In Shaman, director Antonio Negret ventures into the jungle of spiritual warfare, cultural conflict, and unsettling ambiguity to deliver a horror film that’s both deeply atmospheric and thematically resonant. With a haunting score, visually rich cinematography, and a genuinely unnerving sense of dread, Shaman manages to inject new life into the well-worn exorcism subgenre—even if it doesn’t fully commit to its most provocative ideas. The film follows a missionary family in rural Ecuador whose young son returns from a forbidden cave seemingly possessed by an ancient, malevolent force.
Read MoreMeat (2025) #HHFF
Move over Jesse Walsh, there's a new scream queen in town — and his name is Cody Steele. Yes, the abs are real. Yes, the stunts are his own. And yes, he is doing the Lord’s queer work in Meat, a blood-drenched, unapologetically fabulous slasher from indie horror’s reigning “Scream Queer,” Roger Conners.
Read MoreCounterpart (2022)
Ethan Grover’s Counterpart is a striking and meditative short film that unfolds like a visual symphony. At just over six minutes long, the film manages to explore themes of creative isolation, duality, and artistic rebirth—all without a single line of dialogue. It’s a moody, introspective journey powered by strong visual storytelling, expressive music, and a standout performance by Jacob Huey Correa.
Read MoreHellcat (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.
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.
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