes immensely clear as the credits roll is that the future of filmmaking is bright when stories are diverse and earnestly human.

LAST RITES

 “Again Again” is a tender story about love, but also the unknown and how we confront it based on our experiences. It is as beautiful as it is melancholic at times, and offers up a powerful message about making peace with ourselves and the world around us so we all can move forward, together. 

THE GORY DETAILS

“Again Again” will have its debut at a sold-out screening on Wednesday, June 24, 2026, at Dances With Films LA, with an encore screening on Saturday, June 27, 2026. Tickets available here!

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There are few places more captivating than the verdant landscape of the Pacific Northwest. That vast expanse of endless green can be hypnotically alluring, almost compulsive in its mystery. No pun intended, but this geography is ridiculously fertile ground for horror. Like the Hudson Valley, Pisgah, or Black Hills, the grandeur and stillness of the land ignite the imagination. There are trees hundreds, if not thousands, of years old, and rock formations sculpted by the Ice Age. Like a decrepit Gothic mansion, its very existence is enough to send a chill down your spine. It’s impossible not to find yourself wondering what lies beneath the earth, what miracle or abomination remains undiscovered within all this unspoiled terrain, what enigma has yet to be glimpsed by human eyes. Joshua Millican taps into the primordial fear inherent in these endless green valleys and puts it to good use in his new novel, “DOPEFOOT,” from Mad Axe Media, Repurposing the myths and legends both lovingly and fearfully associated with the Pacific Northwest, he creates a story so brazenly unique in its concept, design, and delivery that it's already destined to land on the Macabre Daily “Best Of” list for 2026.

SYNOPSIS:

When a college dropout accepts work on a cannabis farm in the woods of Northern California, he realizes almost immediately that the harsh realities of this life won't match his naïve fantasies. He'll have to work hard-and watch his back. Dubbed "Harmless" by his cultish cohorts, the young man learns the logistics of cultivation and the dark philosophies dictating conduct in this outlaw wilderness.

The farm sits on a mountain the locals call Satan's Tumor, above a valley called The Green Cauldron, where dangerous elements have been brewing beneath the misty canopy. Overstimulated gangs of smugglers and well-funded foreign mobsters vie for control of this fertile territory, threatening to disrupt an elaborate ecosystem that predates history.

And beneath it all, in the most dismal corners of The Green Cauldron, even darker forces are stirring... angry, agitated, pushed to the brink. The forest is an explosive tinderbox on the verge of ignition. If he's going to survive, Harmless must sink to new depths before facing unimaginable horrors on a feverish journey into Hell and back.

WHY WE’RE NUTS ABOUT THIS NOVEL:

Anyone who’s ever floundered for a moment in life will immediately gravitate toward and relate to Harmless, our wayward protagonist. Running from the inevitable tongue-lashing that awaits him at home after dropping out of college, he, like so many of us when we were/are young, seeks an easy, immediate solution to his current state of doubt and despair. He reminded us of Chris, Charlie Sheen's character from “Platoon,” whose naivety and boredom with privilege plant him firmly in the madness of the Vietnam War. Like Chris, he learns quickly that he’s way over his head, and the best he can do is try to navigate the concussive waves of insanity that come his way the best he can, with whatever he can learn on the fly. Millican makes Harmless real and relatable, as are all the characters, even those bordering on camp. He’s a literal babe in the woods…or is he? His arc is the most interesting in the story, and easily the one readers will find most satisfying. Nuff’ said; there’ll be no spoilers here. 

Perhaps the most intriguing character here is the setting itself. Satan’s Tumor, nestled within the claustrophobic grip of the Green Cauldron, is a sinister son of a bitch. Teeming with myth, legend, and folklore, this has to be one of the most immersive and enjoyable settings we’ve experienced in a novel since Michael Wehunt’s “The October Film Haunt.” You’ll feel these green walls close in on you as you progress through the story and prepare yourself to never want to go into the woods again once you finish.   

We champion stories like this at Macabre Daily, and we will always go out of our way to highlight authors who are unafraid to lean into the weird, to take chances, to experiment. Like the very best of Lynch and Jodorowsky, Millican burns his ships and stays true to the vibe he’s created. Sometimes it's all very much like jazz, where you may struggle to find the rhythm of where it’s ultimately heading, but damn if you don’t enjoy every single note. What Millican excels at is keeping the reader off balance. Within no time, you’ll find yourself in a veritable gumbo of escalating tensions, conflicts, and characters, all about to boil over into chaos with smugglers vs. mobsters vs. folklore. Lions and tigers and bears, oh my!

It makes for a thrilling read, and you’ll be forgiven if you think Millican may be throwing everything at the reader for the very purpose of keeping them on their heels, but there’s a sly method to all this madness, and we’re happy to tell you that once the dust settles, a beautifully intricate tapestry emerges. It’s masterful in its unhinged elegance, adding a layer of sheer audacity to the novel that left us smiling from ear to ear. This is the literary equivalent of Simone Biles sticking the landing. There’s so much motion and blur that you miss the finer details, but there’s no mistaking that satisfying finish, and you’ll be thrilled by the effect it has on you. Days after finishing this book, we were still thinking about it and marveling over the minute details that fell into place, ultimately creating a mythology and world we’d very much like to return to.  

FINAL THOUGHTS:

Joshua Millican writes like a fever dream. If you like cookie-cutter, formulaic horror, he’s not for you. Well, he actually is, but you need to take a chance on stepping outside your comfort zone. But isn’t that what you really want? The great thing about this novel is that it creates a fascinating world for you to live in that is so thoroughly engrossing that it could easily be just as entertaining in another genre. If you removed the supernatural elements from this book, it could sit beside Dennis Johnson’s “Already Dead: A California Gothic,” or T. Coraghessan Boyle’s “Budding Prospects.” We’ll happily take the horror, but it’s a testament to Millican’s ability as an author that he transcends labeling and is simply a solid, wonderfully effective writer.  

You can purchase “DOPEFOOT” here.

You can follow Joshua Millican on Instagram here.

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The pairing of hard rock and horror movies is a time-tested tradition that has sadly fallen out of favor in recent years. While there have been smatterings of films that have attempted to rejoin crunchy guitar chords with riffs on grisly violence, it’s few and far between, at least compared to the 1980s. Films like “Black Roses,” “Trick or Treat,” and “Rock ‘n’ Roll Nightmare” are just some of the heavy metal horror flicks the decade gave us, and more recent films like “The Devil’s Candy” and “We Summon The Darkness” have tried to reign horror back into the realm of the heavy. Thankfully, blossoming filmmaker Somto Umelo (who has contributed some outstanding pieces to Macabre Daily) is seeking to course-correct with his short film, “The Headliner!”

“The Headliner” has just launched on Kickstarter, and you can use the button below to support the campaign. Below is some additional information about the production, and we can’t wait to see what “The Headliner” has in store!

Synopsis

Four young musicians break into a disused backstage building to scavenge for equipment, unaware that it is inhabited by a supernatural rockstar who begins to pick them off with his weaponized guitar. Blends campy slasher tropes with glam rock n roll aesthetics and music video energy.

Inspirations

The top 4 inspirations for “The Headliner” are “Trick or Treat” (1986), “The Slumber Party Massacre II” (1987), “Return of The Living Dead” (1985), and “Slaughter High” (1986). The first three are apparent because they explicitly share the same rock ‘n’ roll DNA, but I was very inspired by the atmospheric nature of the building that “Slaughter High” is set in. Another film inspiration, tone-wise, was “Evil Laugh” (1986).

Filmmaker’s Note

“The Headliner” is my love letter to both rock n roll and gimmicky slashers of the late 80s, and the best way I knew I could show that was through the headliner’s weapon - an electric guitar with a headstock that can transform to different weapons. That way, the horror never feels inseparable from the music. And while the set pieces here are relatively small compared to School’s Out!, there’s still more than enough to satisfy gorehounds.

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For regular readers of Macabre Daily and Paper Cuts, you’ll understand our excitement when we discovered that one of our favorite new authors, Saratoga Schaefer, announced a second novel a mere four months after the release of “Trad Wife” (2026). You can refresh yourself by revisiting our review of their last book here, where we declared it a frontrunner for one of our favorite horror novels of the year.   

There is no doubt that we nearly leapt through our computer screens to nab another opportunity to talk with Schaefer about their next novel, “The Last Time We Drowned” (2026), scheduled for release on June 2, 2026, from Cosmo Reads. Much like their last novel, Schaefer turns their dark eye upon the world of online influencers. That being said, apart from their skillful storytelling, the similarities end there. 

“The Last Time We Drowned” brings Schaefer’s ability to meld cultural critique with dread to a very new setting, aboard The Empress, a luxury yacht that serves as home and workplace to six social media personalities, all of whom have carried a variety of dark secrets on board as they seek to build their online brands. We were honored to talk to Schaefer about their professional and personal history with social media, which helped inspire their story. We also got to talk about one of our other favorite topics: Queer horror and gender, as we pick apart how feminine identity can catalyze horrors on the page and in the real world. 

Finally, Schaefer fans can rejoice because we have it on good authority that a third novel is coming our way in September of this year. So they’ll be back to chat with us again soon, if we have anything to say about it! 

“The Last Time We Drowned” will be released on June 2, 2026, from Cosmo Reads. 

Buy the book here, and be sure to follow Saratoga Schaefer online here to connect with them and their future work.

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What do you do after being biologically mutated and losing the ability to feel physical pleasure? Where are we supposed to go in the aftermath of a national crisis that emotionally affects our surrounding communities? Stephen Sayadian poses these bizarre questions with a swift, sensual answer in "Café Flesh" (1982), his directorial debut credited only to Rinse Dream, which led to multiple unauthorized direct-to-video sequels and a cult legacy of boundary-breaking erotic horror. Co-written by Jerry Stahl under the pseudonym Herbert W. Day, the film is inspired by "Cabaret" (1972) and offers a larger-than-life look at what happens when we are forbidden from acting on our greatest natural carnal impulses. Distributed by VCA Pictures and financed by the 35mm company responsible for "Hot and Saucy Pizza Girls" (1978) and the infamous "Johnny Wadd" series, it won Best Art and Set Direction at the 1983 AFAA Erotic Film Awards, and was nominated in various categories by AVN the following year. Furthermore, the project employed primarily non-porn performers from traditional theatre backgrounds while adopting and then immediately subverting the standards of the adult industry, effectively catapulting itself into a realm of cinema that both mainstream and independent studio systems refuse to acknowledge today.

"Café Flesh" can best be described as a dystopian sci-fi horror film set five years after a nuclear apocalypse — according to its lore, The Nuclear Kiss left 99% of the human population incapable of performing sexual acts without becoming violently ill, with carnal consequences quickly manifesting on a range from nausea and vomiting to open sores that leave facial scar tissue. Never does the project focus on the science behind radiation poisoning or even the political history that leads to its universe succumbing to a dark period of fallout; rather, it introduces the audience to a central titular location, where all but two scenes showcase Sex Positives, those remaining with a healthy capacity for intercourse, and Sex Negatives, the poor majority stuck in a cycle of disastrous desire. Pre-production included rehearsals and traditional casting tactics, whereas the script segued into a metatextual commentary about the contemporaneous onset of the AIDS crisis. None of the crew had experience working on adult cinema, and the piece was met with apprehension until actors arrived and recognized it as a legitimate effort. Sayadian himself previously designed iconic theatrical posters for films like "Dressed to Kill" and "The Fog" (both 1980), which probably explains why the one-sheet for this feature is similarly striking. 

Each of the sex scenes in "Café Flesh" has an offbeat style to make you wonder why and how any of it is happening; the opening act sees three bearded men in baby drag and a humanoid rat with a phallic snout seducing their mother, businesswomen get it on with life-sized pencils, and themes of nuclear warfare clash with the deliberate pastiche of musicals from the major studio system. As most horror films do, it calls directly back to "Psycho" (1960), this time ignoring the shower scene to examine a wall of taxidermy birds, and there’s an eccentric, campy tone held firmly throughout that feels rare, even for an industry reliant on comic relief to sell hardcore material. Annette Haven, a notable star during the golden age of porn, was in the running to lead the picture, but her day rate was way out of budget, and the role ultimately went to Michelle Bauer, who later cemented herself as a beloved B-movie actress and scream queen of the 1980s. Extras were recruited from a punk-rock community that casting director Janet Cunningham built in the area, and to add to the uncanny visual quality, these actors were framed like statues in the background, only moving to speak when they are spoken to.

Only ten days were granted to shoot principal photography, which was still inconceivable during this period. Split down the middle for five revolving around penetrative sex and another five dedicated to the narrative at hand, the final cut of the film runs at just over an hour, combining sexuality with social satire and surrealism, achieved through explicit acts on a theatrical stage. "Café Flesh" was produced on a budget of $90,000, with an additional $10,000 to promote it alone, and the result is essentially a celluloid art installation with emphasis on vibrant colored lighting and moody, stylized atmospheric allure, playing out in real time like an uncanny follow-up to triple-X classics, such as "Behind the Green Door" and "Bijou" (both 1972). Born into the era of porno chic as a box office bomb, it was swiftly pulled from grindhouse theaters due to audience outrage, and thereafter became a cult classic midnight movie following word of mouth buzz and an extremely perplexing critical reception. It defies every expectation and boundary laid out by the adult industry, with deliberately extravagant choreography and set pieces within the shell of a postmodern, post-apocalyptic punk aesthetic, entirely shot in Los Angeles at the creator's Wolfe Studio, where vice cops could've easily prosecuted everybody involved.

In 1982, it was illegal to shoot hardcore material under obscenity law, but not to possess, distribute, or exhibit it, which created an inherent paradox between industry creatives and the government, leading to the majority of those involved in the production using pseudonyms. "Café Flesh" deals with a disturbing dichotomy of creating and consuming pornography, as sex is itself a vessel for power and the lack thereof, depending on the freak who approaches it with a fresh form of desensitization. Sayadian's film becomes a meta text when honing in on the patrons staring at the performers on stage, and the director proposed but did not ultimately include a homosexual scene, and the depiction of interracial connection as a steady societal discomfort. It revives the spirit of countercultural free love and sexual liberation movements led by women and gays of the 1960s and 70s, explicit and vulgar by its kitschy design to break whatever taboos were left standing at the time. Pornographic character tropes appear as thin as they are in reality — the bored housewife, the milkman, the hormonal virgin — presenting a pointed critique and attitude against erotica that none of the established filmmakers in the adult circuit would otherwise wish to represent.

Teasing foreplay about to begin before diving directly into penetration, the film often executes the polar opposite of the golden age's formula and structure. Sex sequences are all unsimulated, of course, but they come off like inserts, as "Café Flesh" is primarily plot-driven, intended to be unsexy and distracting as the raunchy material arrives in the form of nonsensical vignettes. Rather than turning them on, Sayadian sought to repulse viewers and dismantle the conventions of the medium at hand to pave space for a new wave and unprecedented straight feature crossover. Key players include Nick (Paul McGibboney), the film's Negative lead, with a cynical view of the sensual underworld that he frequents after autonomy is robbed of many as a result of corrupted authoritative powers. Andrew Nichols takes center stage as Max Melodramatic, the club's zany host, who spotlights the intimacy, refusing to participate, and at one point even breaking down over flashbacks of being castrated in World War III. Additionally, Kevin James of "Taboo II" fame is rightfully present as Johnny Rico, a mute, godlike fashion figure, only describable as a hung, brunette humanoid variant of Max Headroom, to which the story builds up to him meeting Lana (Bauer), seen living in a consistent battle of her physical, emotional, and romantic needs. Appearing under the moniker Pia Snow, she performs a girl-girl scene in the final act, while a body double was understandably requested for any potential hardcore penetrative segments.

It is never explicitly explained whether Lana is Positive or Negative, the ambiguous nature and contradictory intimacy with her boyfriend Nick intended to mirror the risk and reward factor of casual carnality in an era where bodies were dropping without any talk of status. She moves forward with her grand finale cuckold humiliation ritual, locking eyes in a freeze frame that suggests further disaster to come, which in early drafts would've been an element of graphic violence or public suicide. Sayadian's debut is a disorienting watch, rarely concerned with establishing a time to match its place; we know that this is set sometime in the future, but for 75 minutes, the piece is so centered around chaotic, nihilistic, outright repressive energy and flashy art deco design with sirens from the atomic age mirroring worldwide hysteria. This is also a neo-noir project minus the detective plot, dialogue-heavy with sharp colors and shadows that bury you under the fractured psyche of this world and its bleak depiction of sex work as an indefinite sentence of misery, bordering on the titular joint as a human trafficking hotspot. "Café Flesh" is therefore a reflection of lust personified, its subjects acting on pure ambition and self-satisfaction, significant for its confined state of sexual purgatory and an original synthesizer score released on vinyl to coincide with the film's recent restoration; love it or hate it, this lives on as an extremely radical reclamation of intense, instinctual habits that devolve into a ritualistic cult nightmare!

“Café Flesh” is available now on 4K UHD and Blu-ray from Mondo Macabro!

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Macabre Daily has always been a champion of queer horror. We understand the power of the horror genre to offer catharsis and empowerment to marginalized communities, and we seek out opportunities to feature films that focus on the queer experience whenever we can. For Pride Month, we couldn’t simply rest on our laurels. We needed to find a way to step up our game, which is where Brian Finnerty, contributor and author of our Skeletons In The Closet column, comes in. 

Together with regular host and Editor-in-Chief of Macabre Daily, Matt Orozco, we reached out to some of our favorite queer filmmakers to help us instigate a Pride Month takeover of the Macabre Daily Podcast. Joined by Roger Conners, Joshua R. Pangborn, and Zack Ogle, we were so excited to dive into the topic of queer horror.

These filmmakers were so generous with their time and lived experiences, sharing how their queer identities influence their work. We also dug into some of our earliest memories of linking the horror genre to our queer identity and discussed where we want to see the queer horror subgenre go in the future. They also found time to dole out some important Pride-related fashion advice to our hosts.    

Listen to this very special episode of the Macabre Daily Podcast below or wherever you subscribe. 

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The thing about the internet is that while it can be a great place to find community, connect with people, and not feel so alone in this world, it can also be a frightening place to navigate. Some people don’t have good intentions, are just creepy, and in the worst cases use the internet to invade others’ privacy. “Megan is Missing” (2011) is one of those extreme horror films that explores these themes and still remains highly controversial.

“Megan is Missing”, directed by Michael Goi, is found footage and uncomfortably follows what led to the disappearance of a teen girl named Megan Stewart (Rachel Quinn), and the desperate investigation that her best friend Amy Herman (Amber Perkins) embarks on.  It’s not a fun watch, and it’s very rough around the edges, but it captures a very ugly reality regarding child predators and internet safety that you could easily hear about in a true crime case. 

“Megan is Missing” is disturbing, deals with uncomfortable subject matter, and please mind the trigger warnings. And bear in mind that spoilers are very much ahead. 

The beginning of “Megan is Missing” offers us a nonlinear opening that lets us know what we’re in for: Megan and Amy are missing. What became of them unfolds in a film that takes bits and pieces from various technologies and news reporting. The footage isn’t ultra HD, which aids in making this feel more like a real story. When we meet both Megan and Amy, they are certainly different depictions of what a teenage girl may be like. Megan has a troubled home life with her mother, is sexually active, does substances, hangs around people who don’t benefit her life, is a survivor of CSA (child sexual abuse), and is actively seeking validation. Meanwhile, Amy comes from a loving household, her parents have a happy marriage, she is a virgin, and is very insecure about herself.

The sexual abuse and abandonment that Megan experienced prior to her abduction certainly make her a vulnerable target. It’s clear that nobody taught her what to look out for or that people aren’t always who they pretend to be. And it makes the result all the more tragic because she becomes a statistic. “Megan is Missing” doesn’t suggest that either of these girls deserves to suffer or become targets for child predators, though the film does tackle how it doesn’t matter who you are - predators recognize vulnerability. While kids who come from unstable home lives are more likely to become targets, they aren’t the only ones who do. It’s an important aspect of “Megan is Missing” that somewhat sets it apart from typical internet-based cautionary tales. Predators aren’t always outwardly creepy-looking or sounding. Which is another thing that the film gets right if nothing else.

The moment we’re introduced to Megan and eventually Amy’s abductor, the red flags are very abundant. From the excuse of the webcam being broken to the unconvincing lies this man, who goes by “Josh” (Dean Waite), tells Megan and Amy. Throughout the decades, people have brushed off internet safety as corny or people being overdramatic about the dangers of the internet. Meanwhile, to this day, kids are still targeted on the internet because it’s the easiest point of access, like the still ongoing Roblox scandals. While “Megan is Missing” came out in the 2010s, it’s still relevant because we are actively living in a time where predators like “Josh” groom and attempt to or successfully lure their victims through online chatting, including gaming chats. The tactics haven’t changed, but the scope of those tactics has certainly increased.

“Megan is Missing” doesn’t necessarily beat you over the head with outright discussions surrounding internet safety. Other than the news report about child abduction and Megan’s abduction reenactment.  Instead, it sprinkles the ideas about investigating who you’re talking to, the anonymity that people like “Josh” operate under, and the difficulties in finding a child when their abductor can cover their tracks. Unfortunately, Amy comes to find out the truth in the most disturbing way imaginable. As soon as the film pivots solely to Amy’s point of view, the energy shifts, and we’re exploring the world through a more hopeful set of eyes. Amy desperately wants to find Megan and believes that she’ll find her. She even makes the grave mistake of mentioning “Josh” on the news, as well as hanging out in isolated locations by herself instead of having a parent accompany her. Girls like Amy are more prone to seeing the world a little differently than girls like Megan, who are survivors of various traumas. Instead of being world-weary and attempting to be too mature, the approach that Megan was taking – Amy acts more her age.

As soon as the film pivots solely to Amy’s point of view, the energy shifts, and we’re exploring the world through a more hopeful set of eyes. Girls like Amy are more prone to seeing the world a little differently than girls like Megan, who are survivors of various traumas. Instead of being world-weary and attempting to be too mature, the approach that Megan was taking, Amy acts more her age. Despite this, neither of the girls survives in their modes of being. They both meet a grisly end all the same, and that’s too big a pill for people to swallow. The intent behind “Megan is Missing” is up for debate and discussion quite often in the horror space. If you go by what the film presents outright - it’s meant to both scare and warn you about the topic of internet safety. Rather than victim blame, the film merely warns people and potentially parents that neglect or even blind spots when it comes to a child’s behavior online can prove to be dangerous.

People often criticize the film for being too exploitative, and while that’s a critique people are allowed to have, I personally don’t think this film is exploitative because it lacks intentional titillation. There’s no point in the last 20-plus minutes of “Megan is Missing, which are undoubtedly the most terrifying of the entire film, where it’s filmed in a way that’s anything but miserable. Instead, “Megan is Missing” is effective in the realism of the CSAM of Megan, the scenes where Amy is held captive and raped by “Josh”, and the hopelessness of Amy pleading for her life at the end of the film.

When Amy is buried alive in a barrel with Megan’s rotting corpse, there’s a symbolism that can be read through this. The barrel is inescapable, and upon burying the evidence, the cycle of grooming resets because “Josh” will target someone else again. There’s no justice to be served, no answers to be given, and certainly no silver lining to be found. All that’s left is a nihilistic outcome and a reality that nobody should or can avoid in the digital age.

The film came out 15 years ago, and it still resonates because we’re not remotely out of the woods as far as keeping people educated on the digital evolution of exploitation, grooming, abduction, and more of minors. In fact, the topics still aren’t taken seriously enough by everyone. And with technology becoming more frightening, with not only the harmful environmental effects of AI, but also people can take pictures of minors and manipulate them however they please. It’s a scary world, and “Megan is Missing” merely highlighted what that looked like in the 2010s. In our current digital age, people can’t afford to be uneducated on these things if they have people in their lives who could easily be affected. And while 2011 was some time ago, the themes continue to linger and also validate what the film was trying to say at the time.

Neither of these girls deserved to have their lives cut short because of a sick man on the internet. But it happened all the same and did so in a gruesome way that burrows into the brains of those who happen to watch this imperfect, as well as highly controversial, entry in extreme horror. All in all, “Megan is Missing” is a film that says enough regarding its overall themes, and is hard to forget about due to the climax. 

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Queer horror is having a moment. In truth, it has been for a few years now. Social openness around sexuality and gender identity is more common than ever, while LGBTQIA+ identities are ever more controversial in the political and cultural battlefield. In response, we are seeing filmmakers lean more heavily into explicit representation in their films, ensuring that our stories are being told.

In a recent poll, it was reported that support for the legality of gay marriage has dropped by six points since peaking in 2023. Only 62% of U.S. citizens believe that gay and lesbian relationships are “moral”, the lowest reported rating since 2016. The modern uptick in queer horror is likely a direct response to such cultural conversations. In watching “Leviticus” (2026), the debut feature film from Adrian Chiarella, this may also explain why we found so much of its story to feel familiar, but uncomfortably so. Let’s unpack…

What’s It About? 

Two teenage boys must escape a violent entity that takes the form of the person they desire most – each other.

What’s The Verdict? 

Perhaps it is the fact that this reviewer is no longer a “young” queer viewer himself that explains why I responded so differently than I suspect was intended while watching “Leviticus.” Where we suspect we were meant to feel hope, we felt sadness. Where we suspect we were meant to see love, we saw self-loathing. Demographics of the viewer aside, we also need to hold the writing accountable for what we ultimately found to be an intriguing but confusing journey. At Macabre Daily, we’re not afraid of bleak horror. And to balance such levels of bleakness, nihilism, and trauma, a storyline must present one of two things: A strong purpose or entertainment. We were disappointed to find that “Leviticus” failed to bring either of these to the table. 

“Leviticus” offers the germ of a really interesting idea. A demonic entity powered by lust has serious potential, as evidenced by the critical success of “It Follows” (2014). Unfortunately, Chiarella’s use of the idea never amounts to more than foreplay, resting on a fairly obvious theme: Conversion therapy is bad. This is true. Conversion therapy is wrongheaded, dangerous, and often deadly. But in a world where queer individuals have experienced this firsthand for generations, a film needs to bring a lot more to the table when exploring such a sensitive subject. We found “Leviticus” to be almost reductive in its depiction of queer pathos, with a puzzling fixation on the areas of overlap between queer lust and self-hatred. Scenes involving young closeted men pelting each other with rocks before kissing, and outing one another to their parents and pastors, are reflective of real-life experiences, but felt out of place in a story that seems to want its audience to believe in the power of the romantic love between its leads.

The cruelty of the parental figures in “Leviticus” was similarly uncomfortable to behold. However, it was also so casually depicted that it was difficult to connect with the material. Naim’s mother (Mia Wasikowska) is a confusing character, vacillating between moments of tenderness and off-handed betrayal toward her son. While such parents do exist (all too often), the writing behind her character is muddy, offering little to say. She is so disconnected from Naim’s fear and anger that it prevents the audience from ever caring about their family system. Similarly, the complicated grief we see from the parents of another unfortunate youth in the story rings hollow when we are to understand that they willingly and knowingly subjected their child to the supernatural danger at the heart of the story.

The mechanism behind the curse at the center of the narrative also proved problematic. The spiritual figure who sics the demonic entity upon the young queer folk in “Leviticus” does so in a way that is presented as comical. His ritual is one of the only moments of humor presented in this heavy-handed story, but it failed to land for us, even as an instance of dark humor. While there is probably something to be explored about the ease with which this religious sect wields power over these sensitive young people, we found it to be another example of disempowering queer individuals, at a time when we are desperately in need of even a glimmer of queer resistance and strength.     

Further pulling us out of the story “Leviticus” are the frankly foolish decisions that the characters make time and again. As lifelong horror fans, we understand the suspension of disbelief that is often required to accept the poor choices characters make (sure, let’s read the Latin!) However, when presented as an example of ‘elevated horror’ as “Leviticus” is, we expect the plot to be a bit tighter. After the third or fourth instance of a character clearly reminding another of the rules (“it comes after you when you’re alone!”) only to immediately turn around and walk home alone in the dark, or stroll by themselves into a nearby bathroom, we were honestly rooting for the demonic entity to pick them off. Similarly, certain characters’ chronic naivety in allowing the entity to lull them into a false sense of security rings false when it is repeatedly established that it takes the form of the person they most long for. Fool me once, shame on you; fool me five or six times, shame on the writer.    

Credit where credit is due, Chiarella is a damn talented filmmaker. For a debut feature film, his skill is clearly on display. From his use of shadow and sound to emphasize the dread and fear of his young protagonists, to the depiction of the industrial sprawl of the small Australian town where the story takes place, Leviticus is a beautiful piece of filmmaking to behold. Credit also goes to his direction of Joe Bird and Stacy Clausen, as Naim and Ryan. Alongside their naturalistic acting, Chiarella creates a relationship with palpable chemistry and intimacy. Many young queer viewers will see themselves reflected in the relationship at the core of this story. 

Final Thoughts

“Leviticus” is a film we were truly rooting for. While very competently constructed and acted, we ultimately found it to be a convoluted story, more interested in exploiting queer trauma than exploring the nuance of the queer experience. “Leviticus” is too light on complex storytelling, creative ideas, and genuine scares to allow us to forgive some of the puzzling character choices and plotting. We do not doubt that Chiarella’s story will find an audience. Whether due to our high expectations, divergent life experiences, or simply our burnout with stories of queer pain, we were not this movie’s target audience.   

“Leviticus” will be released in theaters on Friday, June 19, 2026, from NEON.

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In the wake of "Jaws" (1975), a slate of seaside horror films was born—now recognized as Sharksploitation—with countless imitators still being produced today, forcing man to fight beasts in bodies of water as well as primal fears of the loss of control within the endless depth of the ocean itself. Tommy Wiseau is known by film enthusiasts for many reasons, most notably a romantic drama entitled "The Room" that redefined the concept of the midnight movie in 2003 and continues to hold weight in the field of independent filmmaking, but those out of the loop might be surprised to hear that the legendary auteur has returned at the helm of a follow-up flick. That's right, following its 2023 premiere, "Big Shark" is finally playing in select arthouse theaters across the nation, part of the director's own "Love Is Blind" tour, and as the back half of double features including the aforementioned uncanny crowdpleaser. Does this ambitious addition to the creature feature canon have what it takes to become the next cult classic, or is it doomed to sink below the surface for good?

WHAT'S IT ABOUT?

Three firefighters must save New Orleans from a shark attack.

HOW IS IT?

Production circumstances surrounding this title are equally chaotic and troubling as they were with "The Room" seventeen years prior; the earliest trailer for the film was released after two days of shooting in Lafayette, Louisiana, in 2019, though this time was used seemingly for the sole purpose of a cinematic test run and announcement of the director's long-awaited return to the big screen. Naturally, Tommy Wiseau appears at the center of the minute-long teaser, joined by Isaiah LaBorde, who would reprise his role for its feature adaptation, and Greg Sestero, who was unfortunately recast due to illness and a tight scheduling window. Inspired by the flooding of the Deep South during Hurricane Katrina, this initial effort ultimately exists as a short proof of concept that suggests impending disaster following a date night gone wrong, as streets fill to the brim with water and we get our first sighting of the thirty-five-foot-long man-eater ready to wreak havoc in the region, before a swift cut to black and echoed screaming. It should go without saying that it's a major creative risk to pull promotional material out of thin air for a work that hasn't been fully realized, but in this case, the widespread excitement and exponential rise in anticipation for the project helped "Big Shark" come to fruition in the immediate aftermath of the COVID-19 pandemic.

Multiple versions of "Big Shark" have been touring the country since 2023, including a pre-release roadshow variant that tested the waters with lucky limited audiences and a completed final cut, both of which I've had the pleasure of viewing at The Independent Picture House in Charlotte, North Carolina, hosted by none other than Sestero himself! Despite initial concerns over quality control and the need for another killer fish flick after countless "Sharknado" sequels and similar disaster movies, the film has undoubtedly grown into an instant hit with equal emphasis on heart and harrowing, larger-than-life terror. Following an action-packed prologue where Patrick (Wiseau), Tim (LaBorde), and the recast Georgie (Mark Valeriano) save young children from a massive fire, the narrative segues into a multi-day bender where the three heroes drink, party, and wander streets that flood randomly, tasked with the mission to eliminate a 35-ft monster causing city-wide destruction and mass hysteria while they ramble about living in delusional minds and occupying each others' brains. It feels quite hard to criticize the characters that appear throughout the story when they maintain such a high level of civic pride, protection, and admiration for the community where they reside; moreover, the project reads like a love letter to Louisiana and the vibrant culture it has become known for, utilizing locals as extras in memorable bit roles.

"Big Shark" thematically makes waves by following and studying the dynamics within a group of realistic people, whose relationships begin to crack under pressure as soon as they are catapulted into a scenario where the world seems to be coming to an end. Some bonds are irreparably fractured, while others are reinforced in the face of fatality and a looming threat of danger, as citizens across town are continually abruptly eaten in broad daylight, on broadcast television, and as a result of sudden national insecurity. There's no denying that the stakes here rise above and beyond what a film of this budget, timeline, and side of the industry can achieve, but somehow, it finds the strength to brush against its limitations and zealously commits to the concept. Any viewer should be quick to notice that the sound design is primarily reliant on diegetic audio, and arguably to its benefit; where most would agree that lackluster sound-mixing breaks work by inaccessibility alone, Wiseau's decision not to score scenes outside of brutal attacks is less jarring than it is genius, forcing the audience to disregard cinematic tradition and feel as though they've been sucked into the movie. Moreover, fans can look forward to original tunes and mantras chanted by the central characters, such as "Heroes Don't Die and Cowboys Don't Cry," and "Sophia," which starts in an early sequence when Patrick's girlfriend (Ashton Leigh) argues that there are no sharks in New Orleans because they don't exist.

What sets this film apart from Wiseau's notorious feature debut and subsequent creative endeavors is the way that he adds straight horror elements into an already crowded mix of melodramatic narrative beats, ambitious optical effects, and humor of both deliberate camp and inadvertent executions. "The Room" pushed major filmic boundaries by simultaneously being shot using the 35mm format standard for the industry of that era, and early digital HD equipment that was then combined with the analog reels. In a surprise twist, "Big Shark" looks to be composed entirely of digital cinematography, firmly in line with the quality that contemporary audiences are accustomed to, while remaining experimental in the realm of CGI animation through a massive, morphing sea creature thirsty for blood on the streets of New Orleans, courtesy of an uncredited VFX company or program that has yet to be revealed. Breaking news coverage transforms TV screens into a ticking clock of death, with live footage of the man-eating monster destroying the city one block at a time; this project obviously suffers without the technical nuance and intricacy of a big-budget studio property, but that doesn't mean it lacks merit. Rather, it succeeds because it is an honest, raw attempt at showcasing sudden terror in the real world on a scale small enough to identify with its zany characters.

THE VERDICT!

If "The Room" is merely considered to be Tommy Wiseau's independent feature directorial debut, "Big Shark" can be seen as an honest attempt at a big-budget action blockbuster epic, and ultimately succeeds in its efforts to deliver tension, turmoil, and an abundance of levity altogether. Presenting conventional shark survival tropes seriously without the polished sheen of a studio production, the film retains a level of absurdity authentic to the auteur in question and feels very unique in a sea of similar titles churned out on an annual basis each summer. It's a top-tier experiment in live, diegetic sound with layers of realism embedded into an otherwise unbelievable American Kaiju narrative. Seeing it in a packed auditorium with an even mix of dedicated fans of the cult director and newcomers who have no idea what's to come, the viewing experience is all but guaranteed to be memorable, and should be of top priority if it's screening at your local arthouse!

"Big Shark" is now playing in select theaters and is also available on Blu-ray and DVD from Wiseau-Films!

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In the world of slashers, “Scream” used to be one of the exceptions to the rule that franchises offered diminishing returns. With a sequel that some say is better than the original, a 4th film that was way ahead of its time, and a reboot trilogy that has almost been a metaphor for the fading appeal of nostalgia baiting in horror. The most recent entry in the series sees the return of the original screenwriter, Kevn Williamson, and, similar to Mike Flanagan’s “Doctor Sleep,” it has to walk a fine line between honoring two entirely different interpretations of the series, given the disruption caused by the turmoil of the most recent entry, “Scream 7.” Now that the film is out on 4K Blu-Ray, it’s time to see if this latest entry can correct course for one of horror’s greatest franchise derailments.

WHAT’S IT ABOUT?

When a new Ghostface killer emerges in the town where Sidney Prescott has built a new life, her darkest fears are realized as her daughter becomes the next target.

HOW IS IT?

For a long time, “Scream” was basically untouchable. The fan base was rabid, the worst sequel in the series was miles better than some of the best in other franchises, and after 6 sequels was still finding ways to surprise and delight fans. A lot of that changed with the fallout that occurred during the production of this film, and in a way, it casts a shadow over this entry with valid criticism and concern. It’s hard not to see that in the final product, that is “Scream 7.” It’s a movie that wants you to take it very seriously, despite not being all that serious to begin with, and watching it feels like you’re being transported back to the ‘90s in terms of storytelling and the nostalgia-heavy fan service. It’s not the worst movie ever, but it feels like a lazy last breath for a franchise that may need to be put to rest for a while.

Part of the hill that “Scream 7” has to climb is dealing with the loss of its two main leads, Jenna Ortega and Melissa Barrera, and going back to the well of making Sydney (Neve Campbell) and her daughter, Tatum (Isabell May), the new focal points. Sydney lives in Colorado with her family, of which we only see one of the three kids (?), and her husband, Mark (Joel McHale). Contrasting Laurie’s turn in “Halloween,” Sydney isn’t living in fear, but she also doesn’t like to let Tatum in on her past life and has become accustomed to fielding all flavors of freaks who want to rehash her history. Of course, it’s a “Scream” movie, so someone has decided that Sydney needs to die, and the killer(s) are going to make sure her friends and family feel it. If there’s one thing that hasn’t evolved in this series, it's the plot structure, and at almost 2 hours, it becomes a bit tired by the midway point.

“Scream 7” isn’t a bad movie, but it does have the disadvantage of being in a franchise that historically has pretty good to great entries, which makes anything lesser than stand out. Thus, the retread of this plot starts to feel entirely too predictable, which is uncommon in a series known for shakeup endings. There’s a moment where a certain character is introduced, one who we’ve never met before, and has a convenient relationship with a red herring that is so obviously a killer that one wonders why they would even cast such a well-known actor in the role. It’s, for lack of a better word, lazy, and that’s kind of what “Scream 7” is: a lazy sequel in a series that is often anything but, even if it doesn’t all work. In fact, the freshest thing about “Scream 7” is that it does harbor two of the series’ best kill scenes, even if this particular Ghostface is one of the sloppiest in the franchise.

The “Scream” series has always lived and died on two things: the intro and the killer reveal. The intro features a couple of true-crime nuts visiting Stu Macher’s house (which is now an Airbnb with fake blood puddles and morbid tape outlines where people died) and encountering Ghostface, but it lacks much of the smart, clever misdirection that the other entries have done masterfully. Meandering through the muck that is “Scream 7” after the intro feels like something you’ve seen before, complete with bad decisions and teen characters who feel tertiary at best, because this is Sydney’s movie and she’s the star. Even the reemergence of former characters is integrated poorly and so slopily that even new franchise favorites like Mason Gooding and Jasmin Savoy Brown enter with a hollow thud. Then comes the reveal, which, as alluded to before, is pretty easy to call, and the disappointment sets in like resin hardening. It’s not just a bad killer reveal for this series; it’s bad overall, with intentions that aren’t earned and are comical. It’s a shame, but perhaps it's what is best for the series going forward. It became a victim of its own success and a parody of the kinds of clever tropes it had made a name for itself by exploiting.

HOW DOES IT LOOK?

If there’s something that we can give high marks to here, it’s the A/V presentation of the film. Given this is a recent production, there’s no need for restoration work, and Paramount brings “Scream 7” to 4K UHD Blu-Ray in glorious 2160p, maintaining the film’s 2.89:1 aspect ratio. The film also includes HDR via Dolby Vision, which really brings out the depth of darker shades in some scenes and adds a layer of crispness to the picture quality. The contrast of the brighter oranges and reds plays nicely against a largely muted and dark backdrop, highlighting Ramsey Nickel’s cinematography that feels reminiscent of Craven’s original film.

Images from this release are used throughout this review.

HOW DOES IT SOUND?

Similar to the visual elements, the sound options for “Scream 7” are superb. The included Dolby Atmos track does a fantastic job of using the precision placement to create a wonderful soundscape where subtle noises are faintly heard, adding to the suspense playing out on screen. The balancing of dialogue, music, and diegetic sound is wonderful, allowing you to enjoy the Marco Beltrami score as much as a well-placed needle drop of “Red Right Hand.” There are also English and Spanish subtitles included for those who prefer to watch with them.

ANYTHING SPECIAL?

Similar to other studio releases, “Scream 7” is primarily packaged with special features that are just repurposed marketing material used leading up to the theatrical release of the film. These are small vignettes, often produced for YouTube to help hype up the release by providing insider details on the production and what to expect. The thing is, these aren’t made with the intent of going into the weeds, because it’s purely promotional material. It’s a shame since there’s so much to say about the production of this film, but we weren’t holding our breath for any salacious interviews being included. We did watch the 21-minute Scar Tissue making-of documentary included. The focus is largely on Williamson’s return to the franchise, as well as how the rest of the cast feels about the nostalgia-heavy entry. A lot of time is devoted to Williamson to explain how he had always wanted to direct a “Scream” film, but didn’t think it would happen, and how this allowed him to do some things he always wanted, like film a scene where a killer pursues victims in the walls. As mentioned in the opening sentences, this material doesn’t challenge or even poke at the events outside of the production, so it’s hard to take it as anything more than chum for the “Scream” fans who are blinded by their love of the series to ever critically revisit it.

A full list of special features included in this release is listed below.

Special Features:

• Music Video: Ice Nine Kills Presents "Twisting The Knife" Featuring McKenna Grace

• Deleted Scenes: Dive into the deleted scenes that were slashed from the final cut. Not every moment could survive the edit!

• Scar Tissue: The Making Of Scream 7: Kevin Williamson takes the helm! Watch the legacy cast survive the set of the most personal Scream yet. Don't forget the rules.

• Building Tension: Production Design: Discover the designs behind the goriest death traps and get an inside look at the making of the iconic Macher house!

• Dance Of Death: Stunts: What does it take to be a final girl? Go inside the choreography of the film’s most intense chases and physical face-offs with Ghostface.

LAST RITES

“Scream 7” feels like the end of the road for the once untouchable slasher franchise. While it has been circling the drain since it was rebooted, this latest entry proves that there may just not be enough water left in the Ghostface well. It’s not the worst film ever made, but in comparison to its sequel peers, it certainly feels like the odd one out in terms of quality.

THE GORY DETAILS

Thank you to the fine fiends at Sumbersive Media and Alliance Home Entertainment for providing a review copy for the crypt! “Scream 7” is available now and can be purchased via Amazon!

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Claire Fuller is an author you need to put on your radar immediately if you love psychological horror that unfolds like a sinister Death Orchid. Her latest novel, “Hunger & Thirst,” floored us with a story that immerses you in the fascinating and often quite brutal world of art school squalor and the mind games people play at their own peril. This book is the perfect companion to the early works of Brett Easton Ellis and Elizabeth Hand. Atmospheric, intricately plotted, and devastating as hell, this story will have you reeling by the time you finish the final pages. Claire was kind enough to answer some of our questions, so we could get to know this incredible talent better and discover the motivations and inspirations behind the novel. Enjoy!

Let's start out with a bit about your background and your horror origin. When did you realize writing was the path you'd devote yourself to, and how did you discover horror?

I started writing pretty late - when I was forty- and my first novel, “Our Endless Numbered Days,” was published by Tin House when I was 48. I'd always been a reader, but it never occurred to me that I might try writing a novel. I'd been doing some art projects with my husband when I stumbled across a short-story slam at my local library and signed up simply for the challenge. I wrote several short stories, then decided to do an MA in Creative Writing, and wrote that first novel on the course. I've always read horror and ghost stories. These were the books I was first drawn to as a teenager, and then I also started to read literary fiction, but my favourite novels were the ones that straddled these two genres, and so when I started to write my own fiction, I was only writing the kind of books I like to read: literary but with a certain darkness. “Hunger and Thirst” is the closest to actual horror I've gone.  

You attended Art School in the 80s. How much of your own experiences colored the narrative in the novel, and how much of the squatter life were you exposed to back then?

Very few of Ursula's (the main character) experiences are based on mine, but the locations are ones I knew in the late 1980s. I studied sculpture at the same Art School where Ursula works in the post room, and she lives in the creepy little bungalow that I lived in after I finished my degree. The tenant had gone on holiday to visit his daughter and decided not to return. The house was owned by a housing association, but since it was in such a decrepit state, they didn't charge us rent and turned a blind eye to our squatting there. And although it was weird to live amongst Mr Sprat's belongings, it was very much our home - we cooked dinners for friends, I sculpted in the garden and the garage, and we lay around in the garden. It was pretty nice until the autumn came it started to get cold and very damp.  

Trauma plays such a pivotal role in the novel. What is it about psychological terror that lends itself to some of the best literature ever written? From "The Strange Case of Dr. Jekyll and Mr. Hyde" to "The Yellow      Wallpaper" to "The Bell Jar," we're fascinated by the fractured mind. What is it about that trope that draws you to it?

I like writing novels with some ambiguity, where the reader can choose how she wants to interpret the 'facts' presented to her. I believe that books are created in part by the reader as she reads. And in “Hunger and Thirst,” Ursula's past trauma lets me play with it. When she is seven, her mother dies, and she's trapped in a bathroom for three days. Those events haunt her, perhaps literally, perhaps only in her imagination, and so the reader can read Hunger and Thirst as psychological terror, or a real haunting. 

Ursula and Sue's relationship is one of predator and prey, so to speak. Tell us about that dynamic and how challenging it is to maintain that balance throughout the story, which you do so well.

It's interesting that you read it like that, and to a certain extent, I agree. Sue is definitely the dominant person in this friendship, at least for the first half of the novel. She seems to want a 'side-kick', someone she can play some games with, reveal their secrets for fun, and discard when she's decided to move on to something else. But Sue is also the one who teaches Ursula about feminism, the one who says Ursula is good enough to go to Art School, and the friend who tells her she shouldn't be embarrassed by her body (at least to her face). This kind of dynamic between teenage girls is unfortunately very common, and although I wasn't thinking about any particular friendship I had when I was a teen, I did draw on my emotional memories from that time (very much as the prey rather than the predator). I wanted the reader to feel as unbalanced by Sue's unpredictability as Ursula is, so that what happens midway through the book might be a shock, but is also, in some crazy way, understandable.

What's next for you, and when can we expect it?

I have a short-story commission for a ghostly anthology, and I think I might write about one of Sue's siblings in later life, as I did recently for “Unquiet Guests” - an anthology of haunted-house stories - where I wrote about Sue's twin sisters, grown up. I've also started a new novel, but it's very early days, and since I don't plan, I have no real idea where it's going or when I might finish it! 

You can purchase “Hunger & Thirst” here.

You can follow Claire Fuller on Instagram here.

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

Trailers are our window into the future, or at least they give us quite a few hints about what a film’s vibe will be, what it’s about, and, more importantly, give us just enough information to tantalize us into seeing it. Whether you avoid trailers or run towards them, we have a roundup of some of the best and brightest previews coming soon to a theater and VOD service near you, including

“In Search Of Darkness ‘70s” (2027)

Creator VC

Release Date: 2027

CREATORVC's award-nominated horror documentary series journeys back to the golden era of horror with its most highly anticipated installment yet! Pre-orders for the “In Search of Darkness '70s” deluxe-collector's edition available exclusively at www.INSEARCHOFDARKNESS.com from June 4th through July 1st, 2026.

The visionary team of writer/director David Weiner and executive producer Robin Block set their sights on the cinematic, revolutionary, and influential decade that introduced us to iconic films The Exorcist, The Omen, Halloween, Dawn of the Dead, Jaws, Carrie, The Texas Chain Saw Massacre, Suspiria, Phantasm, Alien, and so much more; a golden era that spawned unmatched horror creativity and defined how we'd look at the genre for the next 50 years.

Explore the ‘70s with Legendary Film Icons & Experts:

“In Search of Darkness '70s” takes on the era's greatest horror films with CREATORVC's acclaimed long-form documentary format, exploring a curated selection of films and television from 1970 through 1979, while reflecting on the tumultuous times of one of the grittiest, most revolutionary, and blockbuster decades of film ever recorded. From the most celebrated, legendary movie titles to the many eclectic, deep cuts waiting to be rediscovered, top filmmakers and actors, celebrity fans, and experts shine the spotlight on '70s horror with candid observations, personal experiences, and critical analysis to celebrate and re-contextualize this amazing time in horror history.

Included with In Search of Darkness '70s Limited-Run Deluxe Collector's Edition: 

• In Search of Darkness '70s Blu-ray w/double-sided inlay

• High-quality 80-page In Search of Darkness '70s companion book

• Sturdy In Search of Darkness '70s slipcase

• Special In Search of Darkness '70s certificate

• 16-page collectible booklet

• Limited-run collectible edition w/exclusive numbered "Movie Ticket"

• Your Name in In Search of Darkness '70s credits!

• Digital copy of In Search of Darkness '70s

• Digital soundtrack for In Search of Darkness '70s

Optional Upgrades: 

• 2 exclusive In Search of Darkness '70s posters (16.5” x 23.4”) 

• In Search of Darkness '70s movie checklist mini-poster 

• In Search of Darkness '70s Dave Merrell art T-shirt 

• In Search of Darkness logo T-shirt 

• '90s Double Pack with ISOD: 1990-1994 & 1995-1999 Blu-rays/2-disc slipcase 

• In Search of Darkness '80s Trilogy 3-disc Blu-ray with special packaging/booklet 

• The Thing Expanded Blu-ray 

• Aliens Expanded Blu-ray 

• Associate Producer, Producer, and Executive Producer credits available 

Digital Bundle also available separately.

“The Troll” (2026)

Release Date: World Premiere at Raindance Film Festival, June 20, 2026

Psychological horror-thriller “The Troll” will celebrate its world premiere at the 34th Raindance Film Festival on 20th June, 2026. Selected for the festival's Official Selection, the film's Director and star, Brianna Lee, has also received a nomination for Best Performance in a Debut Feature.

Synopsis: Killa B, a TikTok superstar, thrives on the adoration of millions - until a single cruel comment cuts too deep. Obsession takes hold as she tracks down the anonymous troll, infiltrating his life and destabilising his family. Her descent culminates in a confrontation that lays bare the psychological toll of life in the spotlight.

“The Troll” stars Brianna Lee (“The Professional,” “A Sea Cliff Story”), Katy Frame (“Men in Black 3,” “What Now?”), Greg Saridakis, Alena Acker (“And Just Like That,” “Law & Order”), Matthew Eyre (“Slow Down”), Richard Mark Jordan (“Tires,” “The Chair Company”), Jake Lesh (“The Camper,”"Made of Stars”), and Dominick Cost (“Tomorrow’s Bandits”). 

“Pinocchio: Unstrung” (2026)

Altitude / ITN Distribution

Release Date: July 24, 2026

Altitude is thrilled to announce “Pinocchio: Unstrung” will be unleashed in UK cinemas from 24th July, 2026.  Set to have its UK Premiere in June at this year's Raindance Film Festival, where it's been nominated for four awards, including Best UK Feature and Best Performance in a UK Feature for Richard Brake, the feature is a frightening new take on Carlo Collodi’s classic novel “The Adventures of Pinocchio.” 

Synopsis: The latest addition to the Twisted Childhood Universe films (Winnie-the-Pooh: Blood and Honey), Pinocchio: Unstrung. Geppetto (Richard Brake) introduces his grandson, James, to a magical doll called Pinocchio. Unaware of his naïve nature, James introduces his new friend to the world, resulting in the doll going on a crusade to eliminate all things bad under the guidance of the sinister Cricket (Robert Englund).

From writer and director Rhys Frake-Waterfield (“Winnie the Pooh: Blood and Honey”) and producer Scott Chambers (“Bambi: The Reckoning," “Peter Pan's Neverland Nightmare”), “Pinocchio: Unstrung” stars Richard Brake (“Barbarian”), Robert Englund (“A Nightmare on Elm Street”), and Cameron Bell in his feature debut.

“Pinocchio: Unstrung” is the latest addition to the Twisted Childhood Universe, which includes “Winnie-the-Pooh: Blood and Honey” and its sequel, “Peter Pan’s Neverland Nightmare,” and “Bambi: The Reckoning.”

“Ice Cream Man” (2026)

Horror Section Studios

Release Date: August 7, 2026

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

DIRECTED BY: Eli Roth

SCREENPLAY BY: Eli Roth & Noah Belson

STARRING: Ari Millen, Benjamin Byron Davis, Eli Roth, Karen Cliche, Dylan Hawco, Sarah Abbott, Shiloh O’Reilly, Kiori Mirza Waldman, Charlie Zeltzer, and Charlie Storey.

“Onslaught” (2026)

A24

Release Date: September 4, 2026

Synopsis: When a rogue squad of genetically engineered super soldiers breaks loose in the desert, a badass Army sniper must unleash hell to protect her young daughter.

DIRECTED BY: Adam Wingard

SCREENPLAY BY: Simon Barrett

STARRING: Adria Arjona, Dan Stevens, Eric Wareheim, Reginald VelJohnson, Michael Biehn, Alex Pereira, Drew Starkey, and Rebecca Hall.

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When "The Exorcist" was released in 1973, the horror industry seemed to have halted in place, with critics, creators, and fans alike immediately consumed by the thought of supernatural possession and yearning for it on the big screen. In the years following, many have made their own attempts to replicate, revise, and otherwise renew its unique blend of religious gothic imagery, psychological chaos, and harrowing familial grief, for better or worse. This decade alone, we've seen Russell Crowe lead two distinctly different takes on demonic terror, "The Pope's Exorcist" (2023) and "The Exorcism" (2024), as well as works like "The First Omen" (2024) bringing back major studio franchises, while original streaming exclusive titles, such as "The Deliverance" (2024), applied the formula with the added weight of poverty and racism. Satanic panic is on the rise again, and as the latest Shudder acquisition follows suit, only one question remains: Does "The Voices of Our Mother" (2026) succeed in embracing the dark side of evangelicalism?

WHAT'S IT ABOUT?

After the death of her mother at the age of 95, Harriet Scaflen has an unexplainable health scare, bringing her four estranged children to the family home to care for her. As their past animosities and secrets are revealed, they soon realize their mother’s health issues may be supernatural, and the awoken evil inside her is seeking revenge on her children for her own survival.

HOW IS IT?

There's no better feeling than welcoming a new auteur to the horror genre, and in practically every capacity, Mark O'Brien fits that bill. "The Voices of Our Mother" was written and directed by the Canadian filmmaker, who also starred in the film as part of the primary ensemble, and acts as a thematic follow-up to his feature debut, "The Righteous" (2021), which covered religious penance in relation to murder and mental instability. Here, the concept of Catholicism is utilized again as a mode for fear, as the story introduces a large, fractured family who are actively tormented by the lingering threat of a demonic entity that seemingly chooses to latch onto their matriarch. Quite frankly, it retreads the core narrative of "The Exorcist" to such a degree that you have to admire it, even if the moral dilemma at its center feels muddy, the only caveat being that the possessed is a parent, not a child.

"The Voices of Our Mother" is a Vortex Media production that plays with organized religion in a weirdly abrasive, middle-ground manner; on one hand, our characters embrace Catholic tradition by upholding the belief that to confront problems is to overcome them, even though evil might never leave you, yet on the other hand, it's equally portrayed as an excuse to exercise total control over an individual. As the second consecutive work by this director that deals with internal metaphysical battles against God, it's hard to look past this contradictory messaging. While the horror genre is indeed a breeding ground for cautionary tales about ritualistic grooming, the project itself repeatedly reinforces much of the harmful rhetoric it apparently wants to denounce. Monologue after monologue is spent preaching beyond the screen regarding the lengths we should go to practice forgiveness, but that feels like a lot to ask the audience to consider when the central theme of the piece is outright domestic abuse.

Sheila McCarthy appears as Harriet, the woman of the hour, who falls ill after the death of her own mother in the opening sequence, and summons her clan of children back home to care for her. Off the bat, the entire cast at hand is dysfunctional, cutting each other off mid-sentence, dismissing valid medical concerns about the matriarch in question, and generally being depicted as though they are completely uninterested in their relatives' lives. Some cope with alcohol and a history of casual drug misuse, while others resort to bickering and bursting out under pressure; these are all individuals living with a form of trauma related to the religious framing, but it is never explored candidly or with detail apart from a few disturbing recollections of their physical assaults of the past. Putting aside the confined interior stage-play structure and focusing on the substance of these characters, if the people we spend time with don't consider themselves a worthy unit, why should we?

Where "The Voices of Our Mother" succeeds is in the hyperrealistic performances, immersive sound design, and brief examination of the heated debate surrounding healing through science or divine intervention. Dementia is detrimental to more than just the patient diagnosed with it, and adding a malignant holy spirit to the mix further intensifies the tragic nature of cognitive impairment and decline. Every time there's an argument between protagonists ahead of a spike in the demonic action, a sudden flash of blood rushes with loud, booming audio effects that precisely reflect a wave of rage-induced adrenaline. Not only is the cast extremely talented across the board, but they also convey the deeper intricacies of what survivors of childhood trauma and religious guilt really look like. Mark O'Brien has been on my radar since "Ready or Not" (2019), and paired with his wife, Georgina Reilly, in front of the camera, the two shine well above the film's tricky philosophical underpinnings.

THE VERDICT!

It's unclear whether "The Voices of Our Mother" is truly intended for longtime supernatural horror fans, religious fanatics with a chip on their shoulder, or those bored at home with a free trial to stream it. O'Brien's independent commitment to the field of Catholic terror is admirable in an era where major studios would rather use the topic solely to boost an existing roster of A-listers and long-stagnant IP than support original content, and it is my firm belief that the project has arrived at a natural time when church and state have become too closely entwined. Your mileage may vary, and the notion that abusers are somehow entitled to be forgiven is troubling no matter which way you slice it. Still, this is an undeniably sleek production, consistently visually stimulating, with an emphasis on architecture and a colorful, brooding Gothic atmosphere.

"The Voices of Our Mother" will be available to stream on Shudder on June 19th!

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In the world of horror, there are often a lot of takes regarding sequels and whether they’re as good or even better than the original. Take the argument regarding “Scream” (1996) and “Scream 2” (1997), for example. In the case of “Bride of Re-Animator” (1990), directed by Brian Yuzna, we meet back up with the chaotic doctor duo of Herbert West (Jeffrey Combs) and Dan Cain (Bruce Abbott), and the stressful events that take place 8 months after “Re-Animator” (1985).

***Warning: Spoilers ahead***

“Bride of Re-Animator” is an incredibly campy sequel that takes place almost a year after what happened during “Re-Animator”. Once Herbert and Dan return home after working as medics in a foreign country, they continue their research regarding the reagent. Instead of lying low, Herbert’s antics invite unwanted attention to their home. For folks who want a strictly serious tone with absolutely no camp, you aren’t going to be in luck with this sequel. 

The takes regarding the first film having homoeroticism are only amplified in “Bride of Re-Animator”. Rather than toning down the undertones, overtones, or however you want to classify them - “Bride of Re-Animator” turns the dial-up so high that the meter nearly breaks. If the first film was the first date for Herbert and Dan, then the sequel is their bitter divorce or breakup.

At the beginning of the film, we see how much closer Dan and Herbert have become since that final showdown at the hospital, in which Meg (Barbara Crampton) met her grisly demise. They work as a unit and aren’t willing to leave the other behind, regardless of how perilous the situation is. Unfortunately, the same can’t be said for the ending of this film, which earns a bit of a side eye. Herbert’s desire to keep Dan around is very much coded as the partner who wishes to keep the relationship alive. Meanwhile, Dan is caught between this connection and heteronormativity. As soon as Herbert locates the heart of Dan’s former partner, Meg, he vows to create a new Meg. Call it a romantic gesture or something else altogether. Either way, these little moments sprinkled throughout the film are worth making note of. It’s not necessarily a reach to read these moments as romantically coded. Certainly not when, if any of them were a woman, people would be ringing the wedding bells almost immediately.

When a nosey cop comes sniffing around, that’s when shit really hits the fan because nothing seems to stay stable for long in their shared house. Between them surviving the hospital massacre 8 months ago and the cop’s wife being re-animated, and he’s got it out for Herbert, especially. The performances from both Combs and Abbott really lend to the drama in the film. There’s heart and deliberate comedy woven into the campiest moments. Rather than presenting us with a bland duo who have no chemistry, the chemistry between them is bursting at the seams. You actively root for their success in terms of creating the new Meg, as well as evasion of the authorities. It may seem like a rocky road to travel, but travel it you will. Combs’ performance will make you chuckle with his line delivery. Meanwhile, Abbott’s performance will remind you that Dan is struggling with their current situation.

The thorn in the side of this “def not, but maybe yes Queer” relationship is when we’re introduced to a woman named Francesca (Fabiana Udenio). Dan and Francesca’s fling isn’t very convincing, but it plays out exactly how one might expect. She gets too involved in what they’re doing and is actively in opposition to Herbert and Dan creating a life together. And that’s yet another subtextual reading in terms of the choice between heteronormativity and queerness. As the film continues, Francesca and Herbert continue to butt heads. All while Dan is caught in the middle between continuing his work with Herbert and leaving everything behind. The quieter moments where Herbert and Dan fight or where Herbert clearly cares about how affected Dan is when it comes to losing patients or dealing with the ramifications of the previous massacre are some of the best moments of the film.

When “Bride of Re-Animator” reaches its climax, we’re reminded of the power of the reagent by way of the awakening of the “Bride” (Kathleen Kinmont). The queerness in this film isn’t solely in the subtext between our main characters; it’s also in the titular “Bride.” She serves as a trans allegory, as she rejects what society deems to be “normal” in terms of the body. Her monstrous appearance isn’t deemed acceptable. And her form of creation is deemed as blasphemy by Francesca. There’s a powerful speech from Herbert to Francesca about not being shackled by the failures of a God he doesn’t believe in. It’s certainly a speech that queer folks, but especially trans folks, can relate to. Meanwhile, the reagent in and of itself can also be subtextually seen as taking hormones. When you take into account that Herbert uses the reagent on himself, then there’s even more queerness to be read in his character. 

The ending of the film isn’t the happiest, at least if you’re hoping for Dan and Herbert to run off into the sunset together, the rejection of heteronormativity, or even the promise of a reunion between them at some point. Though the unsatisfying ending doesn’t erase the queerness or invalidate it. If anything, it’s more indicative of the decade that “Bride of Re-Animator” was released. And now we’ve got more queer horror that isn’t strictly subtextual or unsatisfying with its endings.

Currently, we live in even more uncertain times regarding rights across queer and trans communities. And if escaping into horror is what some folks need to do, then there’s no harm in that. Exploring more subtextually queer or explicitly queer horror films that aren’t typically recommended. Regardless of whether you’re a super fan of “Re-Animator” or not, this sequel is worth checking out for the performances, the subtext, the splatter, the score, as well as the practical effects. 

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One of the wildest series in comics today debuted last year with “Exquisite Corpses.”  It shares as much of its DNA with “Battle Royale” as it does the 2010 “Predators” film that pitted a group of trained killers against the ultimate hunting species. What made the series work wasn’t just riffing on great ideas, but infusing its own personality into the mix, largely on account of the unhinged writing by James Tynion IV, Michael Walsh, and Pornsak Pichetshote. The story revolves around a group of 13 killers brought together by 13 of the wealthiest families over a friendly game of “last one standing,” and the tiny town that gets taken over by the deluge of violence that this game inevitably inflicts on both participants and bystanders alike. Now, Image Comics and Tiny Onion are going back to before Season 1 of the series to look into the backstories of some of those killers, beginning with “Exquisite Corpses: Rascal Randy #1.”

WHAT’S IT ABOUT?

The sleepy little town of Aurora Springs, NY, has exactly one claim to fame: it’s the birthplace of Rascal Randy. Not the man in the suit—that man has never mattered. He was no one until he put the mascot head on for the first time… not until he felt the life leave someone’s body with his thickly furred gloves wrapped around them. No, Aurora Springs is the birthplace of Rascal Randy the rabbit, who, once upon a time, was poised to become the greatest animated character this country had ever seen—until greed and tragedy changed his trajectory forever.

Witness the events before season one of “Exquisite Corpses” that made Rascal Randy New Jersey’s selection for America’s deadliest game. When chaos comes hopping into town, the secret sordid history of Rascal Randy will finally be revealed.

HOW IS IT?

What made “Exquisite Corpses” so compelling was the way it balanced the grindhouse-style violence and over-the-top characters with the grounded reality of real people being caught in the crossfire. To be sure, it doesn’t feel ripped out of reality, but it’s far more down to earth than it seems. So the idea of going back to explore the histories of some of the killers is an interesting one since our experience with most of them is quite superficial. They aren’t the stars of the “Exquisite Corpses” series so much as the conflicts that drive the action forward. In the first prequel spinoff, “Rascal Randy #1,” we are given a glimpse into what looks to be a sordid and sick history of violence with one of the series’ most diabolical killers. 

Like many first issues, this one is very much about table setting. That’s not to say it doesn’t feature some good old-fashioned violence, but the intent here is to establish the place, Aurora Springs, and the characters, Lily and Eli. Lily just moved into town with her dad and got a job working at the local bowling alley. Eli is her co-worker, who also happens to be the target of the school bullies. Both bond quickly over being “othered” in a myriad of ways, but also because they share the traumatic bond of having lost their mothers at an early age. Much of the issue is spent setting up these two and their relationship: kindred spirits who both struggle for acceptance and seek community. Their bond unveils an interesting secret: Eli’s mom was one of the creators of Rascal Randy, and he has an entire room made into a shrine dedicated to the character and his mom’s collection.

The aforementioned bullies may have a chance encounter with the titular killer, but across the first issue's 28 pages, there isn’t a lot of time spent on Rascal Randy, even though we are being spoonfed tidbits of information that will likely snowball over the rest of the series into more impactful plot points. Tyler Boss’ writing fits perfectly within the world of “Exquisite Corpses” as it retains the core of humanity while still appealing to the ultraviolence that makes the series so salacious. Boss’ words are perfectly complemented by Dylan Burnett’s art, which doesn’t stray too far from the style of Walsh’s original series, and still brings a unique flair to the art direction. Given it’s a first issue, that does mean that the action is secondary, but the final pages give us a taste for the brutal direction that this story is going to go with one of the series’ most nefarious killers.

LAST RITES

“Exquisite Corpses: Rascal Randy #1” does a great job establishing the setting and characters for this prequel series, and doesn’t forget to give us a taste of the red stuff at the end to highlight what darkness lies ahead. Boss and Burnett have a compelling collaboration here that is steeped in the humanity the original series was so good at, while not forgoing the abundant and shocking violence that compelled so many readers before. Needless to say, we can’t wait to see what dark road Rascal Randy’s story heads down!

THE GORY DETAILS

Written By

Tyler Boss

Illustrated By

Dylan Burnett

Lettering

Becca Carey

Coloring

Jordie Bellaire

Where can you read it?

“Exquisite Corpses: Rascal Randy #1” will be available at comic book shops on Wednesday, July 8, 2026

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