Eden (2024)

Ron Howard’s Eden is a survival thriller that blends prestige with pulp, historical truth with cinematic spectacle. Produced by Brian Grazer, Howard, Karen Lunder, Stuart Ford, William M. Connor, and Patrick Newall, the film assembles an impressive cast—Jude Law, Ana de Armas, Vanessa Kirby, Daniel Brühl, and Sydney Sweeney—for a story drawn from the real-life settlers of Floreana Island in the Galápagos during the 1930s. On paper, the premise is irresistible: a band of idealists flee modern civilization for paradise, only to discover that the most dangerous predators are themselves.

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Trust (2025)

In Trust, a taut psychological thriller directed by Carlson Young, Sophie Turner trades dragons and mutants for something far grittier—a panic room, a hacked iCloud, and a pregnancy that raises more questions than stakes. Set in the rural outskirts of Redlands, California, the film aims for visceral tension and trauma survival but lands somewhere between earnest ambition and overwrought genre mashup. Turner plays Lauren, a Hollywood starlet in hiding after a scandal leaves her life—and her trust—shattered.

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Take from Me (2025)

Take From Me, the feature debut from writer and director West Eldredge, is a slow-burning horror-thriller that weaves grief, temptation, and psychological tension into a story that sticks with you. Originally known under the title Love Dogs, the film follows John, a widowed Appalachian man portrayed with quiet intensity by Ethan McDowell. Still reeling from loss, John finds himself drawn to a mysterious young woman, Elizabeth, played by Kyla Dyan, who purchases his old farmhouse. As John becomes increasingly tethered to her, a local disappearance unsettles the town, leading the police captain to suspect a darker presence lurking beneath the surface of their seemingly quiet community.

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The Anger (2025) #HHFF

Anthony Knasas’s The Anger is a fierce, emotionally charged revenge thriller that strikes with precision, both in its message and execution. Following the relentless torment of an innocent teen, the film pivots into a blood-soaked reckoning as a group of bullies begins to face the consequences. What sets it apart is how it blends social commentary with shocking twists and visual flair, delivering a deeply unsettling experience that lingers.

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Three (2024) #HHFF

In Three, writer-director Nayla Al Khaja delivers a chilling and richly layered debut that boldly reframes the exorcism subgenre through an Islamic and deeply personal lens. Set across beautifully textured environments in Thailand and the UAE, the film tells the story of a desperate mother, Maryam, who turns to an unlikely Western doctor to save her son Ahmed, whose deteriorating mental health may stem from something far more ancient and sinister. If you’re expecting the typical tropes of Middle Eastern horror or stylized dance numbers sprinkled between scares, Three will subvert those expectations entirely, and for the better.

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The Mannequin (2025) #HHFF

In The Mannequin, director John Berardo returns to the horror genre with a slick, visually appealing ghost story centered around trauma, legacy, and the fashion industry. While the film starts strong and features some undeniably creepy moments, its inconsistent pacing and tonal shifts ultimately hold it back from becoming a modern horror standout. The story follows Liana Rojas, a creatively blocked stylist assistant who moves into a historic downtown Los Angeles building, one that also happens to be the site of her sister’s mysterious death.

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Hellcat (2025) #Fantasia

Brock Bodell’s Hellcat is the kind of horror film that sneaks up on you—not with cheap jump scares or splatter, but with dread that coils tighter and tighter until it finally snaps. Filmed with a raw, handheld aesthetic and marked by long, immersive tracking shots, Hellcat blurs the line between film and fever dream, making you forget you’re watching a movie at all. The story kicks off simply enough: Lena wakes up in a camper with a grotesque wound and a ticking clock.

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The Home (2025)

With The Home, director James DeMonaco trades large-scale dystopian chaos for something more intimate and unsettling: a haunted retirement facility crawling with generational resentment, body horror, and dark institutional secrets. And yes, Pete Davidson is our reluctant guide. Davidson plays Max, a troubled young man with a past in foster care who is sentenced to community service at Green Meadows, a retirement home that’s as charming as it is creepy.

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