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.
Read MoreThe 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.
Read MoreHouse on Eden (2025)
In the ever-growing world of found-footage horror, House on Eden enters the scene with a refreshingly personal touch and a genuine sense of eerie fun. Directed by Kris Collins—best known to her massive online following as KallMeKris—the film leans heavily into its low-budget roots while still managing to deliver a few memorable scares and a surprisingly cohesive narrative. It’s not a game-changer, but for fans of the genre, it’s a solid entry that wears its influences on its sleeve without losing its own identity.
Read MoreBambi: The Reckoning (2025)
I had high hopes going into Bambi: The Reckoning, especially after Peter Pan’s Neverland Nightmare. Like Winnie the Pooh: Blood and Honey, it opens with promise—a charming storybook-style intro that suggests a dark fairy tale twist is coming. The setup is simple and strong: Bambi’s mother is killed by hunters, so he seeks revenge.
Read MoreHold the Fort (2025) #fantasia
Hold the Fort might be short on runtime, but it’s stacked with energy, absurdity, and enough blood-soaked laughs to make it a real contender for future Halloween rotation. Clocking in at just 74 minutes, this horror-comedy from director William Bagley wastes no time getting weird—and it’s all the better for it. At the center of the chaos are Lucas and Jenny, a couple thrilled to finally own their dream home—until they discover it comes with a hellish twist: a war between their Homeowners Association and actual monsters from hell.
Read MoreThe Invisible Half (2025) #raindance
Masaki Nishiyama’s feature debut, The Invisible Half, is an atmospheric, conceptually rich J-horror entry that offers chilling visuals, a fractured soundscape, and genuine thematic weight—but also struggles with its pacing and payoff. While it's tense, well-crafted, and often fascinating, it doesn’t always make the most of its considerable potential. Elena, a "hafu" teen, is isolated at her all-girls Japanese school and begins to experience eerie phenomena tied to her smartphone—only visible through the screen and audible through her earphones.
Read MoreSnatchers (2025) #raindance
Snatchers is a bold, genre-mashing debut that blends absurdist comedy, supernatural horror, and social satire into something that feels a little like The Autopsy of Jane Doe by way of Shaun of the Dead—if you filtered it through a meat grinder and set it to dance music. On paper, it sounds like a recipe for a cult hit. In practice, though, it's a mixed bag that never quite finds its footing, despite a clearly committed cast and some standout technical elements.
Read More.ask (2024)
At its core, .ask is a microbudget mind-bender that taps into the existential dread of the digital age with eerie precision. Anchored by a fully committed performance from writer-director Chris Vander Kaay, the film begins with sharp self-awareness and veers into increasingly surreal and unsettling territory. Vander Kaay plays a version of himself: a 40-something YouTuber desperate for validation, clout, and success through his channel Put It Out There.
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