Ten years after Deathgasm earned its place as a cult horror-comedy classic, Deathgasm II: Goremageddon arrives with one goal: to be bigger, bloodier, louder, and even more ridiculous than its predecessor. Somehow, against all odds, writer-director Jason Lei Howden manages to pull it off. This is not a sequel interested in dialing anything back.
Read MoreInfluence, Identity, and Cults: #VanLife Gets Lost on the Highway
I remember first hearing about #VanLife through a random post on Twitter. There was barely any information available, but the marketing confidently called it one of the scariest movies of the year. The images looked striking, and having recently watched the Gabby Petito documentary, I was immediately intrigued by the idea of a horror film built around the culture of vanlife influencers.
Read MoreBabybacks Is Equal Parts Road Thriller and Backwoods Nightmare
I caught Babybacks at the Houston Horror Film Festival, and from its opening moments, it felt like stepping into a different era of horror. Everything about the introduction screams 1990s, right down to the retro title treatment and credit font. It immediately establishes a grimy, throwback atmosphere that fits the film's blend of road thriller, survival horror, and backwoods nightmare.
Read MoreThe Pitchfork Retreat: Horror Royalty, Anthology Chaos, and One Hell of a Payoff
There are few things more appealing to horror fans than a cast list packed with familiar faces, and The Pitchfork Retreat certainly delivers on that front. Screening at Houston Horror Film Festival 2026, the latest production from Fuzz on the Lens Productions assembles what feels like an entire convention guest roster under one roof. Nearly every scene introduces another recognizable genre veteran, from Tony Todd and Danielle Harris to Dee Wallace, Andrew Divoff, and a seemingly endless parade of horror personalities.
Read MoreUntil You’re Alone: A Love Letter to Giallo That Nearly Loses Its Edge
Seen at the Houston Horror Film Festival 2026, Until You're Alone is a film that wears its influences proudly. Writer-director Christopher Wesley Moore crafts a loving homage to Hitchcock, De Palma, and especially the Italian giallo tradition, delivering a murder mystery that is often stylish, occasionally hilarious, and consistently engaging, even when its pacing threatens to derail the experience. The film follows an architect who becomes the prime suspect in a string of brutal murders and reluctantly teams up with a free-spirited sex worker to uncover the truth before they become the next targets.
Read MoreHollow Lake Is the Queer Slasher We’ve Been Waiting For
Seen as a secret screening at the Houston Horror Film Festival 2026, Hollow Lake was one of those pleasant surprises that remind you why festivals are so much fun in the first place. Going in, all we knew was that it was the latest film from Troy Escamilla, the filmmaker behind Party Night, Mrs. Claus, and Teacher Shortage. Coming out, it felt like we had witnessed a filmmaker take a genuine leap forward.
Read MoreSundown Turns Family Trauma Into Effective Found Footage Horror
Found footage horror isn't exactly starving for haunted house stories. In fact, Sundown arrives carrying many of the same narrative fingerprints that helped make Paranormal Activity a phenomenon years ago. Yet while the film rarely reinvents the formula, it succeeds where many of its contemporaries fail by grounding its supernatural scares in believable performances, genuine family conflict, and a surprisingly effective emotional core.
Read MoreThe Barn Part III: Bigger, Bloodier, and Further From Its Roots
I caught The Barn Part III at Houston Horror Film Festival 2026, and going in, I found myself in an interesting spot with the franchise. I absolutely adored the original The Barn, but I never connected with Part II the same way. Maybe that left me with lowered expectations, or maybe it simply made me more hopeful that Justin M. Seaman could recapture some of the magic that made the first film such a lovable slice of Halloween horror.
Read MoreIf Trees Could Talk Turns a True Crime Mystery Into a Human Portrait
For more than thirty years, the murders of Stevie Branch, Michael Moore, and Christopher Byers have remained one of the most debated and emotionally charged cases in American true crime. Since the boys were found murdered in West Memphis, Arkansas, in May of 1993, countless books, documentaries, televised specials, and online investigations have attempted to answer the same question: who killed the three boys in Robin Hood Hills? While films like Paradise Lost, West of Memphis, and Devil's Knot helped define public perception of the case, If Trees Could Talk takes a different approach.
Read MoreLooky-Loo: Part II - A Killer Sequel That Knows You're Watching
I caught Looky-Loo: Part II at the 2026 Houston Horror Film Festival, and while I enjoyed the first film well enough, voyeurism horror has never really been my bag. I've always appreciated what films in that space are trying to accomplish, but they rarely grab me the way they do some genre fans. That's exactly why this sequel came as such a pleasant surprise.
Read MoreDating Is the Apocalypse in Floating Carousel's Hilariously Twisted New York Odyssey
Modern dating has become one of cinema's favorite punching bags, but few films capture its specific absurdities quite like Delilah Napier and Lucy Powers' Floating Carousel. On the surface, it's a dark comedy about a collection of twenty-somethings stumbling through New York City's increasingly bizarre dating landscape. Underneath, it's a sharply observed portrait of loneliness, transactional relationships, and the strange social gray areas that define modern romance.
Read MoreBabystar: Growing Up in Public Is a Nightmare
Despite being marketed as a drama, Joscha Bongard's Babystar plays like a horror film in every sense of the word. There are no masked killers, supernatural threats, or sudden shocks lurking around corners, yet the film generates a constant sense of unease that never truly lets go. Its terror comes from something far more recognizable: a childhood sacrificed for content, a family dynamic warped by profit, and a teenager slowly realizing that the life she has been living was never really hers to begin with.
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