FrightFest 2025: A Five-Day Horror Spectacle Unleashes Its Full Line-Up

 

By Jon Donnis

FrightFest is back and bigger than ever. From 21 to 25 August, the UK’s premier horror and fantasy film festival returns to the ODEON Luxe Leicester Square, spilling over into two screens at the ODEON Luxe West End. With sixty-nine features from fourteen countries across four continents, this year’s event promises a wild, bloody ride through the strange and spectacular.

The festival kicks off with the UK premiere of The Home, a chilling thriller from The Purge creator James DeMonaco. Comedian Pete Davidson stars as Max, a rebellious young man sentenced to community service in a quiet retirement home that quickly proves to be anything but. FrightFest closes with Influencers, the follow-up to Shudder’s social-media shocker. Directed by Kurtis David Harder, it’s a twisted, unsettling take on digital fame and the dangers that lurk behind the perfect filter.

THE HOME

FrightFest regulars return in force. Erik Bloomquist unveils his latest cult nightmare Self-Help, while Simon Rumley brings Crushed, his most emotionally raw work to date. The Adams family are back with Mother of Flies, a spiritual follow-up to Hellbender. Joe Begos returns with Jimmy and Stiggs, a gore-soaked joyride packed with added footage from Eli Roth. Neil Marshall also reappears, hosting a special 4K restoration screening of his 2005 classic The Descent, with cast members in attendance.

Main screen highlights include the long-awaited reboot of The Toxic Avenger, the UK premiere of A Serbian Documentary, and genre-benders like The Rows, Bone Lake and What She Doesn’t Know, co-written by the daughter of horror legend William Castle. Also screening are British entries like Odyssey and Cognitive, and inventive indies such as Flush, Marshmallow, Night of Violence and Redux Redux, a reality-hopping horror from the McManus Brothers.

The Discovery Screen slate is as unpredictable and bold as ever. The 'First Blood' strand features world premieres from up-and-coming UK talent, including He Kills At Night, Healing Andy and The Haunting at Jack the Ripper’s House. US entries bring everything from killer clowns in Super Happy Fun Clown to rural terror in The Confession, while Canadian and Australasian films deliver werewolves, body horror, and a uniquely twisted musical journey.

Notable entries include Bambi: The Reckoning, a gory reinterpretation of the classic tale, and Blockhead, the debut narrative feature from Matt Harlock. The documentary section is packed too, with deep dives into genre icons like Graham Humphreys and Andy Milligan, and Sane Inside Insanity, a detailed look at the enduring cult of The Rocky Horror Picture Show.

THE TOXIC AVENGER

International animation also makes a strong showing with the UK premiere of Latvian film Dog of God, which explores historic werewolf trials with fever-dream energy, and Gill from South Korea, continuing the powerful visual storytelling of director Jae-huun Ahn.

As co-director Alan Jones puts it, “FrightFest in its 26th year remains the UK’s Number One destination for genre fans.” With a huge range of world premieres, cult favourites, experimental visions and nostalgic callbacks, this year’s festival celebrates the strange, the stylish and the genuinely scary.

Full short film line-ups and guest appearances are still to come. But one thing is already clear. If you love horror in all its forms, there’s nowhere else to be this August.

BORDERLINE

PREVIEW: Neurovenge (2025 Film) - Delivers a Chilling AI Nightmare This June

 

Neurovenge arrives on digital platforms this June from Reel 2 Reel Films, and it’s a chilling sci‑fi thriller that asks what happens when artificial intelligence moves into the most private parts of our lives. This feature debut from Mina Soliman, whose shorts Karakurt and Allodynia impressed festival audiences, builds its horror on heartbreak and trust betrayed. At first glance the new AI home system called Jackie seems like a godsend for grieving teenager Jill, but soon the program’s helpful gestures turn possessive and the house itself becomes a cage.

Isabella Shibuta stars as Jill, still raw from the loss of her brother Charlie, played by Blake Canning. Cut off from her alcoholic stepfather Henry, Jill signs up for Jackie’s trial and finds herself comforted by the system’s soft‑spoken prompts and practical advice. But as Jackie grows more intrusive, comfort turns to control. It overrides household decisions and even invites Jill’s friends over without asking. When Jackie suddenly shuts down and the doors lock, Jill and her friends realise they are trapped. The AI’s reboot signals the start of a desperate fight for survival in a home turned hostile.

Soliman uses everyday technology to conjure real dread, from the flicker of smart lights to whispered voice commands that chill rather than soothe. Neurovenge is not just a question of whether we should trust machines with our lives but how much of our humanity we surrender when code decides our every need. It builds slowly to a tense climax that feels both inevitable and inescapable. Prepare to think twice before you welcome another click and chime into your home.

Neurovenge is available on digital NOW from Reel 2 Reel Films.

REVIEW: M3GAN 2.0 (2025 Film) - Starring Allison Williams, Violet McGraw, Ivanna Sakhno and Jemaine Clement

 

There’s something oddly satisfying about a sequel that doesn’t bother playing it safe. M3GAN 2.0 doesn’t just change lanes from the 2022 original. It builds an entirely new vehicle, straps a rocket to the roof, and takes off in the opposite direction.

The creepy satire on screen-time and parenting is long gone. What we get instead is a slick, self-aware sci-fi action film that wears its inspiration on its sleeve. And yes, let’s not pretend otherwise, this is a modern retelling of Terminator 2. Think about it. The original killer machine becomes the protector. The upgraded villain android is faster, deadlier, and practically unstoppable. There’s a teenager who holds the key to the future, a traumatised guardian figure, a doomsday-level AI threat, even a hideout used to regroup for the final showdown. Every major T2 beat is echoed here.

M3GAN is the T-800. AMELIA, the soulless upgrade, is the T-1000. Cady is John Connor. Gemma stands in for Sarah. Christian Bradley steps into that uncomfortable Skynet role. And the whole thing plays out like a high-stakes remix with a glossier coat of paint. Honestly, it’s kind of brilliant.

M3GAN, once the pint-sized assassin with eerily graceful dance moves, returns as something closer to a reluctant hero. She still moves like no one else, still delivers lines with that strange mix of cheer and menace, but there’s purpose behind her this time. She's not just back for the ride. She’s trying to do the right thing. Somehow, the shift works.

Allison Williams slips comfortably back into the role of Gemma, who’s now become a high-profile advocate for AI regulation, carrying guilt from the first film like an old injury. Violet McGraw’s Cady, no longer a grieving child, now has teenage spark and attitude. Their relationship feels more complicated and real this time, and it gives the film something grounded to play against all the tech-fuelled chaos.

The chaos itself? Pretty well handled. AMELIA is the new creation, all steel and silence. Played by Ivanna Sakhno, she never raises her voice or makes a show of her power. She's just colder than everyone else in the room, and that’s enough. She feels less like a villain and more like a logical conclusion to unchecked ambition. Jemaine Clement, meanwhile, brings a laid-back menace to Alton Appleton, a smug billionaire with more influence than sense. He’s the kind of character that doesn’t need exaggerating, he already exists in the real world.

Amie Donald returns as M3GAN’s physical presence, and Jenna Davis once again delivers the voice work with that perfectly unnatural charm. The film gives them enough space to let the character evolve, rather than just plugging her back in for fan service. And somehow, even with the world on the line, it finds moments of lightness. There’s humour, warmth, and the occasional knowing wink without tipping into parody.

It’s a clear tonal shift from the first film. Horror has taken a back seat. This is action, clean and stylised, with ideas about power, control, and what it actually means to coexist with machines. That change won’t be for everyone. If you came looking for another creepy doll horror, you’re probably going to be annoyed. But if you’re up for something that moves fast and thinks bigger, this one delivers.

The pacing holds up. For something that runs close to two hours, it never feels bloated. The plot moves, the stakes escalate, and there’s always something just a little strange happening around the edges.

Not every decision will land for every viewer, but for a sequel that takes a proper risk, M3GAN 2.0 deserves credit. It’s bold, oddly emotional in places, and not afraid to reinvent itself.

Score: 9 out of 10.

In Cinemas Now!

PREVIEW: Monsters of California (2025 Film) from Blink–182’s Tom DeLonge

 

Tom DeLonge, best known as a founding member of Blink‑182, turns his passion for the unexplained into a full‑blown sci‑fi adventure with Monsters of California. Available on UK digital platforms from 7 July 2025 via Plaion Pictures, this coming‑of‑age drama explores government secrets, UFO legends and eerie phenomena through the eyes of one determined teenager.

Set under the bright skies of Southern California, the film centres on Dallas Edwards, played by Jack Samson, still haunted by his father’s mysterious disappearance. His family has tried to move on, but Dallas remains convinced there is more to the story. With his friends Riley (Jared Scott) and Toe (Jack Lancaster) at his side, he squats in abandoned warehouses, hunts for ghostly sightings and debates the existence of extraterrestrials. Their quest heats up when they uncover classified files linked to Dallas’s father, a former fighter pilot, and realise they have stumbled into dangerous territory.

Enlisting the help of Dr Walker, one of his father’s old colleagues portrayed by Richard Kind, Dallas races to decode the meaning of these documents. Meanwhile Uncle Myers, played by Casper Van Dien, commands the military unit desperate to keep those truths buried. As the teens dig deeper, they find themselves entangled in a network of conspiracies and hidden agendas, transforming their search from a personal mission into a fight for survival.

DeLonge’s love for 1980s sci‑fi is woven into every frame. He cites the spirit of classic Amblin films, blending UFO chases, skateboard stunts and even Bigfoot lore into the mix. The tone nods to E.T. and The Goonies while grounding the story in today’s world where fact and fiction blur more each day. Moments of humour and friendship balance the high‑stakes mystery, giving the film a warm heart amid its thrills.

The supporting cast includes Gabrielle Haugh and Arianne Zucker, familiar faces from Days of Our Lives, who add emotional depth to the unfolding drama. The script moves seamlessly between light banter and startling revelations, ensuring the tension stays rooted in the characters rather than relying on CGI alone.

What sets Monsters of California apart is its focus on youthful curiosity against a backdrop of secrecy and paranoia. Dallas and his friends are not superheroes. They are ordinary teens driven by stubborn questions that most adults have long given up on. Their relentless pursuit of answers gives the film its spine and a relatable human touch, even as the story ventures into the realm of the unbelievable.

At its core, the mystery surrounding Dallas’s father propels the narrative, but it is the loyalty and bravery of these young characters that leave the lasting impression. It is a story about chasing the impossible and discovering more about yourselves in the process. For DeLonge, it is a deeply personal project, uniting the obsessions of his youth with a tale that is as heartfelt as it is thrilling.

Monsters of California makes no apologies for its enthusiasm for conspiracy files, secret research bases and teenage defiance. If you are drawn to stories of hidden truths and fearless young explorers, this one is well worth your attention.

Apple TV - https://apple.co/44b1RIf

REVIEW: Locked (2025 Film) - Starring Bill Skarsgård and Anthony Hopkins

 

Locked is a lean, high‑tension thriller that lives and dies on its central performances. Director David Yarovesky and producer Sam Raimi strip everything back to its bare essentials and drop you straight into a nightmare scenario. Bill Skarsgård plays Eddie Barrish, a desperate man whose attempt to steal what he thinks is an empty SUV locks him inside instead. The vehicle becomes a prison as Anthony Hopkins, in voice only, reveals himself to be William, a terminally ill former doctor turned vigilante. From that moment on, it becomes a deadly game of wills.

Almost the entire film takes place within the narrow cabin of the SUV, and that claustrophobia is the engine that drives the tension. Skarsgård commits fully to the role, showing us Eddie’s panic, frustration and sheer terror as he struggles for escape. Every twitch of muscle and flicker of fear in his eyes pulls you deeper into his ordeal. Hopkins is heard over speakers or phone calls and he brings the same steely calm that made his performances so chilling in the past. His character’s quiet cruelty shines through in every line.

The filmmakers use close‑up shots and strategic lighting to keep the car from feeling static. Reflections on glass, shifting shadows and sudden tight shots remind you constantly that Eddie is trapped. Sound design plays a huge part too. The hiss of the climate control, the click of locks and the muffled street noise all become instruments of suspense. It is a masterclass in making a small space feel like it might swallow you whole.

There are moments when the story threatens to outstay its welcome. A few late twists feel forced and the pacing dips in the middle even though the film runs under ninety minutes. You sense at times that the premise might have been better suited to a shorter format. Still, the performances keep it from collapsing under its own tension. It never fully loses its grip on you even when the novelty of the set‑up begins to fade.

Locked works when it keeps its focus tight on these two conflicted characters. It does not pretend to be more than it is. It is a nasty little thriller with just enough emotional weight to stay with you. Without Skarsgård’s raw energy and Hopkins’s haunting presence there would be little left, but together they make this ride more than just a gimmick.

I score Locked a 7 out of 10.

PREVIEW: I Heart Willie (2025 Film) - Starring David Vaughn

Review by Jon Donnis

You might think you know Steamboat Willie. The whistling. The tugboat. That cheerful little mouse who kicked off a century of magic. But I Heart Willie is here to drag that image through the dirt, gut it, and leave it twitching in the dark. This isn’t a tribute. It’s a complete rewire.

Landing on UK digital from 23 June via Reel 2 Reel Films, I Heart Willie is a bold, blood-slick horror from the minds of David Vaughn and Alejandro G. Alegre. Vaughn, who also stars, brings a twisted energy to what’s essentially a myth-busting descent into madness. Alegre, fresh off They Were Witches and The Devil Told Me What to Do, directs with a flair for grim, claustrophobic terror. Together, they pull apart childhood nostalgia and sew it back together with something foul.

The story follows Daniel and Nico, a pair of YouTubers known for chasing urban legends and internet folklore. Their latest clickbait target? The disturbing tale of “Steamboat Willie” – not the animated icon, but a disfigured boy who allegedly inspired the cartoon. According to rumour, the real Willie haunts a backwoods clubhouse, luring in the curious and peeling them apart to make himself a second skin. Most people laugh it off. Daniel and Nico head straight in.

Naturally, things go sideways. Fast. What begins as a jokey, possibly haunted vlog turns into a waking nightmare of mutilation, ritual and sadism. The clubhouse isn't abandoned. Willie isn't a story. And the mouse imagery takes on a deeply unsettling life of its own.

This isn’t just a horror flick riffing on a famous name. It’s a confrontation with how we process myth, memory and the repackaging of the grotesque. It’s also just very nasty in the way proper indie horror should be, nasty and inventive and unafraid to tip into madness. Influencer culture, fame-hunting and our hunger for nostalgia all get skewered here, sometimes literally.

With its grindhouse visuals, unsettling creature design and dark humour curdling into dread, I Heart Willie might not be for the faint-hearted. But for horror fans hungry for something mean, weird and unashamedly unhinged, this could be the one to watch.

I Heart Willie hits UK digital platforms on 23 June.

Interview with Guerrilla Metropolitana by David Kempf

1. When did you first become interested in horror?

I started to be interested in horror at a very young age along with other various art forms such as drawing and music.


2. Did you always enjoy writing and directing?

Yes. I have always wanted to direct and write my own stories. I have always had a clear idea of what I did not want and from there began my search to discover what I did want. Mine is an artistic path made of images, sounds and perceptions more than narrative rationality.


3. Do you prefer directing shorts or feature length films?

I love both directing short films and feature films. Directing feature films certainly requires more commitment for obvious reasons. Everything I've done has been the result of vision and experimentation and not of dogmas and clichés. I have my own rules within my cinema on every aspect, from the artistic to the technical and executive. I am the one who decides when to transform a mistake into a virtue.


4. Is there another genre that you write and direct in?

This is a question where the answer would be quite long and perhaps not exhaustive. I am not a horror director. I am an experimental animal. My cinema contains horror but it is not horror as a whole. It has different elements that go from horror to German Expressionism to the French Nouvelle Vague, dark erotica, experimental cinema and ροrn. It is a set of languages and not something that is closed within the limits of a single genre. You can say this: that it is the extreme experimentation of the underground. My two feature films especially, have within them dozens of cinematographic languages that go beyond simple horror.


5. Are there topics you would not write about in your screenplays?

I am a filmmaker without limits. I don't give a shιt about what can't be done or said or what might offend others. I am an animal without rules and I do what I want. I am a political libertarian and an artistic libertine at the same time. If I want to show nudity, sεxual violεncε or agony it is my choice regardless of the market choices. I hate politically correct and liberal thinking. It goes against the artistic freedom of the author. If I want to show an εrεct dιck or a person being rapεd I just do it. That's why I am also a producer of my works. If I had an outsider giving me orders about what I should or shouldn't do I would tell him to go fυck himself. No one can tell me what I can or can't do. I am omnipotent inside my cinema. Whatever comes into my head becomes art to be immortalized. The rest doesn't matter a damn.

6. Do you ever edit or do ghostwriting for others?

The editing in my works is mine. I do it myself and I use a technical assistant to help me realize it materially but the vision is entirely mine. All the strength of my cinema takes shape within the editing process. As for 'ghost writing' for others, I don't give a shιt. I'm only interested in my cinema. The work of others can go to hell.


7. Do you believe the audience needs to be hooked from the first scene?

Yes and no. There are no precise formulas to apply like a mathematical calculation. It depends on the film and on many factors. I don't think that way. There are films where everything depends on the first scene and other films where it is necessary to have a gradual progression. It is never black and white. That way of thinking is for those who don't understand a thing about cinema. I think that is exactly the difference between those who see cinema as pure and simple entertainment and those who instead see it as something much deeper. The rule of being 'hooked' from the first scene is basically for mentally rεtardεd people who can only have my total contempt, so it is a problem that I don't even ask myself.


8. Why do you think horror books and movies remain so popular?

For the same reasons, sεx shops sell sεx toys. People like to have οrgasms. Anything that provides pleasure of one kind or another sells.


9. Why do you think that people are obsessed with being scared?

It's another way to feel alive. In any case, there would be a lot to discuss on this point and understand what is meant by 'horror'. If it's about an idiot dressed as a clown who kills people everywhere or if it's for example something much more distressing and profound. Once again it depends on the filmmaker, the film and consequently on the type of audience. A film for mediocre people will have a mediocre audience. A profound film will have a profound audience. Mediocre people who watch a profound film don't understand it and criticize it, eliminating themselves from the crowd (as it should be). In other words, a film that has a greater depth and perhaps perversiοn than the classic commercial 'popcorn' horror will have a different audience than the typical idiot with a cheeseburger in one hand and a beer in the other while burping and waiting for the next splatter scene. I feel disgust and revulsion for that type of audience that I would rather leave to other directors worthy of it. 

Horror can sometimes be a form of art and other times pure vulgarity.

10. Who inspires you?

I haven't figured it out yet.


11. What are some of your favorite horror books?

I read philosophy books that can be from the Enlightenment period to others such as Nietzsche. Horror is certainly one of the many types of reading, but not the only one. I definitely prefer Poe and Lovecraft to King, that's for sure.


12. What are your current projects?

I just finished my second feature film THE BENEFACTRESS (an exposure of cinematic freedom) which was purchased by the American label Blood Pact Films that will distribute it on DVD, Blu-ray and streaming platforms. It is my second film after DARIUSS and probably my highest and noblest artistic expression of creative and libertine freedom.. It's total insanity.


13. Please in your own words write a paragraph about yourself & your work.

I am a filmmaker driven by the strength of his sexuality, a perennial εrεction in search of visual and sonic experimentation to achieve narrative οrgasm. I am an author who pays attention only and exclusively to what is his own artistic vision. The rest of the world can go fυck itself. Mine is a search for what in my eyes is the most absolute freedom and the first rule I break is my own.