Snakes. Indiana Jones hates them, and some people own them as pets. In horror, snakes often represent danger either directly through their bite or through some ritualistic use, turning them into either an ingredient or an even more dangerous version of themselves. As someone who grew up in the desert, co-habitating with snakes was a default, but that didn’t mean that they were any less dangerous to be around, especially if you aren’t paying attention to your surroundings. The Sonoran Desert isn’t the only place you can find deadly snakes, and in “Beware Boiúna,” the latest creature feature from Mike P. Nelson, the snake isn’t just massive; it’s legendary!

Going toe-to-toe, or toe-to-tail, with this slithering foe are Kiana Madeira and Jessica Rothe, who both star in the upcoming Lionsgate film. We had a chance to speak with them both about filming on location, their fear of snakes, and more in this interview. We will have another one with director Mike P. Nelson up tomorrow, and "Beware Boiúna” will be snaking its way into theaters on Friday, October 2, 2026, and if you’re attending this year’s Fantastic Fest, you can catch a screening on Thursday, September 17!

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Long after the abduction of Gloria Sanders, which led to ritualistic carnal encounters on stage for anonymous upper-class socialites living in San Francisco, and soon following the mysterious spree of vampiric slayings across the Canadian border, our favorite scream queen from the erotic horror circuit took a turn into sci-fi spy spoof territory with a little project now known as "Angel of H.E.A.T." (1983). Covering Marilyn Chambers' career through this column feels both like a blessing and a curse; she'll always be referenced in public primarily as a pornstar, but she deserves deeper recognition for her work with independent filmmakers outside the industry. Even when her efforts dabbled in hardcore content, they were legitimate art and narrative features, stigmatized only by the penetrative sequences within them. Finding her sex film footing with a softcore splash in the pool in "Together" (1971), thanks to future genre visionary Sean S. Cunningham and associate producer Wes Craven, she ultimately birthed the porno chic movement in 1972, where audiences still had to go to the theater to watch X-rated material. "Behind the Green Door" played regularly in cinemas throughout the 1970s, all while her image of purity was simultaneously plastered on boxes of Ivory Snow in American supermarkets.

Once this monolithic experiment catapulted her into stardom, the Mitchell Brothers immediately went to work on a harrowing follow-up feature, "Resurrection of Eve" (1973), as well as a documentary cash grab that was composed of B-shots and deleted scenes from "Behind the Green Door" and its successor in the form of "Inside Marilyn Chambers" (1975), set to capitalize on her popularity and announce her retirement from the adult industry as quickly as she had created it. It wasn't long before she returned to the realm of hardcore pornography with "Insatiable" (1980), which became the highest-rated home video tape in any genre, likely leading right into the fruition of this R-rated spy spoof as it stands today. Admittedly, the creative history surrounding "Angel of H.E.A.T." is still a bit muddled, but it's safe to assume that it was conceived as a movie made for cable television around 1981 or '82 under the title "The Protectors, Book #1" — this actually does show up as an on-screen subtitle after two variants of the film's logo appear during the opening credits. Sadly, despite the numeral, it never spawned a franchise; it was a standalone release that premiered in theaters for a limited run in July 1983, later airing on TV and entering the rental market.

Much of "Angel of H.E.A.T." was shot on Lake Tahoe, with Marilyn Chambers wearing a wetsuit in freezing cold weather, or nothing at all. She carried out her own stunts, including scuba diving, karate, and mountain climbing, and otherwise acts quite well; the film showcases her ability to handle satirical humor the same way "Rabid" (1977) did with body horror, honoring her status as a sex symbol while toying with the tropes she helped create for the camera. It is also a direct result of the marriage between her and controversial porno chic figure Chuck Traynor, which spawned a glamorous movie star lifestyle that he promised to keep well-maintained ahead of their divorce in the mid-'80s. Co-written with Helen Sanford, it was produced and directed by Myrl A. Schreibman in his feature debut, and he has described the late lead actress as one of the most professional he had the opportunity to work with. As the seasons were changing from October to November with snow coming in, the project was filmed on a budget of $400,000 around the Emerald Bay area, and its general premise, according to its narrated prologue, follows The Protectors, a group of international vigilantes and outlaws banded together to protect peace and freedom.

“H.E.A.T.” stands for Harmony's Elite Attack Team, and Chambers appears at the center of the chaos as Angel Harmony, a tongue-in-cheek nod to the "Charlie's Angels" series that had just completed its initial broadcast run. Blending action, comedy, and horror with ease, the film opens by showcasing the handcrafted nature of 1980s special and digital effects with a fan-favorite opening credits sequence, in which she performs karate totally nude with jittery stop-motion visual allure. Shot on video and transferred to film, this brief moment calls back to the female superhero template from 1970s television and updates it for the big screen with a modern, hypersexual sci-fi sensibility. Beginning with an original song performed by Denise McCann in the vein of the James Bond franchise, this was only Marilyn's second film after "Rabid" to receive an R rating and had DGA and SAG union involvement as it attempted to poke fun at numerous tropes of the espionage caper genre. It doesn't seem like they were concerned with the ability to market the project due to her notoriety as an American pornstar, nor the early, racially insensitive broken English accent put on by golden-age legend Randy West—credited as Andy Abrams—who, for some reason, signed on to the piece in the role of a white Japanese man, burnt-in subtitles and all, but ultimately, it succeeds as an experiment in absurdity.

West apparently tried to seduce the main actress on set, but thankfully, his time involved in the film was kept short. Wildly enough, Stephen Johnson, who co-stars opposite Chambers throughout the entire project as Mark Wisdom, had a grand mal seizure at some point early on during production, and they ended up using a body double for most of his scenes so as not to delay the piece, scrap it, or recast his role. Though "Angel of H.E.A.T." was obviously partially funded as a lighthearted and sleazy excuse to let the audience gaze at T&A, it has striking references and predictions of adjacent horror media embedded within it that make the viewing worthwhile. An inciting nightclub mud wrestling sequence that sets up a strangely convoluted subplot about sex trafficking becomes a stylistic nod to "Café Flesh" (1982), disorienting voyeurs with a third space for those with sexual demons to put on an intimate performance in front of a tense crowd. There's a muscled-up bodyguard with a massive bulge and pornstache, the women dress sensationally (or not at all, as there's a surprising amount of full frontal, including that of Samantha Vitesse, played by cult film icon Mary Woronov!), and other men look like they would in everyday life, whereas Marilyn is often dolled-up after providing her own personal wardrobe for the film with final approval by the filmmaker at the helm.

Moments taking place within the futuristic space lab locations seen later on in the film were shot in Los Angeles using leftover sets from "Battle Beyond the Stars" due to the friendship between the director and prolific B-movie producer Roger Corman, with the caveat that they be framed in a different way from his 1980 cult classic. While pushing forward its bizarre science fiction premise, "Angel of H.E.A.T." shares plenty of DNA with the horror genre through the talent of cinematographer Jacques Haitkin, who went on to establish the iconography that we know and love from the first two installments in the "A Nightmare on Elm Street" franchise, and works such as "The Hidden" (1987), "Shocker" (1989), and "Scanner Cop" (1994). It particularly evokes the feeling of a slasher-adjacent sci-fi feature during the peak popularity of the subgenre, with a home invasion sequence that sees Angel stumble upon a locked room full of motionless androids—gleefully exclaiming "Oh, so that's what's Behind the Green Door!"—that, once activated, become sex crazed; backlit almost exclusively by candles and the glow of the moon, it offers an increasing surveillance state driven by paranoia in the atmosphere in the vein of "Halloween III: Season of the Witch" (1982). This climactic twist also reveals that the main villain, Albert the Almighty (Dan Jesse), intends to dominate the world with his horny robotic race and a new societal order that is impossible to tell apart from the human cast at hand.

Seeking to commit his first sacrifice of virgins, purified by a thousand waters and reborn- whatever the hell that means- the story ends on a wacky-ass cliffhanger and sensual stinger that will never be revisited. Perhaps the most innovative contraption contributing to the piece as an example of the severely underrated techno-horror genre is a switch with the ability to generate a sound frequency that disintegrates metal and silicone, revealing that Samantha's lesbian lover, Andrea (Remy O'Neill), is indeed a non-human entity, with a disturbing, brief body horror look in line with the final act of "Westworld" (1973). The nature of the spoof quality leads to some genuinely humorous visual gags, like a last-minute sequence when Angel and Mark are strapped against their will to a raft that would ultimately lead them to their untimely demises, and rather than setting them free, a local fisherman waves them on, pushing it through a gate with a huge warning sign that seems to open automatically with a motion sensor as they approach it. Above all, "Angel of H.E.A.T." deserves to be remembered on occasion for its casually chaotic charm and respectful representation of one of the finest porn players in her plea for legitimacy from the public point of view. Instead of using explicit nudity and sexual content—and trust me, it is abundant—to exploit the woman on screen, it merely reinforces Marilyn Chambers' image as a symbol of total autonomy, liberation, and hope for raw expression in an industry that would otherwise seek to censor it, and needlessly continues to do so.

"Angel of H.E.A.T — The Protectors, Book #1" (1983) is available now on 4K UHD from Red Shirt Home Video and Synapse Films!

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Horror has always been and will continue to be the perfect genre for exploring social issues, experiences of marginalized groups, and other real-life terror that we see or experience in our daily lives. In terms of chronic illness, there are more than a few horror films in particular that depict chronic illness directly or indirectly. Chronic illnesses (also known as diseases) are typically lifelong conditions that require management and treatment of some sort. Just like with mental health issues (which can overlap with chronic illness), there’s not always a perfect representation of these issues. But we can still find films to appreciate and make note of.

Horror can be an escape from reality, but it can also be reflective of various realities, and that’s perfectly okay too. We’re all allowed to take what we need in that respect to find comfort, solace, and representation. And remember, be supportive of folks who are chronically ill, in whatever way that person in your life requires. These films highlight, directly or indirectly, various forms of chronic illnesses in the genre we love!

“Rosemary’s Baby” (1968)

Yes, it’s about pregnancy, but you can certainly read more into it. “Rosemary’s Baby” follows a pregnant woman named Rosemary Woodhouse (Mia Farrow), whose pregnancy is mysterious, and she discovers a sinister plot regarding it. The feeling that this film evokes is pure dread, and while you can certainly dig into the bodily autonomy discussion, you can also view Rosemary’s physical decline as a metaphor for various chronic illnesses. Many diseases can make someone chronically fatigued, drastically lose weight loss, and medical professionals are more inclined to dismiss the concerns of women. And just like with Rosemary, people will gaslight and dismiss concerns, all at the expense of another person’s body.

“Night of the Creeps” (1986)

There are some ‘80s horror films out there that don’t get mentioned nearly enough. “Night of the Creeps” follows college students and a cop who aim to stop alien slugs from taking over. While it sounds like a simply bonkers sci-fi horror comedy, the film happens to have a queer-coded character named J.C. (Steve Marshall) who is disabled. There’s no explanation as to what J.C. has that makes it so he needs arm crutches, but you can certainly headcanon that he has a chronic disease like multiple sclerosis, for example. His character is a different type of representation because he’s one of the more interesting characters, rather than being someone who is barely a character.

“Excision” (2012)

Although the film is about an able-bodied person, there’s still a depiction to make note of. “Excision” follows Pauline (AnnaLynne McCord), a teenage girl who is struggling greatly with mental health issues, and her obsession with achieving a career in the medical industry morphs into violent fantasies. Pauline isn’t the one with a chronic illness; instead, it’s her sister who has cystic fibrosis and needs a lung transplant. The film is quite bleak in what occurs to Pauline’s sister, and the film manages to depict her chronic disease in a way that’s not watered down. Especially with regard to the severity of her specific condition at that point. 

“Curse of Chucky” (2013)

The “Chucky” franchise has several notable characters beyond Chucky (voiced by Brad Dourif), and that includes Nica (Fiona Dourif). “Curse of Chucky” follows Nica Pierce and her family, who are dealing with the aftermath of her mother’s sudden death, and Chucky makes his return to terrorize her family once again. Nica’s addition to the “Child’s Play” (or “Chucky”) franchise is great for many reasons, including her physical disability representation, as well as having a heart condition. She’s a badass all the same and can square off against Chucky, even while dealing with her disability and chronic illness.

“The Taking of Deborah Logan” (2014)

Combining medical issues and possession is a recipe for disaster. “The Taking of Deborah Logan” follows a crew who aim to document Sarah Logan (Anne Ramsay)’s mother, Deborah (Jill Larson), who is dealing with Alzheimer’s, but they find there’s something more sinister happening alongside the disease. Deborah’s condition isn’t solely due to the possession, but it does accelerate the progression of the disease for her. It’s hard not only for her, but it’s also hard for her daughter, and it’s a realistic depiction of familial issues and the nature of a chronic disease that affects someone neurologically.

“Saint Maud” (2019)

A woman with religious-based delusions and a woman who is terminally ill and not remotely religious is the worst combination. “Saint Maud” follows Maud (Morfydd Clark) and her desire to save the soul of her dying patient, Amanda (Jennifer Ehle). Cancer is one of the more universally covered chronic diseases across media, but it’s depicted in a very particular way in this film compared to others. “Saint Maud” depicts Amanda as someone who is trying to go out on her own terms and doesn’t care to be “saved” by religion or change who she is. It’s refreshing to see a character not scrambling to become religious while being chronically/terminally ill, even in a horror film.

“Shook” (2021)

Influencer horror is always quite the time, isn’t it? “Shook” follows Mia (Daisye Tutor), an influencer who becomes a target of a vicious online attack and is forced to save her friends from death. Instead of Mia being the chronically ill individual, it’s her sister Nicole (Emily Goss) who is chronically ill with a fictional disease that ultimately took their mother. While the film doesn’t solely focus on the sister’s experiences, her anger and fear surrounding her disease aren’t unusual in the slightest. And it further puts into perspective why she and Mia have such a fraught relationship. Especially as Mia lives a really privileged life and is able to be away from having to see her sister struggling.

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In her new novel “The Wellness Retreat” (2026), author Dawn Kurtagich has found a unique and personal approach to exploring the darker side of health. Living with a chronic illness herself, she draws on her lived experience to imbue her characters with a deeply human nuance that makes them feel alive on the page. Kurtagich also draws heavily on her personal travel experiences to some of the more unique corners of our planet, as well as her interest in folklore and the Gaelic language and culture, to build a world we would gladly inhabit…If it weren’t for all the mysterious disappearances. Leading up to the book’s release on September 8, 2026, by Hanover Square Press, we were lucky to talk with Kurtagich about her personal journey and her work.

Macabre Daily: Dawn, we’re so happy to talk to you about your latest novel, “The Wellness Retreat”. It is clear that wellness culture, as well as the physical and psychological toll that chronic pain can take on a person, is something you’re passionate about. Your story draws from some personal experience. Can you tell us a bit about where the idea came from and why you were drawn to telling Jaime’s story? 

Dawn Kurtagich: Chronic illness is something so many of us live with, myself included. The gratitude I have for my liver transplant is in everything I do, but I also have to acknowledge that life is no longer the same. There's a continual give-and-take and grief that healthy people don't see. And I think that's because, as humans, we don't tend to look at what we can't know. You can't ask a question if you don't know there's one to be asked. We are the ghosts of the world. The forgotten.

When I began drafting “The Wellness Retreat”, I knew three things. First, that Jaimie would be in the midst of a lifelong struggle with an illness nobody understands, one invisible to the naked eye, but which had broken her down to her smallest, most limited self. Second, the spa would be a mirage in the desert, and she would be deeply skeptical of it because of her medical history and the years of gaslighting she'd endured. And third, that there would be an intersection between modern healing and something much older and more holistic. The gap between those two lines is where I found the story. That's where Jaimie's quiet, epic little life came alive for me.

MD: We were impressed with how you integrated chronic pain into Jaime’s character. You find a perfect balance by not letting her health define her character, while it also remains a constant presence in her life and story. What do you hope readers will take away from their time spent with a protagonist who lives with chronic illness? 

DK: It's hard to describe to someone who doesn't live with chronic illness the way it percolates into every pore of your existence. No choice, no thought, no experience is lived without your illness in the room. A passenger, or, on a lot of days, the driver.

I hope that readers who live with that shadow feel seen. Acknowledged. And I hope readers who don't live with chronic illness perhaps come away with a sense of what it costs, just in the daily little choices it forces us to make.

It's a very small thing to be seen. And it's also everything.

MD: We were fascinated by the setting where “The Wellness Retreat” takes place. Talumn Dubh is as much a character in the story as any of the residents of Saoghal Spa. The island is so well-realized that we had to check a map to see if it really exists. Is Talumn Dubh inspired by any real-life locations? What kind of research did you do to build the island and the community there? 

DK: Talamh Dhubh was a joy to write. It came from several directions.

The first was a trip I took to the Uist Islands in the winter of 2015. Uist in winter feels like the end of the world. There's an eeriness to it, almost an emptiness, but also this heady sense of something ancient sitting just beneath the surface. I remember being fascinated by the machair: it’s one of the rarest and most delicate wildflower habitats on earth, and it’s just sitting directly on top of peat bogs. Something fragile growing over something ancient, preserving, and dark. I couldn't stop thinking about it. I remember reading about preserved bog bodies as a teenager, particularly the Amcotts Moor woman. I had no idea that these experiences would percolate for more than a decade and end up informing this novel.

The second was the black volcanic sand of Reynisfjara, Iceland. I love the look of black sand and black rock. It draws me in, but I don’t know why. Almost how space draws me in (I studied astrophysics before I realized it is not my calling). You sort of want to look away from it, but you also can’t. It tied in beautifully with the invented folklore around Talamh Dhubh and the hag who scorched the land itself.

The bog itself, as I said before, was an old fascination of mine. Peat bodies especially. The idea of a landscape that preserves instead of decays—and for centuries. That's a deeply gothic idea, and it gave the island its logic. Talamh Dhubh isn't a backdrop that the story happens in front of. It's part of the mechanism. Saoghal couldn't exist anywhere else.

The wellness industry itself was a big part of my research as well. How it operates, the language it uses, the subtle exclusion of those who need it the most.

But some of the deepest research was into Gaelic. I hired a native speaker to consult on the manuscript, and her guidance was invaluable, not just linguistically, but also in how the language carries its own history. So much of the island's character came out of that. It's such a gorgeous language. As someone who hails from the McIntyre clan, I hope I did it some measure of justice.

MD: Historically, we enter stories about health and wellness in the horror genre, expecting a lot of blood, gore, and body horror. Your story subverts those tropes and tells a story where the fear is rooted more in psychological horror and folklore. Was it important to you to explore these themes in a different way than other creators?   

DK: I don't generally write against what others are doing in a space. I tend to follow the little glimmers that intrigue and move me personally and see where they lead.

Psychology and folklore are deep trenches of intrigue for me. They're the way I look at and process the world. I think in examples and stories, which is essentially what folklore is. So it was natural to approach illness, wellness, and possession through those lenses rather than through the body.

Though I'd say the psychological is its own kind of body horror. When you live with an illness nobody can name, when you're told repeatedly that nothing is wrong with you, the horror isn't something erupting out of your body; it's the slow erosion of your ability to trust it. That felt truer to me, and frankly more frightening, than anything I could do with blood. After all, how do you fight your own cells?

And I had an enormous amount of fun writing it.

MD: Although “The Wellness Retreat” takes place in the present day, the narrative goes out of its way to put Jaime and the reader in a place far removed from modern amenities. The story feels timeless and at times as if it is unfolding in a fantasy realm. Was it always your intention to tell the story in a setting like this? Could you have told the same story in an urban, modern setting?

DK: Because Saoghal Spa is an ultra-exclusive healing retreat on a remote Scottish island, where a Cyan, the enigmatic founder, promises transformation and even transcendence (only to broken guests willing to surrender completely), I wanted it to feel very slightly alien in a place like Talamh Dhubh. The contradictions were too fascinating not to explore — wellness, but only if you can pay for it, set against an ancient kind of healing that's free to anyone who knows where to look. A corporation and a local community, both tethered to the same history.

It was important that Jaimie be completely cut off. Partly because that's what makes it feel like stepping into a secondary world, yes. But mostly because it's simply the way cults work: physical and social isolation, targeting the vulnerable, love bombing, incremental commitment, information control, time saturation, sleep and dietary restriction. A remote island spa is the perfect melting pot for all of it.

And no, I couldn't have told this story in an urban setting. Partly because I'm drawn to the gothic, and this is a gothic novel at heart. But mostly it's simpler than that. In a city, Jaimie could leave. She could call someone, get a second opinion, walk out of the building, go home. The horror of Saoghal depends on there being nowhere else to go and on the island itself being complicit. Talamh Dhubh isn't just where the story happens. It's why it can happen at all.

MD: We have to imagine you visited a few spas while researching this book. Do you have any memorable experiences you can share with us? Positive…Or perhaps frightening?  

DK: The eeriest experience actually came from the trip that started all of this.

When I journeyed to the Uist islands in December of 2015, we stayed in a beautiful broch in a very isolated location. There was an eerie sense about the whole place. Genuinely, it felt as if it had been forgotten by the whole world, and maybe time itself. Of course, I fell in love and felt immediately at home. Driving through, we’d occasionally spot some of the locals, who would pause to stare at us as we passed (no doubt wondering who on earth would choose to come to Uist in the middle of a December storm, and honestly… same!)

But one thing did confuse us. Every night, a strange, overpowering smell permeated the tiny building. It was so pungent, so deeply unpleasant… genuinely the strongest scent of my life. It was like nothing I've ever smelled before or since. Not rot exactly, not decay. Something I just couldn't put my finger on. It was so intense that we had to sleep with the windows thrown wide open during Storm Desmond, while gusts of frigid wind and rain pelted the broch at seventy-nine miles an hour.

And then in the morning it would simply be gone. Vanished. Until it was suddenly there again as soon as dark fell.

Having read a great deal about the connection between hauntings and terrible smells, you can imagine how much my imagination enjoyed that!

The universe did have its own plans on the spa front, mind you. A friend took me on a spa day to celebrate finishing the manuscript of The Wellness Retreat. While I was there, I picked up a lovely bacterial infection that sent me to A&E, where I was swiftly admitted—and where my edits arrived with a tight turnaround. There has to be some divine sense of humor at work, because I spent night after night in a hospital bed, hooked up to IVs and monitors, editing my wellness novel set at a spa, while recovering from an infection I picked up there.

I haven't been to a spa since. But I'll get back on that horse one day.

“The Wellness Retreat” by Dawn Kurtagich is available on September 8, 2026, from Hanover Square Press.

It can be purchased here.

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Visual Vengeance is easily one of my favorite labels to review for Macabre Daily, and it’s not because every movie is a winner. In fact, while there are more “studs” than “duds,” they are absolutely an acquired taste for only the most discerning and non-pretentious genre fans. Their brand of SOV fare is always surprising, even if the result isn’t great or, in some cases, a bit boring. What makes these releases so exciting is that the risk/reward ratio is high, like a double zero on a roulette table. While many movies won’t pass certain bars of quality, others surpass them with bold ideas executed with often minuscule budgets. “The Screaming,” from Jeff Leroy, is one of the better releases in the catalog that takes satanic cults to Cronenbergian new heights!

WHAT’S IT ABOUT?

College student Bob Martin rents a room from the alluring Crystal Traum, who introduces him to her New Age religion, Crystalnetics. Soon, Bob's health and mindset dramatically improve. But when a detective reveals a string of mysterious deaths tied to the cult, Bob uncovers the chilling truth - and must face a slew of cloaked assassins, monsters, and the cult's charismatic alien leader.

HOW IS IT?

One thing you can never fault a VV release for is shooting for the moon, or in this case, the depths of hell! “The Screaming” is another in a long line of films based on cults who worship the dark lord for weird reasons, but this one is from Jeff Leroy and produced with a fraction of the budget needed to fully realize the vision. That’s never stopped a VV release or filmmaker before, and it doesn’t start with “The Screaming.” While it’s a bit too long for its own good, Leroy’s film is certainly more ambitious than one might expect. It’s clearly taking aim at new age religions like Scientology and healing crystals as the basis for the nefarious activity, but it’s not clever or deep enough to use that for any deeper meaning. Not like we need one!

Blood-worshipping cults that eat people and hide spying crystals in your house sound like something you’d read about in a wacky headline these days, but in 2000 this was riding the wave of a world that survived Heaven’s Gate and Y2K. Before everyone knew enough about Scientology’s inner workings to question it, something like “The Screaming” almost feels ahead of its time as it makes the case that these cults are up to no good. Bob Martin (Vinnie Bilancio) isn’t the most dashing hero, but rather a post-grad dork who chain-smokes cigarettes, which the film seems to be adamantly against. His landlord, Crystal (Wendi Winburn), just happens to be a member of said cult who would love to invite Bob into the group, just not in the most hospitable way.

“The Screaming” is certainly one of the more focused features from VV as it sticks close to the main story and doesn’t have too many extraneous subplots or information dumps. The film tends to drag around the end of the second act, but picks up for a pretty outstanding finale where Bob not only fights off the demonic beast, but takes a guy out by way of a chandelier to great effect. The look of the demon isn’t always great, and there’s occasional use of CGI, but with an emphasis on using some practical effects in key scenes like when the creature's tentacles are shown. Credit where credit is due, though, as Leroy has made something pretty entertaining and all-around worth watching, especially for the sickos like us who love most of what VV puts out!

HOW DOES IT LOOK?

Folks who’ve read these VV reviews before know how this goes, but when it comes to materials for films like “The Screaming” sometimes the best available versions are still just alright. In this case, the master tapes were used for bringing “The Screaming” to blu-ray, and it looks as good as one might expect for regional horror shot around this time. Definitely sharper image than the early ‘90s, but still not as crisp as the digital revolution that is right around the proverbial corner at this time. The most noticeable artifact is the fuzziness around some of the shots, and the CGI hasn’t aged well, but not a lot of CGI from this time has.

Images from this release are used throughout this review.

HOW DOES IT SOUND?

Included is an English Dobly Digital 2.0 stereo track along with English subtitles for those who prefer to watch with them. The sound is actually quite good, and comes through clearly across the main channels while no single source (dialogue, music, or diegetic) is overpowering any others. The score from Jay Wolelfel is decent enough for the time, and included with this release is a CD version of the soundtrack to take with you on go, or your next date with a SOV horror queen/king!

ANYTHING SPECIAL?

As usual, this release has likely way more material than anyone would’ve thought possible for a regional horror film, but Visual Vengeance has a reputation to uphold! While not as robust as some other releases, it’s still going to scratch whatever itch fans may have for the “The Screaming.” The first feature I took in for this review as Screaming and Screaming Again: The Making of The Screaming, which is just a little over 8 minutes long and mostly featuring Jeff Leroy, Producer Dave Sterling, Vinnie Bilancio, and Joe Haggerty. Most of the time is spent recounting how Jeff and Dave got connected, and then how Vinnie was cast largely because he was a working actor in “Babylon 5” and he had a house in Van Nuys with a garage they could use to film most of the scenes. Not to mention, Vinnie built sets in his spare time and was able to get additional actors to show up for bit parts. There are some crass comments about Wendi Winburn that feel a bit out of place, but nevertheless it’s a densely packed 8 minutes of content.

The next feature was Composing a Cult Classic: Music Composer Jay Woelfel, a 6-minute interview about the creation of the score. This was Jay’s first time working with Jeff, and he mentioned influences like Bernstein and Carpenter as some he referenced when getting the sound right for the score. Jay is clearly quite proud of the score, and while it’s certainly not bad, it’s absolutely the kind of midi-heavy soundtrack that dominated regional SOV horror movies in the 90s and early aughts. Jay doesn’t divulge much more of note, and references the newly edited version which is included with this release. Candidly, having watched both versions I actually prefer the original because it retains some of the chintzy practical effects that give these movies their charm.

A full list of special features is below.

Special Features

• Includes CD soundtrack of the original score by Jay Woelfel

• Director-supervised master from existing tape masters

• Commentary with Tony Strauss of Weng’s Chop Magazine

• Screaming and Screaming Again: The Making of The Screaming

• Composing a Cult Classic: Music Composer Jay Woelfel

• Bonus feature: The Screaming: Reborn - director remastered alternate version of film

• The Screaming Reborn commentary with director Jeff Leroy, producer Dave Sterling and star Vinnie Bilancio

• Image Gallery

• Original Trailer

• The Screaming: Reborn Trailer

• Visual Vengeance Trailer

• Optional English subtitles

• Visual Vengeance Trailers

• Folded mini-poster

• ‘Stick Your Own’ VHS sticker set - FIRST PRESSING ONLY

• Reversible sleeve featuring original VHS art

• Limited Edition O-Card - FIRST PRESSING ONLY

LAST RITES

“The Screaming” is like so many Visual Vengeance releases in that it has a high-concept, a low budget, and an endearing charm to it’s amateur nature. The film isn’t without fault, but fans of the label will already know what they’re getting into and are likely to have a lot of fun with this, even if it is one of the lighter releases in terms of supplemental features.

THE GORY DETAILS

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

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Horror has turned its dark gaze on ‘wellness culture’ for as long as the genre has existed. Some of our oldest archetypes- vampires, for instance- explore themes of eternal youth and vitality. More recent properties like “The Substance” (2024) or “Nothing Tastes As Good” (2026) explore the medicalization of health more directly. Humanity’s fascination with learning how to exert influence over our bodies, illness, and the natural aging process is an instinct that can be used for great good and great evil.   

As with any universal theme, it seems there will always be new audiences craving fresh stories to tackle these ideas, along with creators happy to provide. Enter Dawn Kurtagich and her latest novel, “The Wellness Retreat” (2026) from Hanover Square Press. Her take on the allure and the dangers of holistic health leans heavily on the structure of gothic storytelling and Scottish folklore. Readers may find themselves equally drawn to, and repulsed, when they next consider a trip to their local spa. 

What’s It About? 

Jaime Vane is battling a chronic illness that has completely taken over her life when her sister, Sybil, disappears from the trendy wellness spa where she had been working, leaving a chilling coded message and a spa voucher in her wake. With the police ignoring her reports and no one else to turn to, Jaime rallies all her strength and journeys to the isolated Scottish island where Sybil was last seen, hoping the mysterious spa will yield some answers.

Undercover as a regular client, Jaime snoops around the dark corners of Saoghal Spa, searching for signs of her sister and undergoing treatments with the island’s famous black mud, which strangely does seem to be helping her chronic pain... But the more time Jaime spends at Saoghal, the deeper she is enmeshed in the spa’s strange secrets, and she soon finds herself facing a foe more ancient and powerful than she could have foreseen.

What’s The Verdict? 

We often carry certain expectations into a story based upon how past creators have approached the subject. When we received our copy of “The Wellness Retreat,” we cracked the spine expecting a familiar body-horror story. “Be careful what you wish for” is often the moral at the center of such stories, which our protagonists usually learn as whatever health craze they’ve given in to wreaks havoc across their lives and their bodies. 

Kurtagich’s take on wellness is refreshing in how it avoids many of these common tropes. The horror in her novel is less graphic and more human in nature. Much of the novel is devoted to the very relatable anxieties that Jaime grapples with, living inside a body that has slowly rebelled against her over the years. Long before reading her author’s note, we sensed that Kurtagich is drawing from personal experience in her exploration of chronic illness. She smartly avoids providing a clear explanation of the condition Jaime struggles with, allowing it neither to take over the narrative nor to slip from our awareness. Her health does not define Jaime’s character, but it remains omnipresent throughout her tale. We imagine readers who see themselves reflected in Jaime’s experience will find great inspiration in her hero’s journey.    

Kurtagich also displays a powerful sense of place in her writing, slowly developing the island of Talamh Dubh as an important character in the narrative. Her descriptions of the natural and man-made land on this tiny Scottish island are steeped in a sense of creeping dread, but also a gothic beauty. As we followed Jaime across the land where Saoghal Spa has made its home, we understood her discomfort as well as the draw. Even knowing the risks inherent in visiting this retreat, we’d be lying if we said we weren’t still tempted to walk the craggy cliffs leading to the lighthouse, visit the black stone circle, stop by the village inn for a pint (pay no mind to the glares of the locals), and submerge ourselves in a warm mud bath in the Dawn Suite. It is the romantic appeal of this locale that makes the novel’s dangers feel so real. Who could resist, however many red flags we might need to ignore? 

Similarly, Kurtagich’s deep passion and research of Scottish and Gaelic culture and history are apparent. She weaves elements of ancient folklore and modern urban mythology into “The Wellness Retreat” in a way that made us eager to do a deep dive ourselves into the stories of these cultures. We learn about the history of Talamh Dubh along with Jaime in a way that builds a world that feels real enough to reach out and touch. At one point we put our book down and picked up a map to see if the island actually exists. We’re sorry to say it doesn’t, so don’t put in for that vacation time just yet.    

While the more subtle nature of Kurtagich’s storytelling will appeal to many, those looking for more straightforward horror might be left wanting. “The Wellness Retreat” may be better described as a dark fantastical mystery than a horror novel. Where we expected body horror, ghosts, and gore, we found ancient myth, macabre local history, amateur sleuthing, and even a bit of sinister romance. We found the tale to be a refreshing subversion of our expectations, but longed at times for a few more traditional frights.

Kurtagich is adept at building compelling and complicated characters. At the center of the story is Jaime, a fascinating protagonist who balances internal strength with her physical limitations. Her sister, Sybil, while mostly existing as a character only in Jaime’s internal reflections, is equally well-developed. Her disappearance is the catalyst for the story, but she also becomes a fully realized person in her own right. We learn to care for her and discover her true fate, as much as her sister does. “The Wellness Retreat” also makes an effort to incorporate the retreat’s staff and other patrons into the story. The characterization of these side characters is one of the few missteps of the novel. So much interesting nuance and tension is hinted at in these complicated relationships. However, the narrative doesn’t devote enough time to them to build a strong connection between the reader and these folk who are drawn to the Spaoghal Spa, leaving many potential side stories unexplored. It doesn’t detract much from the reading experience, but hints at a new level of enjoyment the book could have unlocked.          

Final Thoughts:

“The Wellness Retreat” will appeal to lovers of dark folklore and stories steeped in setting and mood. Kurtagich covers familiar territory in a way that is uniquely hers. It is smart not to condemn our search for wellness, but rather to critique our motives in doing so. She asks hard questions about who owns the natural resources we use in our efforts to heal and finds ways to both romanticize and reveal the dark underbelly of holistic health practices. Kurtagich’s descriptions of the massages, mud baths, and meditations at the heart of Spaoghal Spa’s treatments are visceral and compelling. We may better understand the cost inherent in this pursuit of health, but we’ll still be first in line to cash in our voucher.    

“The Wellness Retreat” by Dawn Kurtagich will be released by Hanover Square Press on September 8, 2026.

It can be purchased here.

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Making a sequel to a great film has to be difficult, especially when that film is “Re-Animator.” Many sequels aim to achieve similar heights to their predecessors do, and most simply don’t, at least from a critical perspective. As for fans, well, fans are a bit more forgiving and often find more enjoyment from sequels than they do the originals (looking at you, “Dream Warriors” fans). Thankfully, we live in a world where we don’t have to choose between two things and can have our proverbial cake whilst eating it, and companies like Ignite Films and Eagle Rock Pictures are making sure to give as much love to “Bride of Re-Animator” as they did for last year’s 45th anniversary release of “Re-Animator.” This is easily one of the best physical media releases of the year, and we go into fine detail as we enter the crypt!

WHAT’S IT ABOUT?

Doctors Herbert West and Dan Cain discover the secret to creating human life and proceed to create a perfect woman from dead tissue.

HOW IS IT?

Like so many sequels in the ‘80s and ‘90s, “Bride of Re-Animator” had a lot working against it. The strong performance of the first film led to a legal battle over pay, and even a minor rift in the relationship between producer Brian Yuzna and “Re-Animator” director Stuart Gordon, with the former helming the sequel as director since the latter was working on another project. Most sequels are rushed into development right after the first one sees success, but for “Bride of Re-Animator,” there was a 5-year gap that saw three of the first film’s actors making a reprisal, and a title that was forged with allusions to James Whale’s iconic and similarly impossible-to-follow sequel to 1931’s “Frankenstein.” “Bride of Re-Animator” isn’t often mentioned as one of the best sequels in horror, but it is far from the worst, and absolutely worth the white-glove treatment that Ignite Films and Eagle Rock Pictures have delivered.

Picking up some time after the first film, we once again join Dr. Dan Cain (Bruce Abbott) and Dr. Herbert West (Jeffrey Combs) as they try to leave behind the mishaps of the first film and start anew. That is, start anew while still pursuing the dream of reviving the dead, albeit this time the focus has shifted away from simple reanimation to a hybrid of Frankenstein-like body configuration combined with the famous neon green reagent serum. More experimental and sillier, “Bride of Re-Animator” doesn’t have the same depth in character development that the first film did, and often feels a bit discombobulated in its storytelling. There’s yet another love interest blooming between Dan and Francesa (Fabiana Udenio) and a detective (Claude Earl Jones) hot on the trail of West, as is the decapitated and reanimated head of Dr. Carl Hill (David Gale). If it sounds like a lot, it is, and that’s both the blessing and burden of the film.

What works stupendously are the practical effects, consisting of five different effects studios' contributions to the final product, including KNB and the recently departed Screaming Mad George. The eyeball finger creature, the bat-winged Dr. Hill head, and the impeccable latex suit design for the titular bride (Kathleen Kinmont) all are in-line or an improvement on, the 1985 predecessor. In a time before CG became a default, “Bride of Re-Animator” stands as one of the pinnacles of practical effects magic. Similarly, Abbott and Combs continue their divisive relationship and atomic levels of chemistry that make them as much friend as foe to each other, even if West is far more malicious and Cain far more docile and sad this go-round. Their shift in character, and perhaps interpretations around their relationship, was commented on wonderfully by Vanessa Maki from Macabre Daily in a previous article. The tonal issues that impact “Bride of Re-Animator” aren’t necessarily because the film is bad, but because it isn’t sure what it should be because of the time crunch it was created under.

Tonal issues aside, “Bride of Re-Animator” is still a fascinating part of horror history and the broader legacy of the “Re-Animator” franchise, which would go on to have one more criminally underseen sequel (“Beyond Re-Animator”) and even a theatrical stage production harkening back to Gordon and many of the cast members’ first foray into the arts. Yuzna does the best he can with what he has to work with and the limited amount of time they had to film this, not to mention the rewrites on account of the spat between him and Gordon. “Bride of Re-Animator” may not expand upon the lore in any meaningful or significant way, but it’s supremely entertaining with how absurd it is and how zany the final act is, complete with reanimated corpses of canines and humans alike.

HOW DOES IT LOOK?

Ignite Films has included both the unrated and rated versions of “Bride of Re-Animator” in this release, with the unrated versions being the ones to receive the 4K UHD upgrade. Using the original camera negatives, Ignite Films worked with director Brian Yuzna for approval on the restoration to bring it into 2160p with added HDR10 grading on top to really make it shine on modern projectors and TVs. The original 1.85:1 aspect ratio is maintained, and the rated version is the same 2K transfer that Arrow Video had commissioned for their 2016 release. Needless to say, this is the best this film will ever look, and the blended color palette of dark blues and grays pops just as vividly as the neon greens and Argento-ish red lighting used in many scenes. Truly an outstanding presentation from Ignite Films, further cementing them not just as a great label, but as one dedicated to preservation.

Images from this release are used throughout this review.

HOW DOES IT SOUND?

There are three (3) audio tracks included in this release, consisting of a 5.1 DTS-HD mix, a 2.0 Stereo mix, and a Mono track. We chose to review this with the 5.1 mix, which is new to this release, as the 2.0 mix was carried over from Arrow’s 2016 release. The 5.1 mix sounds great and certainly makes good use of the rear channels, especially during scenes with a lot of pandemonium. The balance between the dialogue, diegetic sound, and score is all wonderfully done, so nothing is ever competing with your ears for supremacy, and subtitles in English, Spanish, and Dutch are included for those who prefer to watch with them!

ANYTHING SPECIAL?

Similar to their “Re-Animator” release from last year, Ignite Films has put together the ultimate package that consists of both newly commissioned and legacy supplemental features that appeared on the previous Arrow release. Perhaps one of the most striking newly created features is “Till Death Do Us Part: The Making of Re-Animator,”  a 60-minute documentary featuring interviews with the cast and crew. Intercut throughout are BTS videos alongside single-camera interviews with folks like Combs, Abbott, Yuzna, Kinmont, and Udenio. Much of the time is spent on establishing why there was a 5-year gap between the films, and getting folks like Combs to come back. The cast clearly has a lot of respect for each other, as they all lob delightful compliments about working together, and much praise is heaped upon Kinmont for not just her performance, but dedication to being in makeup for 6 hours ahead of shooting. There’s also mention of how the five different effects houses were somewhat competitive with each other, and how the producers used that to their advantage. There’s also commentary from folks like Joe Lynch and stories about how the crew almost revolted after a particularly hard shooting day. It’s a wonderful documentary and a great companion to the interviews in the hardcover book included.

The next feature that we had to review was the enclosed 130+ page hardcover book of essays and interviews. The largest of these is the interviews from “Are We Having Fun Yet?” collected and written by Genevieve Radosti. These provide various perspectives on the film, including the actors as well as effects folks who worked behind the scenes. This is quite exhaustive and covers a lot of ground while getting quite personal about the process and the opinions of folks who made the film. As for the rest of the essays included, here’s what they cover:

• Re-Animating The Bride: A Return to Madness from Brian Yuzna is a short and sweet reflection on the journey to getting this film made in the first place

• Getting the Blood Flowing from Alice Maio Mackay gushes over the use of practical effects and how the tactile nature of them lends itself wonderfully to this film and filmmaking overall

• She Were A Belle Forbidden from Esther Rosenfield provides context around this bride amongst other brides across horror

• The Post-Modern Eve from Willow Maclay dives into how Shelley’s original story and then Whale’s sequel opened up an entire genre focused on female autonomy and male entitlement to the female form

• Whole People Or Just Parts from Tori Potenza examines how both Herbert West and Dan Cain represent two halves of a whole doctor, and how that metaphor plays out literally in their piecing together of a woman

A full list of special features is below.

Special Features

Newly Produced Bonus Features:

• Till Death Do Us Part: Making Bride of Re-Animator — a newly produced, 60-minute documentary

• Extended interviews with Director Brian Yuzna, Bruce Abbott, Fabiana Udenio, Jeffrey Combs, and Kathleen Kinmont

• New commentary with Sarah Sherman (SNL), aka Sarah Squirm 

• Hardcover book featuring new interviews with stars Jeffrey Combs, Bruce Abbott, Kathleen Kinmont, and Fabiana Udenio, with an introduction by director Brian Yuzna. Essays by Genevieve Radosti, Esther Rosenfield, Willow Maclay, Tori Potenza, and Alice Maio Mackay.

• Newly produced 4K release trailer

Legacy Bonus Features:

• HD restoration of the Rated version
  Audio commentaries with Director Brian Yuzna, stars Jeffrey Combs and Bruce Abbott, special effects coordinator Thomas Rainone, and the effects team including John Buechler, Mike Deak, Robert Kurtzman, Howard Berger, and Screaming Mad George.

• Brian Yuzna Remembers Bride of Re-Animator — the Director looks back at the making of the Re-Animator sequel

• Splatter Masters: The Special Effects Artists of Bride of Re-Animator — FX featurette with a wealth of behind-the-scenes footage and interviews with Robert Kurtzman of KNB, Screaming Mad George, Tony Doublin, and John Buechler.

• Getting Ahead of Horror — archive making-of featurette

• Meg is Re-Animated — deleted scene with behind-the-scenes footage

• Carnival Sequence — the cast and crew discuss this excised sequence    

LAST RITES

“Bride of Re-Animator” may not reach the heights of the first film, but it does deliver more outrageous horror goodness and even more body horror oddities than the first film. This release from Ignite Films and Eagle Rock Pictures carries forward the great work done on the first film and provides the same treatment here, including some outstanding new special features and a beautiful 4K UHD transfer. This is without a doubt the definitive version of “Bride of Re-Animator” that anyone will ever need!

THE GORY DETAILS

Thank you to the fine fiends at Ignite Films for providing a review copy for the crypt! “Bride of Re-Animator” is available now and can be purchased via Ignite Film's website!

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Losing a child has to be one of the most difficult things anyone could experience. Not only does the guilt over hypotheticals run circles in your mind, but the grief that comes from such a tragic loss can often upend relationships and cause persistent issues with mental health. It’s something I’d never wish upon anyone, even my worst enemies. While I’m not a parent, I don’t thinkI have to be one has to be one to understand how disruptive the death of a child can be, and it’s central to the conceit in “Burning,” directed by Radik Eshimov and written by Aizada Amangeldy and Dastan Madalbekov. From the Central Asian country of Kyrgyzstan, this film is sure to linger with you long after it ends.

WHAT’S IT ABOUT?

A family's home burns under mysterious circumstances after they lose their child. Neighbors whisper of a curse as witnesses give conflicting accounts of the fire's origin, while an unsettling enigma surrounds the household.

HOW IS IT?

Akira Kurosawa’s “Rashomon” made an undeniable mark on film storytelling by visually demonstrating the often-heralded saying that there are “three sides to every story.” The idea of the unreliable narrator wasn’t new, but it was often relegated to literary works more so than film; since Kurosawa’s landmark feature, it seems many have adopted similar forms of storytelling that use time jumps and different perspectives to illustrate the many sides of a single story. “Burning” uses this device to color a picture about what seems like demonic possession, but cleverly uses the storytelling device to invite the viewer into something much darker, and far more real than anything supernatural. It does require some patience, but the payoff is certainly worth it; just make sure you don’t have plans afterward because “Burning” is quite bleak.

It’s hard to talk in detail about “Burning” because so much of the surprise is baked into the final act. Narratively, we have a group of neighbors recounting their personal opinions on why a house in their neighborhood has burned down. The three intersecting stories approach it from different perspectives, each sympathetic to a different person who was affected by the fire. Inside the house in question, a young woman (Aisant Edigeeva) and her husband (Omurbek Izrailov) mourn the loss of their child the year prior. To help them cope, the husband’s mother (Kalicha Seydalieva) comes to visit and is met with varying degrees of acceptance. She arrives at a house in disarray, but it’s unclear who is to blame, and each version of the story supposes that one of the three is the driving force behind the eventual tragedy.

“Burning” explores grief not from the perspective of those it occurs to, but from the perspective of those who are bystanders to it. Bystanders, like any person, have their own biases and opinions that color their description of events. Some claim that the mother was a malevolent force whose stern ways were suffocating the young woman and driving her mad, while others suggest the young woman was losing her mind and was possessed by a djin. “Burning” elegantly weaves between these different perspectives, each time retracing similar steps, but with different interpretations of the same events.  This also leads to new conclusions and keeps the mystery about what really transpired elusive until the very end, but it does mean that we are often seeing similar things playing out multiple times. It never feels redundant, but had it gone on for another perspective, it certainly could’ve run the risk.

What makes “Burning” so effective is that each story sets a new precedent for how we interpret the circumstances. It also reflects how our personal beliefs and biases interfere with proof that is right in our faces, as is evident with most of the men in the film who would rather believe that the young woman is possessed rather than something more pedestrian and grounded. The revelation that the third story delivers is a real blow emotionally, and even more frustrating is that the person who recounts this side of the narrative is met with so much pushback like, “this person could never” or “that’s just the way things are. In the final moments of the film, agency that has long been omitted from the women in the story is finally returned, and there is a small sense of justice even though the means it took to arrive there are tragic.

LAST RITES

“Burning” is a devastating film told from different perspectives that masterfully keeps its secrets until the ideal revelation point occurs. It’s not an easy watch, but it is an important film about perspective and how we truly don’t know the full story until we hear all sides.

THE GORY DETAILS

“Burning” will be available to stream exclusively on IndiePix Unlimited and Amazon Prime Video on Friday, September 4, 2026!

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If you’ll allow me just a moment to lean into my elder millennial tendencies, I must start by saying: Back in my day…I promise, I’m going somewhere with this. 

Anyway. Back in my day, around the dawn of the new millennium, when gas could still be found for under a dollar per gallon, we would often entertain ourselves by taking aimless drives late into the night. Our destination didn’t matter. We didn’t reference our maps (yes, we used maps) because getting lost was half the point. Alone or with friends, radio (or our latest burned CD) blasting, windows down, and occasionally hacking our way through a cigarette we had borrowed from our cooler, less health-conscious friend, this was simply how we passed the time.

One might see similarities between this and more modern hobbies such as doom-scrolling. However one views it, my teenage self saw these aimless trips as the pinnacle of self-care (before such terms had overtaken our daily discourse). Another concept, common in today’s self-analytic parlance but unknown to my younger self, is that of the liminal space. In retrospect, that is where I was spending my time on these journeys to nowhere. And it was peaceful, cozy, and rejuvenating. As I sat in the theater watching “It Ends” (2026), the feature film by Alexander Ullom, I was struck by how far we have come in our view of such spaces. The endless road is no longer a space of freedom, but one of fear. Is this an anomaly? Or have we come to view the spaces between as a genuine source of horror?

Naming The Nameless. 

The term ‘liminal space’ was first coined by Arnold van Gennep, a European folklorist, in his work “Rites De Passage” (1909). He considered liminality as a form of transition that individuals and societies undergo through various rituals and traditions. Liminal spaces, as we discuss them today, have a decidedly more modern and naturalistic origin, having slowly emerged from online discourse across platforms like Tumblr, 4chan, and Reddit. Many have written about the term and helped clarify its modern meaning, but our understanding of the term in modern dialogue belongs to the collective internet culture. 

Particularly as used in the horror genre, liminal spaces refer to places in transition. These spaces exist in a world between what was and what will be. An abandoned home awaiting demolition, an elevator traveling between floors, an unnamed road without beginning or end. These examples exist not just in some of our favorite films, but also seem to live in our collective unconscious. Perhaps this is why psychoanalyst Carl Jung was drawn to the concept and applied it to his understanding of human individuation. He described our movement through liminal space and time as a process of disorientation and fragmentation, ultimately allowing for the integration of our self-identity. Previous generations have found comfort and healing in such concepts. But recent implementations of liminal spaces in horror, such as “It Ends”, “The Backrooms” (2026), and “Exit 8” (2026), suggest that young people today may feel very differently about the possibilities liminality presents to them.

Who's Afraid Of Liminal Spaces? 

Much has been made of the young wunderkinds who are emerging in today’s horror landscape. Kane Parsons, who was only 19 years old when production first began on “The Backrooms”; Curry Barker, who, at 26 years old, is still smashing box-office records as of this writing; and the writer/director of the aforementioned “It Ends,” who is the eldest of the group at 28. Given the stressors facing young people today, it is no wonder that young filmmakers and audiences are redefining our understanding of liminality.

A 2024 study asked young people aged 10 to 24 to rank general goals by importance. Amongst options including self-acceptance, fitness, popularity, fame, social connection, and spirituality, one choice emerged above all others: To be safe. Facing unprecedented times of fiscal, environmental, and political uncertainty, young people are increasingly positioned to see ambiguity as a source of distress. Thirty years ago, a jaunt through The Backrooms might have felt like a vacation from the daily grind; today it serves as a dreadful reminder of the lack of foundational structure that prevents us from spiraling further into the abyss. 

Everything Old Is New Again

The horror genre is constantly reinventing itself in response to social trends. Exploitation films of the 70s gave way to the slashers of the 80s. Meta-horror in the 90s shifted into the millennial nasties of torture porn and French extremity in the aughts. We may not fully understand the face of horror today until we can reflect in ten or twenty years, but one trend that stands out, particularly in liminal horror, is the fear to be mined from the mundane as well as the use of social artifacts of years past to instill a sense of the macabre. 

“Exit 8” masterfully uses the simplicity of a Tokyo Metro station to build a nightmare scenario for its young protagonist, unnamed to maximize our ability to project our experiences into the frightful game he stumbles into. In “The Backrooms”, Parsons’ grasp of 90s architecture and the aesthetic of everywhere America imbues items as simple as an office chair, fluorescent light, or mannequin with the power to chill audiences to the bone. In “It Ends,” the endless road exists without specificity or distinction, allowing a simple tree-lined rural road to do the same work that a masked man with an axe would have done in decades past.   

We are as fascinated by the past as we are suspicious of it. In a world of MAGA sentimentalities, nostalgia for “the good old days,” which never truly existed, has been weaponized. But whatever critiques we have of past decades, many of us did take our future stability for granted in a way that is no longer possible. Whether that stability was real or an illusion, it allowed us to drift through life with an amount of privilege that does not exist for people coming of age in the second and third decades of the new century. 

Liminal horror gives us a space to look back in time with admiration, longing, and no small amount of resentment and anger. YouTube videos of urban explorers who traverse abandoned malls, department stores, and subway tunnels offer a glimpse of an era of luxury that has been steadily crumbling, to be replaced with more nebulous third spaces that live only online or in our imagination. Some of us long to return to these times while others are curious to glimpse them for the first time, but all of us now view them with trepidation and existential anxiety.

We’re Off To See The Wizard

Returning to Jung’s concept of liminal space, the famous Yellow Brick Road, and perhaps the entire dream world of Oz, is an early example of the use of liminality as a means of personal development in literature and film. Dorothy and her friends all learn a great deal more about themselves and their value on their journey to the wizard. 

Modern examples of liminal space in horror continue to offer opportunities for evolution to those who lose themselves there. However, what horror has come to realize is that the journey does not guarantee the same positive outcomes our earlier protagonists found. Films like “It Ends” and “The Backrooms” offer few reasons to be optimistic about our time spent in the between spaces. Our efforts to understand them and learn from them are doomed to failure because they are not here to serve us. They simply are. In fact, they offer no guarantee that the journey will end at all. Whether to read these interpretations as a reason to despair or find hope is something that we, as a society, are still grappling with. Should we wallow in the existential dread that comes with the suggestion that life may offer no greater purpose? Or is there hope and even joy to be found in embracing the journey as a means without an end? 

This is not to suggest that evolution is impossible in a modern society. “Exit 8” suggests that growth can still happen in the unlikeliest and most frightening of places. However, that growth may be subtle and still exist in the context of a challenging and distressing everyday world. One of the things we have always appreciated about the horror genre is its refusal to promise a happy ending. In the past, horror has focused more on explicit risks and dangers. In today’s exploration of liminal horror, we are acknowledging that these fears are often more pervasive and subtle than they once were. That being said, they remain no less frightening. As always, we will continue to look to our favorite creators, old and new, to help us grapple with these fears and determine our path forward, whether we reach the end of the road. Or, for that matter, whether the end even exists.   

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“Burford Priory: The Woman Who Watches Over Us,” a deeply personal paranormal investigation inside one of England’s most extraordinary private homes, will premiere exclusively on The Supernatural UK YouTube channel on Friday 4 September 2026 at 7 pm. 

In this new 55-minute documentary feature, Charlotte Freud invites The Supernatural UK team into the historic Oxfordshire home in which she grew up, sharing the family’s experiences of a place they have long believed they share with something unexplained. What begins as an investigation into a haunting becomes something far more personal: a moving story about love, memory and the possibility that those who once cared for us may never truly leave.

Charlotte said:

“When I was asked to do this, I thought it would be fun, and nobody had ever ghost hunted in the priory, besides my brothers and sisters as kids. Armed with magnifying glasses and vacuum cleaners, we played ghostbusters often. What I did not expect was for John’s team to prove something real to me.”

Charlotte leads the team through the Priory’s most significant rooms and recounts the unexplained experiences reported by her family, friends and visitors over the years. What follows is not simply a search for evidence of a haunting, but an intimate exploration of a family’s relationship with its home - and the possibility that somebody may still be watching over them.

Produced by TSUK duo John Shackleton and Andy Bourne, the film brings together sensitive Kate Ray, sceptic Justin Cowell and paranormal investigator Karin Beasant. As the night unfolds, a series of striking apparent connections begins to draw together the Priory’s history, Charlotte’s testimony and the experiences of the investigation team.

“This is one of the most beautiful and affecting films we’ve made,” says producer-director John Shackleton. “Charlotte gave us extraordinary access, not only to the Priory but to the family stories attached to it. What emerged felt much more intimate than a conventional paranormal investigation. It became a film about home, family, memory and the possibility that the people who matter to us may never entirely leave.”

Burford Priory has stood in one form or another for more than 800 years. Once a medieval hospital and later a religious community, it has witnessed royal visits, political intrigue and family tragedy before being painstakingly restored as a family home by the Freud family. Beyond its remarkable history, however, are the stories known only by those who have lived there.

“Burford Priory: The Woman Who Watches Over Us” continues The Supernatural UK’s distinctive observational approach to paranormal filmmaking - allowing events to unfold naturally, without manufactured scares or predetermined conclusions.

“A fascinating investigation of a beautiful, historic location.”

★★★★★

Don’t Scare Claire

“Visually stunning, funny, thought-provoking and genuine.”

★★★★★

Beardo Gets Scared

“Beautifully made, intriguing, funny, thoughtful and unexpectedly moving.”

★★★★★

Haunted History Chronicles 

 “The gold standard for Paranormal YouTube. The bar has been raised.”

★★★★★

Haunted Magazine

Burford Priory: The Woman Who Watches Over Us premieres exclusively on The Supernatural UK YouTube channel on Friday 4 September 2026 at 7pm.

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In the world of physical media, Severin Films stands above many not just because of how long they’ve been around, but for the hard work they put into restoring, preserving, and ensuring the legacy of so many films and filmmakers. Physical media collectors will almost undoubtedly have a Severin title in their collection, either because they love the film or they love the attention to detail Severin puts into physical releases, and both reasons are valid. So many of us who champion physical media do so because we miss the video store and the tactile nature of holding something in your hand. And in a world where digital purchases are only as good as the rights holder’s contract, more are realizing that to truly own something means being able to pull it from your shelf, stick a disc in a tray, and hit a “play” button on a remote.

20 years ago, Severin was started by three men: Carl Daft and David Gregory, childhood friends from the UK, and longtime collaborator at Blue Underground, John Cregan. Since then, they’ve amassed a library of over 500 film and television projects, many of which have been restored from elements thought to be lost or the best possible prints available, to bring into HD. Severin’s mark on the world of genre film is undeniable, and they aren’t stopping anytime soon. Please enjoy this conversation with Carl and David as they reflect on what they’re most proud of, what they’ve had to overcome, and more. You can check out Severin’s latest release on their site, and they have a lot in store for the rest of 2026 and beyond!

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Considering how dark the original Grimm Fairy Tales were, it’s somewhat surprising that we haven’t gotten a truly horrific adaptation of any of them. Sure, there have been some examples like Osgood Perkins’ “Gretel & Hansel,” or the criminally underseen “Tale of Tales” from Matteo Garrone, but none has truly taken these stories to the peak of their respective potential. Perhaps the best, and most recent example is “The Ugly Stepsister,” and even that had liberties taken that turn it into something different, albeit fascinating and outstanding. Perhaps the secret isn’t to adapt one of these stories, but instead merge their most prominent characters into something divorced from the source material in all but look and name. That’s what is in store with “Ever After,” a new film written and directed by László Illés, and we dare to wonder if this is the nightmare fairy tale we’ve been wishing for.

WHAT’S IT ABOUT?

A group of girlfriends arrives at a forest lodge to celebrate, but things take a horrific turn as they realize that the forest is home to bloodthirsty lunatics who perceive themselves to be characters from classic fairy tales.

HOW IS IT?

If someone were to pitch me an idea with a forest full of fucked up versions of well-known fairy tales, I’d be inclined to hear them out. Something about mashing up these characters is vaguely appealing, even if it is sacrilegious. Much like playing with action figures from different franchises, the sky’s the limit when you’re using your imagination, and László Illés infused his brand of extreme horror into this smorgasbord of mythological creatures who terrorize a bachelorette party in the woods. It’s Rob Zombie-style fairy tales complete with cameos from folks who’ve starred in his films, and as compelling as the idea of a fairy tale slasher mashup is, the execution is pretty uneven and almost certainly too long.

The group of bachelorettes who are spending a weekend in the secluded woods are quickly beset upon by murderous versions of the 3 Little Pigs, Prince Charming, the Frog King, the evil witch, and more. It’s a rogues' gallery of literary characters who are all presented as more grounded and exponentially more violent than their fairy tale equals. While we usually don’t want anything bad to happen to our main characters, the group of ladies at the center of this story aren’t exactly the most likeable folks, and one of the most strenuous things about “Ever After” is trying to care what happens to them as things progress. This isn’t to say that you’ll side with the “bad guys,” but instead that no character in the film is the kind you want to root for. Even still, we’re here for the blood, and when it comes to that, “Ever After” is certainly delivering on expectations.

The practical effects aren’t demonstrating anything you haven’t seen before, but they’re extremely well-done, as is the production design and costuming. Gory gashes, exploding heads, slit necks, and more look as gruesome as they should, and the looks of some of the characters are quite interesting, like the aforementioned three pigs. The thing is, “Ever After” never makes it clear why some characters seem to be more supernatural in nature, and others are simply people in masks. The Frog King (Malcolm McDowell doing the voiceover), who talks through a pig mask, looks great and clearly has some magical wizardry up his slimy sleeve, but the three pigs themselves are just guys in really dope pig masks. It makes it hard to feel fully immersed in the world, and more importantly, to understand the kind of danger the characters are in besides being murked. Solid turns from other horror legends like Michael Berryman as a bumbling hunting guide and Bonnie Aarons (watch our interview with Bonnie here) as the evil witch are probably the funnest performances in the film, but hats off to Mark Sheppard, who gives it his all as “The Ringmaster.”

At 125 minutes, the biggest issue with “Ever After” is the runtime and pacing. There’s an easy 15 minutes that could be lopped off of this, and the final act somehow feels less threatening than the events that led up to it. Not to mention, next to nothing is explained as to who the hell all these characters are and why they’re there. Posturing and dialogue take the place of what should be a showdown with action, and it’s unclear why these women are there and what it’s all really for. If it’s just a bunch of nutty bastards running around hurting people, we should know that. And if these are in fact the actual characters from the fairy tales they’re based on, why are some of them people? It wouldn’t be the kind of thing I’d get hung up on if the film didn’t give me so much time to question these things, as the stop/start nature of the action prohibits “Ever After” from gaining momentum.

LAST RITES

“Ever After” is a decent idea that isn’t explored most entertainingly. Great practical effects and costume work, alongside some great turns from horror royalty, aren’t enough to make this fairy tale-laden affair more than average.

THE GORY DETAILS

“Ever After” will be released in theaters on Friday, September 4, 2026, from Level 33 Entertainment!

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Beyond Fest, the biggest genre film festival in the U.S. presented this year by MUBI and programmed and presented in partnership with the American Cinematheque, proudly announces a major retrospective celebrating writer, director, producer, and nightmare maker extraordinaire M. Night Shyamalan. Spanning 27 years and 12 features, Night Visions: The Shock and Awe of M. Night Shyamalan explores Shyamalan’s wholly singular oeuvre and marks the first West Coast retrospective of his work with the filmmaker in attendance. 

From the supernatural phenomenon “THE SIXTH SENSE” and the visionary superhero mythology of “UNBREAKABLE,” through to the nerve-rattling suspense of “TRAP,” few filmmakers have shaped popular cinema culture with the audacity, precision, and unmistakable identity of M. Night Shyamalan. Through sweeping stories of fractured families, superhuman abilities, alien invasions, deadly prophecies, and unseen worlds, Shyamalan has consistently transformed iconic genres to create a genre unto himself.

“M. Night Shyamalan is one of the defining filmmakers of modern cinema—a fearless artist whose precision, conviction, and command of an audience are entirely his own,” said Evrim Ersoy, Head of Programming at Beyond Fest. “For nearly three decades, he has pursued a deeply personal vision on the grandest possible scale, creating films that provoke, terrify, move, and endure. To welcome Night and celebrate the extraordinary body of work he has built with this program is a profound honor.” 

Night Visions features twelve of Shyamalan’s most compelling and audacious features, inviting audiences into a meticulously constructed cinematic universe rich with fear, faith, and the unknown. Shyamalan will join in person for four specially curated blocks of programming, sharing insights into his deeply personal filmmaking, exploring the ideas, influences, and creative decisions behind many of modern genre cinema’s most unforgettable worlds.

THE EASTRAIL 177 TRILOGY: UNBREAKABLE, SPLIT and GLASS

Egyptian Theatre. Sunday, September 27th, 11 AM. Post-screening Q&A.

Nearly two decades in the making, The Eastrail 177 Trilogy showcases the brilliance of Shyamalan’s radical reinvention of superhero mythology. Beginning with the restrained, emotionally charged UNBREAKABLE, Eastrail expands through the psychological labyrinth of SPLIT, before culminating in the collision of GLASS. A trilogy unlike any other, Eastrail explores belief, identity, trauma, and the dangerous consequences of recognizing the extraordinary within ourselves as only Shyamalan can.

THE END OF THE WORLD IS NIGH(T): SIGNS and KNOCK AT THE CABIN

Egyptian Theatre. Sunday, September 27th, 7 PM. Q&A between films.

Shyamalan revels in apocalyptic delights as he confronts humanity with the possibility of annihilation in The End of the World Is Nigh(t). SIGNS places an intimate crisis of faith against the backdrop of an alien invasion, while KNOCK AT THE CABIN forces one family to confront an impossible choice with potentially global consequences. Both films firmly place the end of the world within the home, using apocalyptic terror to examine sacrifice, belief, and the fragile bonds that hold us together.

THE POWER OF PARANOIA: THE VISIT and TRAP

Egyptian Theatre. Monday, September 28th, 7 PM. Q&A between films.

The Power of Paranoia pairs two relentlessly escalating thrillers in which apparently familiar spaces become elaborate prisons. THE VISIT transforms a seemingly idyllic family reunion into a nightmare of suspicion and discovery, while TRAP turns the safe space of a pop concert into a tightly engineered cat-and-mouse tale of terror. Together, they showcase Shyamalan’s masterful creation of tension through shifting perspectives, confined environments, and the terrifying realization that nothing is what it initially appears to be.

I SEE (MORE) DEAD PEOPLE: THE SIXTH SENSE

Egyptian Theatre. Tuesday, September 29th, 7 PM. Introduction and post-screening Q&A.

I See (More) Dead People celebrates the iconic film that instantly transformed both Shyamalan’s career and contemporary popular culture. THE SIXTH SENSE expertly explores grief, connection, mortality, and the unseen forces shaping the lives of the living, while simultaneously demonstrating Shyamalan’s extraordinary ability to find profound human emotion within the impossible. A landmark film that is as masterful today as it was when it shattered audiences and box office records alike upon release, THE SIXTH SENSE remains a milestone of cinema that has yet to be challenged.

The celebration extends beyond the festival with additional presentations of THE VILLAGE, OLD, and LADY IN THE WATER at the Los Feliz 3. These films further explore Shyamalan’s preoccupation with isolated communities, environmental terror, collective fear, and the instability of the worlds we construct to make ourselves feel safe.

NIGHT VISIONS: THE SHOCK AND AWE OF M. NIGHT SHYAMALAN

EGYPTIAN THEATRE

The Eastrail 177 Trilogy

UNBREAKABLE

Special Screening

Director: M. Night Shyamalan

Country: United States

Runtime: 106 mins

2000

SPLIT

Special Screening

Director: M. Night Shyamalan

Country: United States

Runtime: 117 mins

2016

GLASS

Special Screening

Director: M. Night Shyamalan

Country: United States

Runtime: 129 mins

Guests: M. Night Shyamalan - Post-Screening Q&A

2019

The End of the World Is Nigh(t) – Apocalyptic Delights

SIGNS

Special Screening

Director: M. Night Shyamalan

Country: United States

Runtime: 106 mins

Guests: M. Night Shyamalan - Post-Screening Q&A

2002

KNOCK AT THE CABIN

Special Screening

Director: M. Night Shyamalan

Country: United States

Runtime: 100 mins

2023

The Power of Paranoia

THE VISIT

Special Screening

Director: M. Night Shyamalan

Country: United States

Runtime: 94 mins

Guests: M. Night Shyamalan - Post-Screening Q&A

2015

TRAP

Special Screening

Director: M. Night Shyamalan

Country: United States

Runtime: 105 mins

2024

I See (More) Dead People

THE SIXTH SENSE

Special Screening

Director: M. Night Shyamalan

Country: United States

Runtime: 107 mins

1999

Guests: M. Night Shyamalan - Introduction + Q&A

LOS FELIZ 3

THE VILLAGE

Special Screening

Director: M. Night Shyamalan

Country: United States

Runtime: 108 mins

2004

OLD

Special Screening

Director: M. Night Shyamalan

Country: United States

Runtime: 108 mins

2021

LADY IN THE WATER

Special Screening

Director: M. Night Shyamalan

Country: United States

Runtime: 110 mins

2006

Attend Beyond Fest: 

Tickets will be on sale on the American Cinematheque website Thursday, September 3rd at 12:00 pm PST. Visit beyondfest.com and americancinematheque.com for details.

For the latest developments, visit the Beyond Fest official site www.beyondfest.com and follow us on Instagram, Facebook & X.

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It’s no secret that we love “HELLMARE.” It’s a fun, crass, and fiercely independent feature that was made by people who are friends and fans first, and it shows in every second of the film. RFN Pictures, headed up by brothers Victor Gabriel and Vincent Peters, has unleashed two grimy as fuck films prior to “Hellmare” with “CRUEL” and “Blood Gorge,” and as much fun as those two films are, “Hellmare” is something special. But you don’t have to take my word for it, because Victor will tell you himself how much of an evolution this film is for him and his brother in our latest interview.

You can watch our candid conversation below, and perhaps as important is that “Hellmare” is a part of this year’s Troma Dance film festival taking place at The Pinebox NYC. The event takes place this weekend, starting Friday, September 4th through Sunday, September 6th, with “Hellmare” playing on the 5th. You can purchase tickets using the link below, and we hope you do if you’re in the area because “Hellmare” is best enjoyed with a crowd of Troma fans who know the value of good art with bad taste.

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It’s without question that Wes Craven’s “A Nightmare on Elm Street” changed how we think about sleep and dreams. While using nightmares in genre wasn’t new, what was novel was the notion that there was someone in our dreams who had power over us, furthering the sense of vulnerability we feel while we sleep and are largely helpless to defend ourselves. Horror thrives in the margins where people feel most affected, and with sleep being such an essential part of our existence, the last thing we need is reasons not to close our eyes. Then again, when you love horror as much as we do, being scared is part of the fun, and James Ross II knows exactly how to rattle our cage in his latest film, “Parasomnia.”

What’s It About?

Riley is a young woman tormented by night terrors and a past of unresolved tragedy. When her best friend is the latest to go missing, she begins to suspect the demonic figure lurking in her sleep has crossed over into the real world.

How Is It?

We watch a lot of movies here at Macabre Daily, and that often affords us the ability to pick up on certain emerging tropes and trends. Some of these are obvious, while others are not as obvious, but one thing that everyone is keenly aware of is how much mental health and horror have overlapped in the last 15 years. It has reached a point where it is almost certain that a large swath of horror films will use themes like grief and trauma as a vehicle for the horror, with varying degrees of success. What is so refreshing about “Parasomnia” is that it doesn’t rely on subtext or metaphor to establish its characters and circumstances, even if it plays a critical role in the narrative. Instead, it creates a space that can be read as symbolically as one wants, without ever requiring it for enjoyment.

Riley (Jasmine Mathews) experienced what could be one of the most horrifying situations a child could ever be in; her father murdered her mother before taking his own life, leaving her to be an orphan. Thankfully, Riley and her childhood friend, David (Stephen Barrington), have emerged from this experience as better people. But a surprise party in Riley’s parents’ house has set off a series of unfortunate events that signal the past may be repeating itself, and Riley is in the middle of it. It’s hard to go into more detail without spoiling what the film has in store, but a blend of the novel and familiar makes “Parasomnia” easily one of the better original horror films of the year, and one of the best out of last year’s Brooklyn Horror Film Festival, when we originally got to see it.

James Ross II is the talented writer and director behind “Parasomnia,” and in the post-screening Q&A from last year’s BHFF described his inspirations as being pulled from video games like “Outlast,” alongside the desire to tell authentic horror stories that center Black people. “Parasomnia” draws from a wealth of sources like the mystery of “The Blair Witch Project” and the liminal Super 8 spaces from films like “Sinister,” but it never feels like it is ripping these off so much as leveraging them to enhance the supernatural core of the story. “Parasomnia” has its own lore and logic, which at times requires some intentional exposition, but all works in service of the world that we are invited to. One that shows the lengths people will go to get closure, even if it comes at the expense of those nearest and dearest to us.

So much of the effectiveness of “Parasomnia” hinges on the performances, and they are all astounding. Mama (Sally Stewart) is a complex antagonist who operates under the most human impulses despite her actions, and Cameron (RJ Brown) plays his part perfectly as the sympathetic cog in the grand machine. Jasmine Mathews and Stephen Barrington both deliver convincing performances as two people who have risen above their circumstances, but with significant mental and emotional scars that are felt through their performance rather than forecasted by exposition. All of this comes back to Ross II and a tight script that uses non-linear narrative effectively without exploiting it. “Parasomnia” is one of the strongest debut features of the year, and should uplift every member of the cast and crew as talented people to watch!

Last Rites

“Parasomnia” is one of the few films in horror that makes sleep truly scary, and James Ross II’s debut feature is proof that he has a bright future ahead, as does the cast in this terrifically terrifying film!

“Parasomnia” will be available on Shudder this Friday, September 4, 2026!

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Every August, the often foggy and usually rainy city of London descends into darkness. No, it’s not an annual solar eclipse, but the return of the UK’s most legendary horror film festival, FrightFest! Not only is this festival a celebration of all things horror for the UK and the rest of the world, but the lineup consistently provides a blend of independent genre films from a wide range of budgets and sicko ideas. Macabre Daily is honored to once again cover the festival virtually, and we are pleased to share a selection of reviews from some of the films that played during this year’s program. Now, on to our reviews of… ”Hy3na” and “Ghost in the Cell.”

“Hy3na” (2026)

Writer: Jannah Kitzman & Matthew Ninaber

Director: Matthew Ninaber

One of the great things about FrightFest is that they celebrate all walks of genre, and in particular films that lean toward throwback thrillers or grindhouse-inspired modernity. Like last year’s “Death Cycle,”  and this year’s “Hy3na.” The film follows Nicole (Kristen Kaster) as she meets Rachel (Storm Steenson), an online sex worker who also happens to be one badass lady who doesn’t take shit from anyone. Exactly the kind of person Nicole needs to jump-start her doldrum life of cleaning houses, and when Rachel convinces Nicole to test her talents as a cam girl, Nicole becomes engulfed in a world of money, sex, and murder. At the same time, two cops, Hugh (Jeremy Ninaber) and Dan (Matthew Ninaber), are on the hunt for someone who's been killing men and women in the area with seemingly no connection. And all roads are leading to Rachel and Nicole, but Nicole struggles to mimic Rachel’s bloodlust, leading to tension between the two. 

Told in a series of time jumps, “Hy3na” is heavy on aesthetics and leans hard into the neon-soaked vibes of the ‘90s parlayed into a modern-day setting. It’s a clever way to wear inspiration proudly without having to fall into tropes as a crutch to carry the film, and instead, co-writers Kitzman and Ninaber let the story beats and characters play in a loose version of reality that occasionally winks at the viewer. The time jumps add some artificial pop to the story beats, but what really drives the film home is a stellar performance from Kaster as Nicole. Her command of the character and ability to switch from vulnerable to confident speak to her range and talent. The third-act twist may lose some folks given how out there it is, but it’s an earned conclusion, even if it does remind me of a certain French film that, by even alluding to it, would certainly spoil the ending, so we’ll leave it there.

What makes “Hy3na” refreshing in a year with tons of horror releases is that it certainly still maintains a foot in the genre; it branches out to include adjacent ones like the erotic thriller, which we hope is making a comeback. Matthew Ninaber continues to demonstrate that he’s got a lot of ideas, and they don’t all require him to don a big rubber suit, and “Hy3na” is further proof that his tenacity and spirit to create are part of what makes these films so enjoyable. The familiar faces of Jeremy and Kristen, even a cameo from “Death Cycle” director Gabriel Carrer, never feel like deja vu because they are taking on entirely new and unique characters each go-round. Needless to say, “Hy3na” delivers a brutally thrilling and dangerously sexy joyride we think you’ll enjoy!

“Ghost in the Cell” (2026)

Writer/Director: Joko Anwar

Indonesian horror fucking rocks. While there is a great argument to be made about which Asian country churns out the best genre films, Indonesia is without question in the conversation. From global stars like Suzanna, who draw on Indonesian mythology as a basis for horror, to more modern works from the likes of Timo Tjahjanto and Joko Anwar, Indonesia’s genre output is some of the most grisly and ghastly out there. With such an emphasis on the grotesque, one has to wonder what a hybrid horror-comedy might look like, and thankfully Anwar was up to the challenge, placing a group of prisoners against a malevolent spirit in his latest bloody romp, “Ghost in the Cell.”

In Anwar’s latest, a newspaper reporter, Dimas (Endy Arfian), following a lead on government corruption, is wrongfully accused of the brutal murder of his boss, landing him in the fictional Labuan Angsana prison with a smorgasbord of white-collar and violent criminals. Dimas’ arrival triggers a series of uber-violent and mysterious murders that turn people into abstract art projects, and it’s up to the prisoners to put aside their rivalries and differences so they can work together to stay alive. It may not sound like a premise that could use some humor, and there is certainly a stark tonal seesaw happening throughout, with light-hearted scenes adjacent to some of the most intricate death scenes this year. Masterfully, Anwar knows how to balance the horror alongside some humorous elements, especially considering that the way to avoid being the next victim is to find ways to avoid negative energy. This leads to awkward and impromptu prayers and dancing, with one standout scene in which the prison’s good guy, Anggoro (Abimana Aryasatya), has to switch between fighting and dancing to ward off the negative energy and avoid possession by the entity. It’s silly, but it never veers into complete absurdity to the extent that the impact of the violence feels undercut. And brutal is probably the simplest way to describe the carnage that “Ghost in the Cell” has in store.

Indonesian cinema has never veered away from violence, and “The Ghost in the Cell” is perhaps one of the most artfully gory pieces of horror since Bryan Fuller’s “Hannibal” series. The deaths in “Ghost in the Cell” are just dripping with the red stuff, and in many cases, guts and body parts are reconfigured to take on an almost modern-art appearance. These deaths feel less like the work of your run-of-the-mill demon and more akin to an art school dropout with bones to pick. The detail is quite remarkable, and certainly not for the squeamish, even if we don’t see the entirety of the process as people are turned into grotesque statues. There are moments where the facade is dropped to some extent, and while the end does a nice job of tying the broader conceit together, the government corruption plot feels secondary to the demonic one, but this isn’t so much a complaint as an observation. “The Ghost in the Cell” has more in common with a Stephen Chow film than with a Sam Raimi one, and that’s not exactly a bad thing considering Chow’s knack for combining the ridiculous with the real. 

“Ghost in the Cell” is one of the more fun, and occasionally funny, takes on possession horror that leans heavily into the practical-effects-heavy gore that Indonesian cinema does so well. While the narrative can sometimes feel a little disconnected, it never impedes what is a bloody and well-paced horror feature from one of the best to do it, Joko Anwar!

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Every August, the often foggy and usually rainy city of London descends into darkness. No, it’s not an annual solar eclipse, but the return of the UK’s most legendary horror film festival, FrightFest! Not only is this festival a celebration of all things horror for the UK and the rest of the world, but the lineup consistently provides a blend of independent genre films from a wide range of budgets and sicko ideas. Macabre Daily is honored to once again cover the festival virtually, and we are pleased to share a selection of reviews from some of the films that played during this year’s program. Now, on to our reviews of… ”ITHAQUA” and “GHOSTKEEPER.”

“ITHAQUA” (2026)

Director: Casey Walker

Writer: Casey Walker, Pascal Trottier, and Peter Scott Vicaire

Reviewing “Ithaqua” was very dangerous for us here at Macabre Daily. Open that Pandora’s Box of Hammer Horror goodness, and we don’t know if we’ll ever be able to (or want to close it again. Hammer helped lay the foundation for what would become a beautiful lifelong obsession with horror films. Like most fans, our education began with the Saturday night Creature Double Feature. Oftentimes, you could count on a gorgeously shot, impeccably written Hammer Horror classic like “Taste the Blood of Dracula,” “Frankenstein Must Be Destroyed,” or “Dr. Jekyll and Sister Hyde,” and when that happened, you knew you were in for a great night. Fast forward to 2026, and a new Hammer production lands in your lap for review. Well, we’ve no shame in telling you that we were nervous as hell that “Ithaqua” would lack the essence of a Hammer film, that the result would be lacking. We’re elated to let you know that not only does this film hit all the beats you come to expect, but it does so with a style and wit that would make Jimmy Sangster, Terrence Fisher, and Anthony Hinds beam with pride. Director Casey Walker walks a remarkable tightrope of making the film feel like part of the Hammer canon while also delivering a refreshingly new, unique, and thrilling creature feature.

The story takes place at a 19th-century Canadian outpost and centers on Cole Franklin (Luke Hemmsworth), a mercenary, caught between atoning for past sins, trying to feed an outpost in a massive expanse of wilderness eerily devoid of game, and fending off the escalating weirdness of Michael Pitt’s commandant. As their rations slowly dwindle, it becomes apparent that if Franklin doesn’t find ample game to feed those under his care, they won’t last through the winter. A ragtag trio consisting of the always welcome and consistently amazing Kevin Durant and new fan favorite, Craig Lauzon, treks through the beautifully shot Canadian wilds searching for food. What they find instead is a horrifying Wendigo’s curse that reanimates corpses with insatiable hunger. The film up to this point has been a slow-burn character study in dread and unease. From this point forward, it’s all gas, no brakes as the narrative shifts to full-blown creature feature survival horror. There are numerous set pieces that will have you on the edge of your seat as the threats gain momentum and the outlook gets bleaker for everyone.

This film works on multiple levels. First and foremost, it is a worthy addition to the pantheon of fantastic Hammer Horror, but beyond that, it is a testament to how horror has evolved and, in doing so, become more diverse and inclusive. This film represents the struggle of English, French, and Ojibwe-Cree in stark realism. Well-crafted depictions of desperate people in an increasingly desperate situation. No heroics, just survival. Walker manages to keep the film firmly planted in reality while simultaneously layering it with otherworldly terror. The end result feels fresh, new, and utterly terrifying. Leave it to Hammer to deliver a blood-soaked, beautifully shot, folklore period piece that draws on its storied past while creating something uniquely thrilling for the future. Everyone involved in this film has done the legacy proud.

“GHOSTKEEPER” (1981)

Director: Jim Makichuk

Writer: Jim Makichuk and Doug MacLeod

“Ghostkeeper” has been heralded as Canada’s answer to “The Shining,” and other than a snowbound location, that’s about as far as the comparison goes for us. That isn’t to say the film is without its charms, not at all; there are some great moments, but a few moments can’t make up for the fact that the film never really finds its footing. A staggering pace, odd dialogue, and plot holes big enough to skate through don’t help its cause in the least, and yet it’s become something of a cult icon for horrorheads up North. Released in 1981, “Ghostkeeper” was part of the stellar run of Canadian-produced horror films taking part in the phenomenal tax shelter program from 1975 to 1982, which allowed investors to deduct 100% of their investment in local feature films from their taxable income. This freedom from financial risk helped produce (literally) an amazing array of classic Canadian horror films, with “Shivers,” “Scanners,” “The Changeling,” “Prom Night,” “Terror Train,” and “My Bloody Valentine” all benefiting from the tax break window.

The story revolves around three friends out snowmobiling who tempt fate by exploring an old abandoned hotel. This sprawling, decrepit resort isn’t as abandoned as they first believe, coming upon an old woman who gives out creeptacular vibes like they’re butterscotch candies. Sure enough, she’s hiding a bushel full of secrets, one of which is chained up in the basement and eats people…we think. That’s the problem with “Ghostkeeper”; it’s all a little bit vague. The first half of the film plays more like a love triangle chamber piece, and that’s okay, but it never goes anywhere because one of the trifecta has their throat cut before anything salacious can develop.

There are elements of Wendigo folklore, but they’re never really explored for more than a moment’s worth of exposition. There is a jarring moment midway through the film that immediately captures our attention, but the plodding pace and the desire to make this film more than a typical slasher weigh it down considerably. It’s ironic that the movie's best stretch is when it leans into full-blown slasher territory, with an extended chase scene that truly sticks the landing. While this movie didn’t click with us, we can understand its current cult status. It was bold enough to try different things within the narrative, a move that was certainly not the norm in horror circa 1981, and it tried to flesh out the characters well beyond what Sean S. Cunningham and the crew were doing in the States at the time. It may not be on par with “The Shining,” but for all its drawbacks, “Ghostkeeper” still manages to charm with its few moments of sinister delight.

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It’s no secret that we absolutely adore George Dunn. He’s been one of our top go-tos for everything horror literature-related for quite some time now. His insight into the genre is razor-sharp, but never at the expense of humor, warmth, and genuine passion. George has interviewed some of the most dynamic and creative authors writing horror today, but his true superpower has been guesting on some of the most exciting horror lit podcasts out there. Not to mention his Bookstagram expertise on TikTok and Substack. Now he’s expanded the George Dunn Unstoppable Horror Machine to include an absolutely hilarious slice of familial nightmare fuel with the “Why Are You Making Me Watch This” Podcast, which he co-hosts with his amazing Mum, Jayne.

The premise of the podcast has George, the horror movie enthusiast, essentially torturing his loving mother, the horror movie novice, with some of the scariest films ever. Move over, George, our new horror obsession is your phenomenal mother; she’s a saint, and you’re a very bad son for torturing her for our pleasure. This podcast immediately became a favorite, and if you’re not listening to it, you must hate your ears. Click on the link below to check out what will soon become your favorite listen. George was an absolute blast to chat with, and we know you’ll enjoy every second of this conversation just as much as we did. The future of horror entertainment is George Dunn, and we couldn’t be in better hands.

You can follow George Dunn on Instagram here.

You can listen to “Why Are You Making Me Watch This” here.

You can follow George Dunn on TikTok here.

You can read George’s “Best Horror Novels of 2026 So Far” here.

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In 1984, Wes Craven made us afraid to go to sleep with “A Nightmare on Elm Street.” You’d be hard-pressed to find another film that captures just how terrifying and vulnerable we are when we aren’t awake so well, but James Ross II is certainly up the challenge. After having a great festival run, his debut feature, “Parasomnia,” is finally making it’s way to masses as it heads to Shudder on Friday, September 4, 2026.

James and lead actor Jasmine Mathews, who plays “Riley,” stopped by to spend some time with us talking about going from festivals to streaming, the aesthetics and technical approach to filming liminal spaces, and of course, the scariest dream they’ve ever had. Our review of “Parasomnia” will be up tomorrow, and trust us when we say this is sure to be one some “best of” lists this year!

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This past weekend, Universal Orlando Resort debuted its premier seasonal event, Halloween Horror Nights. Step right up to the Infernal Carnival of Nightmares! Come face to face with Jack the Clown and Dr. Oddfellow as you journey through years past and venture into 10 all-new haunted houses. Celebrating its 35th year in operation, Halloween Horror Nights absolutely went all out with the theming and cohesion to bring this event to life. 

Explore Downtown Clowntown featuring “Killer Klowns From Outer Space,” along with Art the Clown showcasing his best holiday attire. But you better watch out; Art’s sneaky and sinister elf minions are roaming the streets and preying on unsuspecting victims. Find the Mayor of Downtown Clowntown, Jack, with his brother Eddie and right-hand woman Chance patrolling the streets and putting on quite the show for spectating patrons.

Colorful lights strewn across the buildings, exquisitely wacky set pieces, and quirky costuming make this one of the most fun scare zones we have seen in years, and personally, we want to stay there forever! From carnival games to marionette puppet shows and flashing clowns, you never know what you’ll find in Clowntown. Just make sure to keep an eye out for Delancey Dan… he tends to keep to himself…

With over 50 new food items, some of the favorites we tried included: Steve’s Smuggled Peanut Butter Bites, Vegan Pizza Skull, Deathbringer Tempura Shrimp, “CarnEvil” Smash Tacos, and Annie’s Juke Joint Catfish & Grits. The event also features several exclusive canned cocktails and beers, including Oddfellow’s Elixir (blueberry lemonade vodka spritz), Maniac Mix (strawberry and blood orange vodka cocktail), All Ale The Pumpkin Lord, and a canned Carnival Sour Ale. 

Street experiences like Club Horror and Mel’s Die-In Zombies have returned for their second year. These additions really bring spaces together in the park that may be missing that extra pizazz during Halloween Horror Nights, and make for really fun interactions. One of the most coveted stage shows amongst fans has also returned, but this year with a new theme: Nightmare Fuel: Blood Noir. The other show we have is the lagoon show in Central Park, showcasing “Stranger Things” for its final farewell in Stranger Things: Return to Hawkins.

House Rankings:

1. Hellraiser

Based on the first 3 films in the franchise, the storytelling is executed well and features some of the most iconic scenes from each installment. The lighting, set design, and overall layout of the house really made it feel as if you were inside The Labyrinth with winding corridors and walls lined with blood. Cenobites like Chatterer, Butterball, and of course Pinhead are featured and definitely provide some good scares. Overall, this house is a great portrayal of the films and really enticed us to want to go back for more, and that’s what landed it at our number one spot. 

2. H.R. Bloodengutz Presents: A Halloween Fright-Tacular

Previous late-night television host Larry Kurtzberg, aka H.R. Bloodengutz, has escaped prison and is hosting one final Halloween broadcast. This anthology-style house exudes nostalgic Halloween vibes and is an absolute blast to walk through. Not necessarily the scariest, but definitely the most fun. With short “films” presented such as Monster’s Night Out: a tiki-themed monster bar with dancing werewolves, Conjure The Funk: put on your dancing shoes and bust a move in this disco inferno-themed flick, and The Grayscale Graveyard: a black-and-white classic zombie movie. There is quite literally something for everyone in this house, and it’s sure to get you in the spooky spirit. 

3. Ozzy Osbourne: Prince of Darkness

Hop aboard the crazy train and see what the Prince of Darkness has to offer. This house is dark, gothic, and full of chaos. An immaculate set design with castle structures towering over you. All of his greatest hits are not only portrayed in scenic form, but also played throughout the house. A beautiful homage to Ozzy that he would have genuinely loved. 

4. Jack & Oddfellow: Chaos and Control

Reminiscent of a 3D-style house that we have seen in earlier years of the event. Bright, colorful, and wacky decor that sets up your descent into the Oddverse. Walk through a mind-bending portal and watch your step in the tilted room. The perfect blend of a literal funhouse you would find at a carnival and a haunted house. Great callbacks to both Jack and Dr. Oddfellow’s origins. 

5. Cybergoria 

Bio-Immortal uses intelligence systems to provide its users with immortality. This cryo-freezing process would keep humans “fresh” until technology finally caught up with its advances; that was until the robots had taken over. An industrial, hard-hitting house with great scares and a unique theme that we haven’t seen at the event before. 

6. Sinners

Beat for beat, as if you’re walking through the movie. Great scenes, and it was able to step outside of just having the Juke Joint as the main focal point. Incorporated bungee scares that bring the vampires to life. Wonderfully executed performances from the scare actors. You can tell a lot of heart was put into this house. 

7. Stranger Things 5 

Reminiscent of all the highest points in the final season. Much more elevated set design than what we saw from the previous Stranger Things 4 house a couple of years back. SUCK MY FAT ONE mentioned! A fun send-off for the series, and possibly the last time we could see Stranger Things at Halloween Horror Nights. 

8. Madlands: Caged Cannibals 

Originally our least anticipated house for the season, it surprised us with how unique it was. A post-apocalyptic zoo where cannibals are mimicking the once-creatures that resided there, and you’re right in the middle of the carnage. The addition of the punk rock soundtrack playing throughout really added to the grunginess of this house and was a different vibe than what we were expecting. 

9. Invasion: Alien Abduction 

You’re taken through an old farmhouse after being ransacked by aliens. Not being the biggest sci-fi fan, this house didn’t really do it for us. The promise of a “scary” alien invasion wasn’t executed and came off more as campy. There were a few cool scenes, and an interactive part where the floor vibrates, imitating you being abducted and beamed up into the ship. The differentiating aliens (some tall, and some very short) also threw us off, as the cohesiveness just wasn’t there. 

10. Evil Dead Burn 

Inevitably there was a house that would come in the last ranked spot, and that unfortunately was Evil Dead Burn. To be fair, I still haven’t seen the film, but the house itself was just lackluster. A few scenes were pretty gruesome, and the puppeteering of the dogs was well done and realistic-looking.   The facade itself was pretty neat and had a cool opening scene… but if we wanted an Evil Dead house, we would’ve much preferred one of the original 3. I could see myself appreciating it more after I actually watch it, but for now it’s staying at the bottom. 

These house rankings are, of course, based on very early impressions of the event, and they are sure to change within the next few months. What I can say is that this was one of the most difficult house rankings we’ve ever done. There genuinely wasn’t a “bad” house this year; some just resonated with us more than others.

A huge thank you to Universal Orlando Resort and Halloween Horror Nights for having Macabre Daily out to cover the event! It is always an honor to be amongst so many other great media outlets and creators, and of course to be back in the fog. We are looking forward to the rest of the season and by opening weekend standards, it seems like this year just might be shaping up to be one of the best events we’ve had in the last decade.

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