PREVIEW: Saint Clare (2025 Film) - A Blood-Soaked Thriller Arrives in the UK

By Jon Donnis

London's FrightFest 2024 certainly had a highlight last year with the premiere of Saint Clare. This blood-soaked thriller didn't just have critics singing its praises; it had audience's blood pressure practically rising in real time. Now, this much-anticipated film is set for its UK release on July 21, 2025, courtesy of 101 Films.

Bella Thorne, known for her roles in Blended and Midnight Sun, really delivers here. She plays the titular lead with an intensity that's caught everyone's attention in this spiritually charged, small-town story, a blend that's been called a powerful mix, like "American Psycho meets Joan of Arc." The film itself is based on a novel by Don Roff and was expertly brought to life by award-winning Italian director Mitzi Peirone, who you might know from Braid. Peirone also teamed up with Guinevere Turner, a writer on American Psycho, to pen the screenplay. And what a cast! We're talking about Ryan Philippe from Crash, Rebecca DeMornay of Risky Business fame, Frank Whaley from Pulp Fiction, and even Bart Johnson from High School Musical. Plus, the film features an original soundtrack by Zola Jesus.

So, what's Saint Clare about? In a quiet town, a solitary young woman starts hearing voices. These voices lead her down a dark path: assassinating people with bad intentions who think they can get away with anything. But her last kill changes everything. It sucks her right down a rabbit hole, one riddled with corruption, trafficking, and twisted visions from beyond. Can Saint Clare escape unimaginable terror as her quest for retribution takes a dangerous turn, pulling her deep into an unknown hell? You'll have to watch to find out.

The buzz is real, and the reviews speak for themselves. The Good, The Bad and The Verdict called it "a highly entertaining slice of genre cinema" and raved that "Thorne’s performance is super." My Bloody Reviews noted the film "continually surprises throughout," describing it as "complex and dark," adding that Bella Thorne was "terrific as feisty, focused, kick-ass Clare." Halloween Horror and Home simply called it a "wonderful thriller" and "one of the highlights of the festival," even praising it as "an incredibly beautiful movie" and "top of my recommendations." And Mr Mayfield’s Madness went as far as saying "Bella Thorne deserves all the award consideration for the powerhouse performance," comparing the film to "one part Dexter and one part American Psycho." They even called Mitzi Peirone’s direction "a masterclass in setup and execution." 

Saint Clare arrives on UK digital 21 July 2025 (101 Films). Don't miss it!

REVIEW: The Ugly Stepsister (2025 Film) - Starring Lea Myren, Thea Sofie Loch Næss, Ane Dahl Torp, and Flo Fagerli

 

A Haunting Fairytale Turned Body Horror Masterpiece

The Ugly Stepsister, the feature debut from Norwegian writer-director Emilie Blichfeldt, is a fearless and ferocious deconstruction of beauty myths. Taking the bones of Cinderella and twisting them into a grim body horror satire, Blichfeldt strips away fantasy to expose the cruelty beneath. The result is a raw, razor-sharp tale about control, trauma and the violent cost of perfection.

From its unsettling first scene, the film sets out to disturb. Lea Myren delivers a transformative performance as Elvira, the forgotten daughter disfigured by her mother’s relentless pursuit of beauty and status. Blichfeldt refuses to look away, showing in graphic detail the invasive procedures, forced starvation and self-harm that Elvira endures. These scenes are brutal but never gratuitous. Each one reinforces the central theme: beauty is not natural, it is inflicted.

Visually, the film is as striking as it is harrowing. Fairytale finery is paired with surgical steel, and lavish ballrooms are filmed with sterile precision. The contrast between glamour and suffering is jarring and effective. Blichfeldt’s control of tone, camera and design crafts an atmosphere that feels dreamlike and dreadful at once. This is a world where sequins cling to blood and beauty masks violence.

What gives the film its edge is its dark wit. The humour is bleak but intentional, a scalpel cutting through hypocrisy. Blichfeldt satirises society’s obsession with appearance and its willingness to sacrifice women on the altar of desirability. There are no easy laughs here, only sharp observations delivered with unnerving clarity. Romance is revealed as hollow, transformation as torture, and acceptance as conditional.

The supporting cast deepens the story’s emotional resonance. Ane Dahl Torp is chilling as Rebekka, the mother whose cruelty masquerades as care. Thea Sofie Loch Næss offers a layered take on the archetypal Cinderella figure, and Flo Fagerli, as the youngest sister Alma, brings a quiet emotional weight that humanises the horror.

There are moments where the pacing falters. At just under two hours, the middle section drags slightly, repeating ideas already clearly established. A tighter edit could have heightened the film’s impact without sacrificing its mood or message.

Even so, The Ugly Stepsister remains one of the year’s most original and uncompromising films. Blichfeldt’s voice is fierce and distinct, and her debut proves she can balance shock with substance. This is not just a horror film; it is a brutal, beautiful scream against unrealistic standards and generational cycles of control.

Unflinching, provocative and painfully relevant, The Ugly Stepsister holds a mirror to our obsession with beauty and shows us what’s lurking underneath. It’s not easy viewing, but it is essential.

Rating: 9 out of 10

Available now on Digital

https://apple.co/3SKkEF6

PREVIEW: Bogieville (2025 Film) Hits Digital This June - Vampires, Turf Wars and Blood Trails:

A sinister trailer park in the Deep South is the setting for Bogieville, a twisted new vampire flick from actor-director Sean Cronin, known for Drained and Mission: Impossible – Rogue Nation. The film lands on UK digital platforms on 9 June, courtesy of Reel 2 Reel Films, and promises a blood-soaked clash between rival immortals.

After screening at both Cannes and FrightFest, Bogieville now invites UK audiences to take the plunge into its unnerving world. At the centre of it all are Ham and Jody, played by Arifin Putra (The Raid 2) and Eloise Lovell Anderson (Villian), a young couple who find themselves lost and desperate. What they stumble upon is no safe haven. It's an eerie trailer park called Bogieville, seemingly forgotten by the world and watched over by the unsettling caretaker, Crawford, played by Jonathan Hansler (Axed).

He warns them not to leave at night. Of course, they do. And that’s when the horror truly begins. The park isn't deserted at all. It's home to a clan of vampires led by the terrifying Madison, played by Cronin himself. But even he’s not the only threat. There’s another vampire faction circling, ready to challenge Madison for control of the park, dragging the unsuspecting visitors into a long-standing war with no rules and no mercy.

As Ham and Jody try to escape, they quickly realise they’ve become more than just witnesses. Jody has caught the attention of the monsters, and once that happens, there’s no going back. Meanwhile, a detective is closing in, following a string of gruesome deaths that all point back to this cursed place.

Bogieville blends classic horror with an edge of dark, Southern gothic menace. It’s a bloodcurdling ride into a world where no one gets out clean. Whether it’s the eerie calm of the park or the fangs waiting just beyond the shadows, this is one horror tale that sinks in deep.

Arriving on digital 9 June through Reel 2 Reel Films.

Apple TV - https://apple.co/45c9JM2

REVIEW: The Legend of Ochi (2025 Film) Starring Helena Zengel, Finn Wolfhard, Emily Watson, and Willem Dafoe

 

A Beautifully Crafted Fantasy That Struggles to Stay Afloat

Isaiah Saxon's The Legend of Ochi is a visually enchanting yet narratively uneven debut that blends old-school fantasy charm with a modern emotional undercurrent. Brimming with atmosphere and anchored by handmade artistry, the film has a distinctive voice. But despite flashes of magic and menace, it struggles to maintain momentum, particularly in its slow-moving middle.

Set on the wintry island of Carpathia, the story follows Yuri (Helena Zengel), a young girl raised in a brutal, male-dominated village. Her father, Maxim (Willem Dafoe), is a hard-edged patriarch who trains children to hunt down the elusive, goblin-like creatures known as the Ochi. When Yuri discovers and befriends an injured baby Ochi, she turns her back on her upbringing and sets out to return the creature to its kin. Her journey becomes a quiet rebellion as she seeks her estranged mother (Emily Watson) and tries to stay one step ahead of her relentless father.

The film's greatest strength is its visual world-building. Saxon, with a background in animation, leans into practical effects, matte-painted vistas and textured design choices that evoke the spirit of 1980s fantasy cinema. The Ochi creatures are especially compelling. Created with puppetry and animatronics and subtly enhanced by digital work, they feel tangible and expressive. The baby Ochi, in particular, is both charming and memorable, likely to appeal to younger viewers.

The opening sequence is gripping, launching with a moonlit hunt through snowy woods. Torches flicker, shadows dart and the tone is instantly serious, with a sense of danger that marks the film as something darker and more contemplative than most family adventures.

But after that strong beginning, the pacing slows dramatically. The narrative shifts into familiar territory, a child protecting a misunderstood creature, and doesn’t bring enough novelty to reinvigorate the trope. Much of the middle act is taken up by long sequences of travel, hiding and quiet contemplation. Though these moments are often visually stunning, they lack urgency, and the story loses its grip.

Helena Zengel is quietly committed throughout, carrying the film with physical intensity rather than dialogue. Her performance reflects the film’s mood: introspective, muted, and at times emotionally distant. Dafoe brings a grim presence to Maxim, but the role is underwritten. Emily Watson appears briefly, and Finn Wolfhard’s Petro has limited impact. The film opts for minimal dialogue and prolonged silences, which adds to the atmosphere but also slows down character development.

At just 90 minutes, the film avoids overstaying its welcome, but the minimal plot movement in the central section may test the patience of some viewers. While young children may enjoy the creature design and gentle tone, older audiences might wish for more story and emotional depth.

Still, The Legend of Ochi marks Isaiah Saxon as a filmmaker to watch. His preference for handcrafted visuals over glossy effects is refreshing, and his ability to conjure mood through design and tone is evident. The film has heart, even if its narrative pulse is faint.

Thoughtful, original and beautifully made, The Legend of Ochi is a strong visual debut with a clear directorial voice. It begins with tension and ends with sincerity, though its dreamy detours may leave some viewers behind. As a first feature, it is promising, and worth seeing for its craft alone.

Rating: 7 out of 10

Out now on Digital

Apple TV - https://apple.co/3F6kiFQ

Interview with Jason Robert Stephens - Gory Nostalgia, Statham Comparisons and a Potential Return in Popeye the Slayer Man 2

There are horror films. Then there are public domain fever dreams where a beloved cartoon sailor turns into a gore-splattered vigilante with forearms that could pulp a man’s skull. Popeye the Slayer Man, a horror reimagining that’s as bloody as it is bizarre, belongs to the latter camp. And standing tall at the centre of the madness is Jason Robert Stephens, a former real-life cop turned screen slayer. As the film launches in the UK on Amazon and Apple, Stephens sat down with Masters of Horror to talk through the physical demands of becoming Popeye, improvising emotional beats between kills, and yes, who he’d like to slaughter in a potential sequel.

This version of Popeye is definitely not your grandpa’s sailor, how did you prepare to embody such a gritty, slayer-style version of this iconic character?

Mentally, it was pretty easy to get into the character. Once you have all that makeup on, the costume, etc., you kind of have to become that character. It was actually really fun to play.

What drew you to this project in the first place? Did you have any connection to the classic Popeye cartoons growing up?

I’ve known the director Robert Michael Ryan since we were 11 years old. We started out making short horror movies with a home video camera and our love for cinema grew from there. One day he told me that the Popeye character was going into the public domain, and he wanted to direct a Popeye horror movie. He asked me to play Popeye, knowing that it was going to be pretty physical and I'm all about that. So I told him as long as he didn’t skimp on the gore, I’m game.

As far as the original iconic character, I did watch the cartoons as a kid and I even went and saw the Robin Williams version of Popeye in the theatre. So, it was definitely part of my childhood.

The physicality of Popeye is that of a mutated monster. How intense were the make-up transformation demands on you?

It depended on the scene. For example, if it was a far-away shot, or I was in the shadows, getting into the character makeup wasn't all that terrible. If I was doing a close up with dialogue, then it was a little bit more tedious, but all in all, I knew it was going to be worth it in the end.

How did you balance the over-the-top, badass elements of this Popeye with the heart of the original character?

As the movie progresses, you realise that Popeye isn't really 100% bad. He's actually taking out the bad guys.

Maintaining the heart of the original character played itself out in the script. And luckily, Robert let me improvise a couple of things that I think helped with that heart element. For example in the Popeye’s "layer" you get to see his softer side. A lot of that scene I improvised. I just had to hit my marks and eat the spinach.

What was your favourite scene to shoot, and was there one that totally pushed your limits as an actor?

My favourite scene as far as the kills are concerned, is the arm scene but I won't give it away. You'll know which one I'm talking about. That one was super physical, totally over the top and fun plus you really want to see that guy get what’s coming to him. My favourite scene of the movie is when I'm in the layer and you get to see my softer side.

Popeye traditionally relies on his fists and forearms how did the kill scenes choreography evolve for The Slayer Man? Were you involved in any of it?

Most of the kills were pretty much written and filmed as in the original script. We did have to improvise a few things due to time constraints and some other location limitations. I've worked on a lot of movies and directed several of them and utilised stunt coordinators before. So the stunt choreography actually came pretty easily.

If you could face off against any classic cartoon character in slayer form, who would you choose, and who’d win?

If I had to face off against any cartoon character, I think I'd have to take care of that Winnie the Poo guy...... And if not him, maybe the grinch in "Popeye Slays Christmas".

You were a cop for thirty years, and a fugitive hunter for five. So, who do you prefer to play – good guys or bad guys?

Yeah, for thirty years, I chased the bad guys and I prefer playing the good guy or the good guy with an edge. I'm told I looked a little bit like Jason Statham, probably because of our physical build and similar hairline..... some of the fugitives I brought back even called me the Transporter. Lol.

What’s next for you?

Watch this space but you never know, maybe part two of Popeye the Slayer Man.

POPEYE THE SLAYER MAN is currently available to scream in the UK on Digital

Apple TV - https://apple.co/41YEzFS

Prime Video - https://amzn.to/3HkDSPj

REVIEW: Death of a Unicorn (2025 Film) Starring Paul Rudd and Jenna Ortega

 

A Bizarre, Mythical Collision of Satire and Fantasy

Death of a Unicorn is a rare breed in modern cinema. It presents a completely original story that blends absurd comedy, biting satire and eerie folklore into a surprisingly emotional experience. Written and directed by Alex Scharfman in his feature debut, the film takes a concept that sounds absurd and transforms it into something oddly grounded and occasionally profound.

The plot follows Elliot Kintner (Paul Rudd) and his daughter Ridley (Jenna Ortega) as they travel to the countryside estate of Elliot’s boss. During the drive, they accidentally hit a unicorn. What starts as a freak accident quickly spirals into a strange and dangerous situation. The unicorn’s mystical properties spark a frenzy among a wealthy and powerful family, who see it not as a creature of wonder but as an opportunity to exploit. As the situation escalates, Elliot and Ridley find themselves hunted by two vengeful parent unicorns while trapped in a house full of increasingly unhinged humans.

The performances are one of the film’s strongest assets. Paul Rudd delivers his usual likeable charm but with a weariness that grounds the character. Jenna Ortega brings intensity and emotional clarity, capturing both teenage scepticism and wide-eyed wonder. Richard E. Grant plays the sinister Odell Leopold with a quiet menace, while Will Poulter, Téa Leoni, Stephen Park and Sunita Mani round out the supporting cast with memorable turns that balance absurdity with threat.

Visually, the film shows ambition. While some of the CGI falls short in high-motion scenes, the practical effects and design choices are bold and effective. There is a recurring visual motif where the unicorns change colour based on their emotions. This, combined with Ridley’s psychedelic visions and the estate’s dreamlike atmosphere, gives the film an otherworldly feel. These flourishes help create a tone that sits somewhere between fairy tale and psychological thriller.

Tonally, the film is all over the place. It swings between heartfelt moments and grotesque satire. One scene presents a magical healing miracle, the next features graphic violence. This unpredictability can be disorienting. The constant shift between themes of reverence and ridicule might alienate viewers looking for a clearer narrative lane. However, the chaos feels deliberate, even if the execution is uneven.

The greatest strength of Death of a Unicorn is its commitment to being strange. It doesn’t follow familiar paths or copy trends. The film draws on real mythology, including medieval views of unicorns as symbols of purity and divine power. These ideas are explored through Ridley, who sees the unicorns as sacred and untainted. Her journey becomes a philosophical one, wrestling with what should be preserved and what should be consumed.

Despite its flaws, the film leaves a lasting impression. The final act brings together absurd humour, horror and tragedy in a way that should not work but somehow does. It may not appeal to mainstream audiences, but it is likely to gain a cult following.

Death of a Unicorn is messy and ambitious. It may stumble at times, but it stands out in a landscape of safe, familiar stories. Scharfman's debut shows real vision and offers a rare kind of cinematic originality.

Rating: 8 out of 10.

Out Now on Digital

https://amzn.to/4k065cM

Stephen King’s The Long Walk Hits UK and Irish Cinemas on 12 September 2025

Lionsgate UK has confirmed that The Long Walk, directed by Francis Lawrence, will arrive in cinemas across the UK and Ireland on 12 September 2025. To accompany the announcement, a new trailer and official poster have been released, offering a first look at the upcoming adaptation.

Based on Stephen King’s novel of the same name, the film is scripted by JT Mollner and presented by Lionsgate in association with Media Capital Technologies. It is produced by Vertigo Entertainment and about:blank.

Francis Lawrence, known for directing several entries in The Hunger Games series, leads the project. The production team includes Roy Lee, Steven Schneider, Francis Lawrence and Cameron MacConomy.

The cast features Cooper Hoffman, David Jonsson, Ben Wang, Garrett Wareing, Tut Nyuot, Charlie Plummer, Roman Griffin Davis, Jordan Gonzalez, Joshua Odjick and Josh Hamilton, with supporting roles from Judy Greer and Mark Hamill.

The newly released trailer suggests the film remains faithful to King’s original story, depicting a brutal endurance challenge in which teenage boys must keep walking or face deadly consequences. While full plot details are still under wraps, the footage hints at a tense and emotionally charged adaptation.

The Long Walk opens in cinemas across the UK and Ireland on 12 September 2025.