Demon Hunter: Time 2 Kill sees demon-slaying badass Taryn Barker return for another supernatural adventure, combining high-octane action, brutal fight scenes and ‘80s slasher nostalgia. Directed by Zoe Kavanagh, the film is the long-awaited sequel to her 2016 fantasy horror Taryn Barker: Demon Hunter.
Niamh Hogan (Feed) returns as Taryn Barker, reprising her role as the feisty slayer of evil. She is joined by genre favourite Lisa Wilcox, best known for A Nightmare on Elm Street 4: The Dream Master and Bill & Ted's Excellent Adventures.
Following its festival run and release in the United States, the Irish action thriller is now heading to the UK. Described by Film Threat as delivering "a bloody good time", the sequel brings together supernatural horror, action and plenty of gore.
Demon Hunter: Time 2 Kill arrives on digital on 9 November, courtesy of Miracle Media.
A rundown apartment complex in Louisville, Kentucky, becomes the setting for a blood-soaked supernatural nightmare in LANDLORD, an independent vampire horror thriller from director Remington Smith and production company BLACK MANDALA.
The film takes a familiar rule of vampire mythology, that a vampire cannot enter a home without an invitation, and gives it a disturbing twist. What happens when the vampire owns the property? For the tenants of LANDLORD, the answer is considerably more frightening than an unwelcome visitor at the door.
The story follows a nameless black bounty hunter who arrives in Louisville during a sweltering summer to recover a stolen briefcase. What initially appears to be a straightforward job soon becomes something far more dangerous when he discovers the truth about the building's white landlord, a vampire who can enter his tenants' homes without asking permission.
The situation takes a darker turn when the landlord murders the mother of a young tenant named Alex. With the boy left vulnerable, the bounty hunter finds himself taking on the role of protector, forcing the unlikely pair to confront a supernatural threat that has control over both their homes and their lives.
LANDLORD looks to combine traditional vampire horror with the rough edges of neo-Western cinema and American independent filmmaking. Rather than relying solely on gothic castles and familiar supernatural settings, director Remington Smith places the story in a recognisable urban environment, where deteriorating interiors, sun-bleached streets and oppressive summer nights help establish an unsettling atmosphere.
There is also a more grounded idea at the heart of the film. Housing, ownership and financial power become part of the horror, with the landlord's control over the building giving him an alarming degree of authority over the people living there. The vampire mythology provides the supernatural threat, but the imbalance between landlord and tenant gives the conflict a distinctly contemporary edge.
The film's approach to horror also promises practical gore effects and a brooding, John Carpenter-inspired musical score, suggesting an interest in atmosphere and physical effects alongside its more visceral moments. Shot on location in Louisville, LANDLORD appears keen to make its setting an important part of the experience rather than simply using it as a backdrop for the violence.
Written and directed by Smith, the film stars Adama Abramson, Cohen Cooper, William McKinney, Lance Gerard, J. Barrett Cooper, Patrick Mitchell, Melissa Combs and Meredith Frankie Crutcher.
LANDLORD has already made its world premiere at Grimmfest and was selected for the Frontières Buyers Showcase at the Marché du Film in Cannes, giving the independent horror production an early presence on the festival and industry circuit.
By combining vampire folklore with the anxieties surrounding housing and power, LANDLORD offers a different angle on a well-established horror subgenre. Its central idea is simple but effective: when the person who owns your home is also a creature of the night, the usual rules of survival no longer apply.
Ed Crimi - Owner and Curator of Vampa Museum in Doylestown, PA
1. When did your group first become interested in horror?
My fascination with horror and the paranormal began when I was about 13 or 14 years old,
growing up in Brooklyn. I remember listening to my father tell extraordinary stories about his
uncle and great-uncle, both of whom were full-time priests and exorcists in Catania, Italy. Those
stories sparked a fascination with the supernatural that has stayed with me throughout my life.
2. Did you always think a full time museum was the right venue for your subjects? How
did you come up with the name VAMPA?
My daughter Francesca came up with the name VAMPA while we were searching for a name for
the museum. We decided on Vampire Art Museum of Paranormal Activity, which later also
evolved into Visual Arts Museum of Paranormal Antiquities. I was excited about creating the
museum, not only as a place to share my passion for the supernatural but also as a stepping stone
toward ministry work, which has now become an important part of what we do.
3. Do you prefer the Halloween season over the rest of the year?
Not necessarily. I enjoy it because people tend to be more interested during that time of year, but personally, I love all the seasons.
4. Is there another genre or subject like murder mystery that you are interested in?
I’m more interested in philosophy, psychology, and neuroscience because I believe that
understanding the human condition requires exploring the connection between spirituality,
psychology, and neuroscience.
5. When did you first decide to make vampires the central subject of your museum’s
exhibits?
About five years ago, I realized that my extensive collection of vampire-related art and
antiquities had grown to the point where I wanted to share it with the public. That was when I
decided to make vampires the central focus of the museum.
6. Do you do any props or production and mask making yourself?
No, we don’t do that. However, we do rent out some of the magnificent objects from our
collection for use on movie sets.
7. Do you believe viewers need to horror fans in order to enjoy your work?
Absolutely not. We are an academic art museum that explores the age-old battle between good
and evil. People are fascinated by the mystery, history, and deeper meaning behind this timeless
struggle.
8. Why do you think horror books and movies remain so popular?
I believe our fascination with vampires also has a neurological and psychological connection,
which helps explain why they have remained so popular throughout history. At the heart of it is
our fear of death, the concept of memento mori, the reminder that we are all mortal. Vampires, on
the other hand, represent the possibility of immortality, something that has fascinated humanity
for centuries.
9. Why do you think that people are obsessed with learning something new about classic
films like Dracula or Nosferatu?
Films like Dracula and Nosferatu are beautifully made and visually captivating. They
demonstrate that you don’t need excessive gore or violence to stimulate an audience’s
imagination. Their atmosphere, mystery, and artistic qualities continue to fascinate viewers,
which is why people remain interested in discovering new details about these classic films.
10. Who inspires you?
Jesus Christ inspires me because of his message and teachings. I also admire Muhammad and
Buddha, and I remain open to different religious beliefs and philosophies. Our ministry is
founded on the principles of love, compassion, and charity, values that I believe transcend
religious boundaries.
11. What are some of your favorite horror books?
I love anything written by Bram Stoker. His work has always fascinated me, particularly the way
he combines horror, mystery, and the supernatural.
12. What are some of your favorite horror movies?
Although it’s not a movie, I’ve always loved the television series The Night Stalker. I’m also a
fan of just about every Dracula film ever made.
13. What are your current projects?
Some of my current projects include expanding the museum and growing our ministry so we can
reach more people, offer greater support, and make a meaningful difference in their lives through
love, compassion, and charity.
14. Please in your own words write a paragraph about yourself & your organization’s
work.
I have spent much of my life fascinated by art, history, philosophy, psychology, and the mysteries
of the human condition. My interest in the supernatural began at an early age, growing up in
Brooklyn and listening to my father tell stories about his uncle and great-uncle, who were priests
and exorcists in Catania, Italy.
Over the years, I assembled an extensive collection of extraordinary art and antiquities, which
eventually inspired me to establish VAMPA.
VAMPA is much more than a museum about vampires. It is a place where art, history, religion,
and the eternal struggle between good and evil come together, encouraging visitors to explore the
mysteries of life, death, and the human spirit. I am particularly interested in the connections
between spirituality, psychology, and neuroscience, and how they influence our understanding of
the world.
Beyond the museum, one of my greatest passions is expanding our ministry, which is dedicated
to love, compassion, and charity. My goal is not only to preserve and share remarkable objects
and their history, but also to help people, inspire curiosity, encourage understanding, and make a
positive difference in the lives of others.
For those interested in learning more about my personal journey, my experiences, and the story
behind my lifelong fascination with the supernatural, I share much more of my life story in my
book, Vault of the Vampire.
You can visit the Vampa Museum at 3686 US 202, Doylestown, PA 18902
Trick and Treats, a new horror film directed by Eric Hector and starring Malcolm McDowell and Gary Busey, arrives on UK digital on 19 October through Miracle Media, following its release in the US.
The film takes inspiration from the old nursery rhyme Peter, Peter, Pumpkin Eater, introducing a sinister jack-o'-lantern named Trick, voiced by McDowell. More than two centuries after the rhyme first appeared, the story moves to a decaying roadside biker club, where Pastor Joseph (Busey) believes the pumpkin is connected to the infamous nursery rhyme.
Joseph attempts to steal Trick, but his plan fails. His warnings about the pumpkin are dismissed as madness, leaving a group of young friends to discover whether there is any truth behind the strange tale.
While celebrating Halloween, Ashley (Loren Ledesma) and her costumed friends find themselves at the roadside bar. Their evening takes a terrifying turn when a gang of bikers captures them and threatens to torture and kill them.
With the situation becoming increasingly desperate, Ashley begins hearing Trick's voice in her head. Whether the ancient pumpkin is attempting to help the group or has more sinister intentions remains unclear.
Trick and Treats combines supernatural horror with a tale of captivity and violence, drawing on familiar Halloween imagery while giving the traditional pumpkin a murderous twist.
Trick and Treats arrives on UK digital on 19 October, courtesy of Miracle Media.
An unexplained incident on a beach, a series of teenage disappearances and a man troubled by disturbing memories form the basis of HAUNTED, a supernatural horror film directed by Myles McEwen and Ripley Stevens, whose previous work includes Nightfall.
The story begins on 19 October 2003, when a violent storm hits the remote Australian town of One Season. That night, something happens to a group of teenagers on the beach, leaving a lasting mark on the community. The details remain a mystery, but the consequences begin to emerge four years later, when teenagers start disappearing and unsettling events suggest that whatever happened that night has not been forgotten.
At the centre of the story is Sol, a reclusive man living with fragmented memories and disturbing visions. His isolation is disrupted when the house he occupies faces demolition, forcing him to confront a world he has spent years avoiding. As a supernatural presence begins to stalk him, Sol finds himself drawn towards the mystery surrounding the storm and the events that followed.
HAUNTED seems to be a film interested in buried secrets and fractured memories as it is in the supernatural. Its isolated coastal setting provides a fitting backdrop for a story in which an apparently quiet town conceals something far more disturbing. The connection between the disappearances and the events of 2003 gives the mystery a clear direction, while Sol's uncertain grasp of his own past raises questions about what he remembers and what he may have misunderstood.
The film's emphasis on atmosphere and unsettling imagery suggests a slow-building approach to horror rather than a story driven solely by sudden scares. Whether the mystery can sustain that tension will depend on how effectively the film connects its supernatural elements with the tragedy at its centre.
With Sol attempting to piece together a past that continues to intrude on his present, HAUNTED sets up a story about the consequences of events that a community may have tried to leave behind. The question is whether uncovering the truth will offer any escape, or whether some secrets are better left undisturbed.
This is one film I am really looking forward to seeing!
HAUNTED is represented internationally by BLACK MANDALA.
Ahead of the international premiere of his latest feature, THE DARK GETS IN, at Tubi FrightFest Halloween on 31 October, Sean Hogan discusses the film’s journey, the challenges of working with improvisation, and drawing on personal loss.
THE DARK GETS IN has been described as a’ mock-true crime documentary.’ What true-crime cases / TV series did you draw your inspiration from?
The true crime elements were something that came about via a discussion with the film's producers, who admittedly were more familiar with those sorts of shows than I was. They were keen to make something along those lines, which led me to suggest that we utilise a fictional documentary format. That way we could play around with classic true crime tropes but also take the story in some unexpected directions. So I did have to brush up on my true crime in order to write the screenplay! In the end, the one that probably inspired me the most was Joe Berlinger's The Vanishing at the Cecil Hotel.
Sean Hogan on the set of THE DARK GETS IN
We follow the harrowing case of a missing female teenager. You’ve gone on record as saying that you have lost close family members suddenly and unexpectedly and know just how wrenching that experience can be. How did this inform the creative process?
It's true that I have been through the experience of losing family members very suddenly. That wasn't actually something I consciously thought about when I started writing the script; it was only when we started production that I realised I'd probably been channelling those feelings without really even being aware of it. The thing is, when I look back at the work I've been doing in the last 5-10 years, I can see now that a lot of it is actually attempting to come to terms with those same experiences. With this particular film, it just made me want to try and deal with those sorts of emotions as honestly and realistically as I could. I've seen first-hand what a tragic loss like that can do to a family, and the terrible grief and incomprehension that springs out of not being able to properly explain or understand why such a loss happened. While the film ultimately goes to places that are not naturalistic, it still felt important to ground the core drama in something that felt very raw and real.
You wanted actors that were deft at improvising to help create a sense of documentary reality. How challenging was it to get the right cast, given the naturalistic narrative style required?
It did take quite a long time. When we put out the initial casting call, I think we had hundreds, if not thousands of applicants. So firstly, we had to look at a lot of showreels and decide who the best candidates for the various characters might be. However, improvisation is a very particular skill and not something that all actors are proficient at. We then had to hold an improvisatory audition process where we asked the people on our shortlist to answer some interview questions in character. That gave us a much better idea of who would be able to work in this sort of naturalistic off-the-cuff style. In a couple of cases, I felt like I was already seeing the character I'd written in those audition tapes and couldn't imagine anyone else playing them – luckily those particular actors went on to accept the roles!
Kezia Cotterrell as Aisling in THE DARK GETS IN
What do you want audiences to take away?
I hope they're as interested in the human drama of the film as the more horrific elements. The film does take a fairly slow-burn approach and you spend a while getting to know the characters before any supernatural elements start to creep in. It's really an experiment in trying to create a sense of slowly mounting dread, which is always more interesting to me than a succession of “boo!” moments. Of course, I also want people to enjoy the horror once it arrives. I suppose I'd like audiences to walk away from the film thinking that they'd seen something that managed to be both frightening and tragic.
Can you describe your personal journey making this film?
I'd never made anything like this before. Although there was a written script that served as the roadmap/bible for the film, I've never utilised improvisation to the same extent that we did here. That could be nerve-wracking at times but also incredibly exciting. I gave the actors a lot of freedom to come up with their own ideas and some really creative material came out of that. The finished film does follow the basic narrative structure of the original screenplay, but there are also moments in there that I never would have written myself. The process of making something in this fashion wasn't always easy, but it was incredibly invigorating. I feel like the whole experience has taught me an incredible amount, even if I never make anything in quite the same way again.
The title The Dark Gets In suggests a theme of creeping, unstoppable corruption or psychological unravelling. What is the "dark" representing for you, and how does it manifest for your characters?
As you say, it can be read in several different ways. In the film, the character of Natasha talks about a darkness that has followed her all her life: an early childhood tragedy that now seems to be repeating itself. That threat is ultimately revealed as something very specific: darkness personified, if you like. By the climax of the film, these same dark forces will have literally “got in” and invaded the family home. But there's also an interior darkness to some of the characters, a suggestion that the people we're closest to in life might have murkier aspects to their personalities that we never normally see. Added to which, the film also looks at how the internet functions as a kind of breeding ground for darker behaviour, an arena in which online anonymity permits people to indulge in all sorts of illicit fantasies and forbidden impulses. And given that the internet is now in almost all our homes, it can very easily serve as a pipeline to channel this kind of darkness directly into people's lives.
Much of your previous work, like The Devil's Business, thrives on tense, Pinteresque contained spaces. Does this film continue that tradition, or are you experimenting with a more expansive canvas this time?
The nature of this film means it can't help but be somewhat more expansive, simply because of the number of characters and locations. The documentary form dictates that you're constantly cutting from here to there and back again, so you can't really build that same atmosphere of claustrophobia. On the other hand, I hope The Dark Gets In still has a similar sense of tension, that same inexorable feeling of events spinning slowly out of control. Although they take very different forms, both this film and The Devil's Business are ultimately about characters finding themselves trapped in situations they can't possibly control or understand; and finally coming to the realisation that the world is a much more illogical and terrifying place than they ever imagined.
You’re known for brilliantly imbuing character-driven drama with classic horror genre themes. Does this stem from your literary roots?
I suppose that while I loved horror from a very early age, over time I also became interested in other creative areas, be that different kinds of films or novels or theatre. Everything I do now is just kind of a stew of those sorts of influences. I do take a lot of care over the writing process; ideally, I guess I'm trying to make films where both the visuals and the dialogue are equally important. It always seemed obvious to me that horror movies were better when they took the time to create interesting characters and give them well-written dialogue to say, so that's just something I've always striven to do. I also believe that genres need to expand and progress in order to stay relevant, and one of the ways you achieve that is by bringing in outside influences, whether that be (in my case) Pinter or Bergman or true crime documentaries or a hundred other things.
You’re very much a stalwart of independent filmmaking. Beyond directing, you have championed the genre by writing extensive metafiction and books deeply rooted in the history of cult and independent cinema. Is this something you want to continue doing?
I hope I can continue doing all of it! Getting films produced is always very difficult; part of the reason I started writing prose fiction is because I hadn't been able to make a film for several years. Luckily, that all changed recently but there are never any guarantees it will continue. So I will keep on writing fiction regardless, because that's much more under my control. I'm not sure whether I'll write any more actual cinema metafiction, as I've published several books in that vein now and there are other things I want to do. But whatever I write will probably always have at least one foot in the genre: my most recent novel was a folk horror/psychological thriller, and I've just finished the first draft of a noir/horror novel.
Finally, what can you tell us about future projects?
There is one really exciting project bubbling under which involves a classic horror property, but I'm still waiting to be given a contract, so can't say any more. Beyond that, I have a US-set script I'm trying to make, and a TV miniseries I'm developing. I'm also working on an idea for another UK indie film. I wish I could be more certain about what might happen next, but such is the nature of the business. We'll just have to see how this film is received and if anything else comes of it!
THE DARK GETS IN is screening at Tubi FrightFest Halloween at the ODEON Luxe West End on Saturday 31 Oct, at 3.40pm and 4.10pm.
RISE OF THE RATS is a new horror-punk feature from Black Mandala, directed by Stephen Roach, whose previous work includes The Crucifix: Blood of the Exorcist and Cookster: The Darkest Days.
The film follows Kayla Thornhill, a rebellious young punk who travels with her estranged father, Jack, to Ditchfield, the town where he grew up. Their uneasy return soon takes a darker turn when Kayla discovers that the town is dealing with a relentless rat infestation.
There is more to Ditchfield's problem than an abundance of vermin, however. As Kayla begins digging into the town's history, she uncovers whispers of a brutal act of collective violence committed decades earlier, along with a secret that the residents have spent years trying to bury.
That buried history has given rise to the Rat Man, a grotesque embodiment of the town's guilt, violence and unresolved trauma. With hordes of bloodthirsty rats at his command, he begins taking revenge, sending Ditchfield into chaos as the death toll rises.
Kayla is left caught between the horrors unfolding around her and the truth about her father's connection to the town's darkest secret. As the past begins forcing its way back into the present, she must confront what really happened in Ditchfield and the consequences of leaving it buried.
Directed by Roach, RISE OF THE RATS draws inspiration from 1980s genre favourites including The Lost Boys, A Nightmare on Elm Street and Gremlins, while combining horror with dark humour, punk energy and a distinctly British setting.
Starring Grace Gallagher, Mark Collier, Tania Staite, Jamie Nowski, Shayli Reagan, Darren Le Fevre, Adrian Annis
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