Interview with Jonathan Fuller - By David Kempf

1. When did you first become interested in horror?

My initial interest in horror started very early. When I was around nine years old my father introduced me to horror and science fiction movies. First up was Evil Dead, and as I got older I stared renting all the movies that featured behind the scenes of making of stuff and I was hooked. 

2. Did you always enjoy horror special effects?

Yes! When I was eleven I was asked by a friend if I would like to do this guy’s haunted house. He was going to be made up like Freddy Kruger for Halloween. So I showed up to this guy’s house and it was wall to wall special FX everywhere. From masks to props to full bodies, and Fangoria magazine everywhere. His garage was a production line of molds and masks. And these cool itmes called GoreKnobs. Yep. Eleven years ago I was meeting Tim Gore for the first time. 

3. Do you prefer horror TV shows or films?

I enjoy everything. 

4. Is there another genre that you are interested in?

I love comedy, mysteries, and thrillers. 

5. When did you first attend Dick Smith’s school of makeup?

I met Dick at Fangoira Weekend of Horrors. I showed him my portfolio. He said that he was impressed and that I had to take his famous course. This was a bit pricey for me at the time, and I showed my grandfather everything. He graciously purchased everything for me. I think I was bout noineteen at the time. 

6. Do you do all production and mask making yourself?

Yes. I do everything. Sculpture, mold making, casting, and painting. 

7. Do you believe viewers need to horror fans in order to enjoy your work?

I don’t think so. Many people seem to be fascinated by the art form itself. 

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

It’s exciting and fun. Who doesn’t like a good scare?

9. Why do you think that people are obsessed with learning something new about classic films like JAWS or The Thing?

Well, JAWS and The Thing were ahead of their times. Especially The Thing. You can watch it today and still be in awe of how they did that work. Holds up to this day. 

 

10. Who inspires you?

Anyone who does amazing work. I could do what everyone does and list all of the same people we list but with this day in social media-great artists are everywhere. 

11. What are some of your favorite horror books?

When I was a big reader, it was everything by Dean Koontz and Patricia Cornwell. 

12. What are some of your favorite horror movies?

I just watched Obsession last night. It was fantastic. But the OG Horror is The Thing, Friday the 13th,  From Dusk til Dawn, and the EVIL DEAD series. 

13. What are your current projects?

Currently it’s design work for Halloween companies, and independent commissions. 

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

I’ve been a professional sculptor and creature designer for decades, specializing in realistic horror masks, props, and collectible sculptures. I love creating original characters along with my favorite classics, and bringing them to life through expressive anatomy, lifelike textures, and attention to detail. My inspiration comes from horror films, practical FX, and the incredible artists who paved the way before me. Whether I am working on a commission or developing my own designs, my goal is to always create something that tells a story, and leaves a lasting impression. For me, sculpting is not just a career-it’s something I am passionate about, and I am always looking for ways to improve my craft and push myself creatively. RIP Tim Gore. 

https://www.instagram.com/thejonfullerproject

REVIEW: The Xenophobes (2026 Film) - Starring Svetlana Tulasi

 

Independent science fiction often stands or falls on the strength of its ideas. When budgets are minimal and resources are stretched to their limits, there is little room to disguise shortcomings. The Xenophobes, directed by Hal Dace and Penny Cullers, is very much that kind of film. This ultra low budget production never attempts to hide its limitations, yet beneath the rough presentation sits an ambitious and surprisingly thoughtful story exploring first contact, time dilation, fear of the unfamiliar and the experience of becoming an outsider.

The film follows Captain Shriya Ballah, played by Svetlana Tulasi, as she leads an international crew on humanity’s first diplomatic mission to Gliese 849d, the first known world inhabited by intelligent alien life. Aware of the personal sacrifices involved, she takes her husband and two daughters aboard the Jerusalem. What begins as a historic journey gradually becomes something far more complicated, with consequences that reshape both the crew and the Earth they eventually return to.

One of the film’s most effective qualities is its structure. The Xenophobes essentially tells two connected stories. The first half centres on the voyage itself, the uneasy reception awaiting the crew and the struggle to communicate with an alien civilisation. The second half shifts focus after the crew return home, only to discover that while twelve years have passed for them, six decades have passed on Earth.

The transition between these two halves gives the film much of its impact. It explores how rapidly societies evolve and how easily people can become disconnected from the world they once knew. As the story develops, the title gains a deeper significance. The crew set out expecting to encounter aliens, yet on their return they find themselves treated as strangers. They become the outsiders, viewed with suspicion and pressured to fit into a society that has moved on without them.

Svetlana Tulasi delivers the film’s strongest performance. My wife recognised her immediately and already follows her social media accounts because of her work as a dancer. She brings confidence and presence to Captain Ballah, creating a central character who remains engaging throughout. Even when the film stumbles, her performance provides an anchor, and she displays a natural screen charisma that helps elevate the material.

The tiny budget is impossible to overlook, though it occasionally adds an unexpected layer of charm. The interiors of the spacecraft feature furniture that often looks remarkably familiar. Crew members appear to be seated in everyday office and gaming chairs, while one particularly amusing scene makes it look as though the captain is commanding the mission from a basic wooden dining chair. Alongside sets that appear hand painted in places, these details generated more than a few smiles. There is something oddly endearing about watching filmmakers squeeze every possible use from limited resources.

The second half also benefits greatly from the story’s return to Earth. With less reliance on green screens and computer generated environments, the production is able to take advantage of real-world locations. The visual improvement is immediately noticeable. Scenes feel more authentic, more grounded and generally more convincing than much of what appears during the space-based opening chapters.

Unfortunately, the film’s weaknesses are just as easy to spot. Even by the standards of an ultra low budget production, many of the visual effects look dated. The space sequences in particular often struggle to create a sense of immersion, with effects that can pull attention away from the story rather than enhance it. It is difficult not to think about how much easier some of these scenes might have been to realise using more modern technology. As it stands, portions of the CGI feel like a product of an earlier era of digital filmmaking.

The heavy dependence on green screen work during the first half creates additional problems. Combined with the limited effects, it frequently highlights the production’s financial constraints instead of drawing viewers into the world being presented.

The running time presents another challenge. At two hours long, The Xenophobes demands patience. The ideas are strong enough to support a substantial narrative, but the pacing would likely have benefited from a tighter edit. Some scenes linger longer than necessary, and reducing the overall length could have strengthened the film considerably.

The Xenophobes is ultimately a film that benefits from the right expectations. Anyone searching for polished effects, convincing spacecraft interiors or blockbuster spectacle will almost certainly be disappointed. Those aspects are not where the film succeeds. Its strengths lie in its concepts, themes and willingness to tackle questions about fear, identity and conformity.

Viewed from that perspective, there is a great deal to admire. The central premise is engaging, the themes are thoughtfully explored and the performances help maintain interest throughout. Most importantly, the film remains committed to its ideas from beginning to end.

Svetlana Tulasi emerges as the clear standout. She carries much of the film on her shoulders and demonstrates the kind of presence that could easily translate to larger productions given the opportunity.

I enjoyed The Xenophobes. The low budget presentation will undoubtedly be a barrier for some viewers, but I grew up watching science fiction films and television series very much in this mould throughout the 1990s. Expensive effects have never been the sole measure of quality. There is genuine enjoyment to be found in noticing the inventive solutions hidden throughout the production and appreciating the effort required to bring such an ambitious concept to life.

Independent filmmakers willing to pursue large-scale science fiction ideas on extremely limited budgets deserve recognition. The Xenophobes is not polished and it does not always succeed, but its ambition, sincerity and thought-provoking ideas make it more memorable than many productions created with far greater resources.

Out Now on Prime Video - https://amzn.to/3RGFIzj

Graham Humphreys’ stunning FrightFest 2026 poster art revealed.

 

FrightFest has unveiled Graham Humphreys’ stand-out poster design for 2026 which marks the 27th anniversary of the UK’s most popular genre festival.

Graham, one of Britain’s most highly acclaimed British graphic artists and illustrators, said today: “The iconic monster stays the same, but turning the sky an apocalyptic blood red seems to hit the mood of the brutal heatwaves frying Europe this year, whilst making a hefty reference to a staple of horror movies and the favourite drink of all vampires. In a world scammed by media manipulation and the relentless march of AI, the FrightFest mascot takes a turn at puppeteering and reminds us that when we are stripped of symbols and identities, we are all clattering bags of bones alike”.

This year’s annual Bank Holiday event, the UK’s largest celebration of genre cinema, takes place at Odeon LUXE Leicester Square and Odeon LUXE West End between Thurs Aug 27 & Mon Aug 31, 2026.

The line-up of films will be announced on Thursday 16 July, 2pm UK time.

www.frightfest.co.uk | FB: /FrightFestreal | ‘X’: @frightfest | IG: @frightfestUK

PREVIEW: They Wait in Shadows (2026 Film) - Starring Jessica Hunt

 

They Wait in Shadows unfolds as a claustrophobic supernatural horror where a family home becomes the centre of something far older and far more dangerous than grief alone.

The film is directed by Sam Mason-Bell, known for Millennial Killer, and brings a tightly contained British horror setting that leans into isolation, guilt and buried history. It stars Jessica Hunt, known for The Truth Will Out, alongside Meghan Adara, known for Therapy.

The story begins with a sudden death that pulls two estranged sisters back to their isolated childhood home. Ingrid and Jenny return reluctantly, forced into proximity after years apart, each carrying unresolved tension and emotional distance that quickly resurfaces inside the house.

What starts as a strained family reunion shifts into something far more disturbing when an old Ouija board is discovered. A single decision to experiment with it cracks open a doorway to the other side, releasing malevolent forces that begin to inhabit the space around them.

As the sisters dig through the house and uncover long buried family secrets hidden within its structure, the line between memory and haunting begins to blur. The home itself becomes unstable, as if reacting to what has been disturbed.

They Wait in Shadows builds its horror from confinement and pressure, turning a personal tragedy into a supernatural collapse that refuses to stay contained.

On digital 20 July from Miracle Media

Apple TV - https://apple.co/4vWpEIy

PREVIEW: Shadows of Willow Cabin (2026 Film) - By writer-director Joe Fria

By Jon Donnis

Buried traumas take on physical form in Shadows of Willow Cabin, where unseen wounds return as something far more tangible. Actor turned writer-director Joe Fria, known for Guardians of the Galaxy: Vol. 2 and The Belko Experiment, makes his feature debut with a blend of queer romance and supernatural horror that leans into mood, intimacy and unease.

Following its UK premiere at Raindance Film Festival 2026, Shadows of Willow Cabin arrives on UK digital on 29 June 2026 via GrimmVision.

Albert (Bryan Bellomo), a closeted husband, and Devon (John Brodsky), a wounded soul, withdraw to a remote mountain cabin after a connection forms through sexually charged messages exchanged on a dating app. What begins as hesitation and curiosity gradually shifts into closeness, as the two men move towards intimacy in isolation.

The cabin itself soon becomes part of the story in a more unsettling way. The walls seem to whisper with voices that were thought to be long silenced. Reality begins to distort as the space turns hostile, drawing the pair into a supernatural loop where time fractures, ghosts appear, and repressed trauma takes on visible, terrifying shape.

As the situation tightens and survival becomes uncertain, Albert and Devon are forced to confront the secrets they have carried, both within themselves and between each other, before the cabin overwhelms them completely.

Shadows of Willow Cabin unfolds as a tense and disorientating descent into identity, survival and love pushed to its limit, set against a space where memory and fear refuse to stay buried.

Apple TV - https://apple.co/4dEdiPg

PREVIEW: Round the Decay (2026 Film) - Stars Melody Kay

Round the Decay arrives as a chilling new creature feature that digs into the buried sins of a small American town, turning a quiet return home into something far more sinister.

The film stars Melody Kay, known for Camp Nowhere and The NeverEnding Story III: Escape from Fantasia, alongside Damian Maffei, recognised for The Strangers: Prey at Night and Haunt. It is directed by Adam Newman, who builds the story around grief, memory and creeping dread.

The plot follows a grieving woman who returns to her sleepy hometown, hoping to confront her past and make sense of a tragedy that still lingers over the community. What begins as reflection soon turns into something far more dangerous when she uncovers a hidden cave.

That discovery awakens a centuries-old entity, dragging the town into a spiral of supernatural horror rooted in ancient curses and long-hidden corruption. The calm surface of the community begins to fracture as something old and hostile forces its way back into the present.

Round the Decay is set for UK digital release on 22 June and US digital release on 23 June from Seven Tales.

Apple TV - Round the Decay

PREVIEW: The Fetus (2026 Film) - Starring Bill Moseley

 

A new dark comedy horror feature arrives with a twisted premise, as pregnancy becomes the centre of a blood-soaked nightmare in this cursed tale of family terror and demonic birth.

Described as “a fascinating body-horror nightmare… delightfully demented horror comedy” by Film Threat, the film leans heavily into both gore and dark humour, building a tone that sits between unease and absurdity.

Starring Bill Moseley, known for The Devil’s Rejects and House of 1000 Corpses, and Lauren LaVera of Terrifier 2 and Terrifier 3, the film brings together a cast firmly rooted in modern horror. It is written and directed by Joe Lam in his feature debut.

The story follows Alessa, played by LaVera, who discovers her pregnancy is not behaving in any medically explainable way. Alongside her boyfriend Chris, played by Julian Curtis, she is forced to confront a reality that quickly spirals beyond control.

When the pair turn to Alessa’s estranged father Maddox, played by Moseley, they uncover something far more disturbing than expected. The pregnancy is revealed to be a satanic, bloodthirsty entity, setting off a chain of events that pushes the situation into full horror chaos.

Blending the unsettling influence of Rosemary’s Baby with sharp dark comedy, the film builds into a surreal and violent descent into panic, paranoia and body horror.

On UK digital 6 July from Miracle Media

Apple TV - https://apple.co/4vam9hp

REVIEW: Lee Cronin's The Mummy (2026 Film)

 

By Jon Donnis

Lee Cronin’s The Mummy arrives with the weight of an iconic title behind it, though it soon becomes obvious that Cronin has little interest in simply recreating what audiences might expect from the franchise. Instead, he leans heavily into his own style of savage body horror, pushing things into darker and far more grotesque territory. That decision is likely to divide viewers. Some will feel completely thrown by it, while others may appreciate the sheer boldness of the approach.

“The young daughter of a journalist disappears into the desert without a trace. Eight years later, the shattered family is stunned when she suddenly returns home. What should have been a joyful reunion quickly descends into horror as she begins transforming into something deeply disturbing.”

The opening section is undoubtedly where the film feels strongest. Against the suffocating heat of Aswan, the descent into the hidden pyramid carries genuine tension and atmosphere. Cronin takes his time building dread, allowing the unease to settle before unleashing something far nastier beneath the surface. Those early scenes feel focused, unsettling, and genuinely creepy. Once the story turns its attention to the Cannon family, the emotional side of the film also works surprisingly well. Jack Reynor gives Charlie a believable sense of weariness and emotional collapse, while Laia Costa brings a quiet vulnerability to Larissa that helps ground the increasingly chaotic horror.

When the film fully embraces its horror elements, it does so with absolutely no restraint. This is not a subtle experience. It is gruesome, excessive, and at times completely unhinged. Cronin clearly favours practical effects and intensely physical imagery, resulting in several moments that are difficult to forget. The now infamous toenail sequence alone will make even hardened horror fans squirm, and the film constantly searches for fresh ways to unsettle its audience. There is a grimy, unpleasant texture to the horror that clings long after the film ends.

There is also genuine creativity in the way the possession storyline unfolds. The idea of ancient scripture carved into living flesh is a particularly strong concept, and the slow deterioration of those bindings creates an effective sense of inevitability. Horror fans may notice echoes of Evil Dead in places, though the film still manages to carve out its own identity. The Morse code communication adds an unexpectedly tragic layer beneath all the violence, suggesting the trapped child is still fighting from somewhere deep inside.

For all its strengths, though, the film struggles to maintain momentum across its lengthy runtime. At more than two hours long, the pacing eventually starts to wobble. Certain sections feel stretched out, with tension repeatedly building only to lose steam before having to start again. That uneven rhythm hurts the film most during the second half, where the story occasionally feels unfocused.

There is also the unavoidable question of whether this truly feels like The Mummy at all. Despite the title, the film rarely resembles a traditional reimagining of the classic property. Instead, it often plays more like a possession horror film dressed in ancient Egyptian imagery. At times, it feels closer in spirit to Cronin’s previous work than anything audiences would normally associate with this franchise. Anyone expecting sweeping adventure, gothic fantasy, or classic mythology may find themselves disappointed.

Still, the film is rarely boring. Its relentless commitment to excess keeps things entertaining even when the narrative drifts. The death scenes are inventive, the visuals are memorable, and there is a reckless energy running through the entire film that helps carry it over its weaker moments.

Ultimately, this works best when viewed entirely on its own terms. Ignore the expectations tied to the title and it becomes a brutal, often highly effective horror film with flashes of real originality. Compare it too closely to what people traditionally expect from The Mummy, and the cracks become far more noticeable.

It is messy, overlong, and occasionally loses focus. Even so, it remains memorable, deeply unsettling, and willing to push further than most mainstream horror films would dare. That alone makes it stand out.

Lee Cronin’s The Mummy ends up as a flawed but undeniably striking horror film, one that audiences will likely argue over for years. A solid 7 out of 10.

In cinemas now.

Apple TV - https://apple.co/4tTPmvU

REVIEW: Mortal Kombat II (2026 Film) - Starring Karl Urban

By Jon Donnis

Building on the 2021 film, this sequel pushes straight into full tournament chaos, sending Earthrealm’s champions into a darker, louder and more openly game inspired interdimensional conflict. Johnny Cage sits at the centre, a faded martial arts actor pulled into Raiden’s desperate fight for Earthrealm, with Karl Urban bringing a dry, self-aware humour that keeps things grounded even as the film spirals into constant combat and shifting loyalties.

The action is where it really finds its strength. The fight scenes are sharp, impactful and clearly staged, carrying a raw physical edge that feels closer to 1990s martial arts cinema than modern polished fantasy spectacle. That decision pays off. There is no attempt to soften the violence, and fans of the games will recognise a steady stream of signature moves, familiar characters and brutal finishing blows brought to life with real commitment.

A strong sense of play runs through the film as well. It never takes itself too seriously, and that blend of humour and gore gives it a distinctive rhythm. Johnny Cage adds levity without deflating the stakes, while the wider cast helps maintain momentum even when the narrative becomes crowded. For fans, the sheer volume of characters and references feels like part of the appeal, with deeper lore and more fighters than any previous instalment.

Visually and tonally, it leans fully into its identity. It is loud, messy in places and deliberately rough around the edges, almost like it has chosen character over refinement. That will divide opinion, but it also gives the film a personality that sets it apart from more restrained modern action films.

There are flaws. The pacing is inconsistent, with sections that linger too long before snapping back into high intensity. Even at a relatively lean runtime, it can feel stretched, particularly when it shifts between multiple story threads and competing factions. The plot is dense and occasionally overloaded, and it struggles to keep all its character arcs moving cleanly at once.

Reception will likely depend heavily on prior familiarity with the franchise. Dedicated fans and genre viewers will probably embrace the excess, while those less invested may find it chaotic and overbearing. It does little to ease newcomers in, and that choice inevitably narrows its appeal. The result is very much aimed at those already on board.

Even so, it lands more positively than not. Mortal Kombat II knows exactly what it is, commits to its tone, and delivers a spectacle driven martial arts fantasy without hesitation. It is violent, playful and proudly old school in spirit. Despite uneven pacing, it maintains enough energy and entertainment to carry it through.

On balance, it works as a confident sequel that understands its audience and delivers accordingly. A solid 8.5 out of 10.

Out In Cinemas Now!

Interview with Tom Spina By David Kempf

Tom Spina Designs, Inc. specializes in creating custom statues, sculpture, mannequins, unique themed furniture and decor, and the restoration and display of film props and costumes. We caught up with Tom, to find out more about the man behind the masks.

1. When did you first become interested in horror?

Abbott and Costello Meet Frankenstein grabbed my interest when I was a kid but as a teen in the 80’s, Jason, Leatherface and Freddy were all the rage at the local mom and pop video rental stores. I’d rent whatever slasher films they had! When I saw the Howling and American Werewolf for the first time, I fell in love with both. It was in my later teens that I really got hooked into classic horror through a friend of mine whose dad was a big fan. I devoured the Universal and Hammer libraries in the years to come. I still love them all!


2. When did you first create your own mask or movie prop?

I don't remember a time where I wasn't trying to make things I saw on screen. Even in grade school I was trying to re-create things from the Wizard of Oz or Star Wars. Masks were a particular fascination and I would stare at the wall of Don Post and Distortions masks at the local Magic Shop in my town. If I was lucky, come Christmas I might find a rubber Cantina band member or Chewbacca under the tree.


3. When did you begin in the mask and prop design field?

I cut my teeth via books early on. As a young slasher fan, Tom Savini was a huge influence and his book, Grande Illusions (or Bizarro depending on when you bought your copy!) was my first real teacher. It gave readers a real peek behind the curtain helped reveal the magic in great detail. I treated it the way a baker would treat a recipe book and spent long days in a makeshift basement laboratory cooking up sculptures, rubber masks and monsters. Tom was such an inspiration that we even made a bronze bust of Savini in our Regal Icons series (available on RegalRobot.com)!

I also had a love for puppets and the Muppets in particular and I suppose my real first "gig" in the industry was an internship at Sesame Street. This was a dream come true and an experience that would shape my life to come.


4. Who is your favorite makeup artist or mask maker?

Rick Baker is my favorite of all time, however, I find inspiration in nearly every piece of work I’ve encountered and each artist behind those. My list of idols and influences that have inspired me is a long one! Off the top of my head- Jack Pierce, Stuart Freeborn, John Chambers, William Tuttle, Phil Leaky and Roy Ashton, Phil Tippett, Rob Bottin, Tom Savini… if I continued it’d be a never ending list of anyone who’s ever sculpted anything for a movie. I should also include Jim Henson. While he’s not a makeup artist, with films like Dark Crystal and Labyrinth, he pushed the boundaries of realistic creature work and inspired so many in my generation.

5. Do you prefer classic monsters or the slashers?

While I got my start with slashers it's the classics who have my heart. In particular I love the Frankenstein series from both Universal and Hammer. Son of Frankenstein is a particular favorite. Perhaps it’s because Young Frankenstein (which I absolutely love!) drew so much from that film? Hammer’s Revenge of Frankenstein is another. In the course of watching all of the hammer films over the years, Peter Cushing quickly became my favorite actor and his take on Baron Frankenstein in that film is top of my list.


6. When did you first start up your own business?

In the late 90s I found the Replica Prop Forum and connected with so many other prop and mask fans there and on the old Halloween Mask Association website as well. David Lady’s mask collecting guide from 1997 further showed me I wasn’t alone in the passion for replica monsters! At the time I was working in television on the technical side of things, but sculpting rubber monster masks on the side and the internet helped me find folks that wanted to bring those home.

It would be another few years before the business officially started in the early 2000s. I worked on the side creating masks and puppets but it was developing a skill for restoration that allowed me to leave my “day job” to work full time at Tom Spina Designs in 2006.


7. Tell us about your more well known clients and customers.

I think our "average customer" would surprise folks. Most people tend to think collectors of original movie props are generally fabulously wealthy. The vast majority of our collectors are regular people with a passion for films and props. While some people might have a second car that they tinker with or expensive season tickets to some sport, others love movies and monsters and want to collect what they see on screen.

That said we certainly have our share of stand out clients and I feel pretty honored to have created creatures for Lucasfilm, we’ve worked for the Disney Theme Parks, Universal and 20th Century Fox… but the real stand outs to me are times where we’ve restored priceless artifacts for the Skywalker Ranch archives and places like the Museum of the Moving Image where we helped preserve creatures from the Henson Archives.

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

Escape and surprise. “Real life’ gets pretty repetitive and boring. Immersing yourself into a bit of the fantastic really beats the drudgery.


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

I think it's a bit of an adrenaline junkie situation. Much like people who ride roller coasters, you're always on the lookout for the next thrill. Choose your poison… a big first drop on a ride or a wicked werewolf jumping out of the shadows!


10. What are some of your favorite horror books?

I lean towards the “making of” genre when it comes to books. I don't read a ton of horror stories, although I've picked up a few here and there. My shelves are filled with coffee table books about the universal monsters, vintage makeup/monster books like “Making a Monster,” making-of books about the Howling or American Werewolf, or collector books like the aforementioned David Lady mask guide and treasured memories of my dear departed friends, Bob and Kathy Burns, in the form of “It Came From Bob’s Basement” and “Monster Kid Memories.”


11. What are some of your favorite horror movies?

There's a difference between favorite and “best” films - while Bride of Frankenstein is certainly the best of Universal’s offerings, some of my favorites are later in the series. Son of, House of Frankenstein and even House of Dracula. They get silly, but I enjoy them so much. From Hammer, I love the first few in the Frankenstein series and, even though it’s missing Christopher Lee, Brides of Dracula is another favorite.


12. What are your current projects?

Our studio’s quite busy at the moment. We’ve just conserved a number of Michael Keaton Batman cowls from both ’89 and Batman Returns. We’re working on custom mannequins for a number of original film costumes and in the midst of a huge filming miniature restoration that I can’t share just yet. Folks can always check on our website to see what we’re able to share.

With my other business, Regal Robot, the crew’s currently working on about 100 life-sized Walrusman heads from Star Wars, complete with translucent tusks and hand-laid hair. Takes me right back to mask making days! They’re also busy making the last few Baby Yoda concept sculpture replicas in that run this week, as well as working on replicas of another Return of the Jedi alien concept maquette for release soon.


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

Oh gosh, let’s see… I’m fascinated by monsters and puppets and inspired by the work of all the talented artists out there! Our studio helps preserve original film props, creates sculpture of all kinds from wax-style figures to bronzes to monsters and aliens and even builds giant foam trade show props and characters. We also create extremely customized mannequins and displays for film props. Via our other business, Regal Robot, we have a license with Lucasfilm to create replicas from Star Wars and Indiana Jones and I like to think we create some of the most unique collectibles you’ll ever find! People can find us at TomSpinaDesigns.com and RegalRobot.com and follow @TomSpinaDesigns and @RegalRobot on social to see what we’ve been up to!

PREVIEW: Tribe (2026 Film) - Starring Dan Asma

By Jon Donnis

Tribe, directed by Dan Asma, arrives on UK digital 25 May via GrimmVision after a run on the festival circuit. It follows Devin Adams, a retired university lecturer played by Asma, who begins recording his own condition in November 2024 as it worsens. His symptoms include loss of motor functions, amnesia and a developing facial deformity that continues to change across his recordings.

Devin’s footage becomes the main structure of the film. While documenting his decline, he discovers old videotapes that shift the timeline back to August 2024. These tapes show him investigating the death of his friend Charlie, played by Keaton Asma, who was connected to the Church of Heaven’s Light and took his own life after visiting the Cuyamaca Mountains.

That investigation draws Devin back to the same location in search of answers. The Church of Heaven’s Light sits at the centre of what he uncovers, tied to Charlie’s death and the events around the mountains. What he finds there begins to point towards something beyond a straightforward explanation, involving belief systems, hidden activity and material that does not sit comfortably within anything concrete.

The found footage format keeps everything limited to Devin’s perspective, using his recordings and the recovered tapes as the only access point to events. The present day deterioration and the August investigation start to overlap, with each set of footage altering how the other is understood.

As the material continues, the story moves into psychological collapse and body horror, with Devin’s condition worsening alongside the investigation. The cult elements and references to something larger and more unsettling remain unresolved, keeping the focus on the fragments of evidence rather than any fixed explanation.

Apple TV - https://apple.co/4nEJ1Tn

PREVIEW: Shadows of Willow Cabin (2026 Film) - From actor turned writer-director Joe Fria

Preview by Jon Donnis

Buried traumas begin to take shape as something physical and inescapable in Shadows of Willow Cabin, a haunting new supernatural horror from actor turned writer-director Joe Fria, known for Guardians of the Galaxy: Vol. 2 and The Belko Experiment. The film blends romance with psychological horror, unfolding as a moody and intimate experience that plays out like a fevered descent into memory and fear.

Fria makes his feature debut with a confident fusion of tone and genre, drawing together emotional vulnerability and escalating unease. The result is a story that leans into both tenderness and dread, building a world where personal history refuses to stay buried and begins to reshape the present in unsettling ways.

Albert, played by Bryan Bellomo, and Devon, played by John Brodsky, retreat to a remote mountain cabin in search of space and connection. What begins as cautious desire slowly deepens into intimacy, until the environment around them starts to shift. The cabin itself becomes something far less passive, responding to what the couple have carried with them, and what they have tried to leave behind.

As the walls seem to whisper with voices thought to be silenced long ago, the pair find themselves trapped in a repeating, fractured sense of time. Ghosts emerge, reality bends, and repressed trauma begins to take form in ways that are no longer psychological alone. The cabin becomes a pressure point where identity, memory and fear collide.

Following its international premiere at Grimmfest 2025, Shadows of Willow Cabin arrives on UK digital 29 June, courtesy of GrimmVision

Apple TV https://apple.co/4dEdiPg

COMPETITION: Win Jitters on Blu-ray

Jitters Blu-ray is set for release on 18 May 2026 on Blu-ray

And to celebrate we have a copy  to give away!

Synopsis:

Long in the game Detective Collymore (Santino) thought he’d seen it all, a single father who is haunted by his own failings, he puts his all into his work. But when he’s called in to investigate what appears to be a routine case: the sudden, unexplained death of a young woman, that’s been officially ruled as “natural causes”, the detective soon finds himself faced with his strangest, most complicated case yet and is pulled deep into something truly sinister. 

The complex investigation takes him not only to the dark recesses of the internet, but to the depths of his inner soul, with all clues leading to a darkly disturbing video game… Jitters – an under the radar simulation, that’s being whispered about online. 

The only way he can survive and save his family, is to not only face the horrors coded into the system, but the darkness within himself. 

Starring Anto Sharp, Daniel Jordan, Fabrizio Santino and Jessica Impiazzi

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REVIEW: Kraken (2026 Film) - Directed by Pål Øie

By Jon Donnis

Pål Øie’s Kraken arrives with a premise that immediately feels full of potential. A remote Norwegian fjord, a scientific experiment gone wrong, and something ancient awakening beneath the water. It is a strong starting point, and for a good while the film makes effective use of that creeping sense of unease. The early scenes, focused on marine biologist Johanne and her work at a fish farm in Vangsnes, slowly build intrigue through strange incidents and subtle hints that something is not right. The story takes time to establish its setting before the chaos begins, and that approach works well. The fjord itself feels like a presence throughout, vast, mysterious, and impossible to fully understand. The cinematography also makes excellent use of Norway’s scenery. Sweeping shots of calm water and towering landscapes create a peaceful atmosphere that clearly cannot last.

The central concept, involving a sonic device created to tackle lice infestations in farmed salmon accidentally awakening a monstrous creature, is genuinely interesting. It mixes environmental concerns with classic creature feature elements in a way that feels fairly original. Once the Kraken starts to emerge, the film becomes far more engaging. Those sequences carry a real sense of scale and danger, suggesting something enormous lurking beneath the surface. The creature itself is essentially a gigantic octopus-like beast, and these moments are where the film feels most alive. There is a convincing sense that something ancient and powerful has been disturbed, and the attacks inject the film with much-needed energy.

Still, the weaknesses become more noticeable once the story moves beyond its strong setup. The film never fully overcomes the restrictions of its budget, and that becomes increasingly obvious as things progress. Some of the visual effects look uneven and occasionally artificial, which weakens the immersion. That is frustrating because the core idea deserves stronger visual execution. There is also the issue of the audience constantly feeling ahead of the characters. Too much is revealed too soon, leaving little room for tension or mystery to develop naturally. Rather than uncovering the truth alongside the characters, it often feels like simply waiting for them to catch up.

The character work is another area where the film falls short. Johanne works well enough as a lead on paper, but neither she nor the supporting cast are given enough depth to become fully compelling. Relationships feel thinly developed, and several major decisions lack emotional impact. A few noticeable plot holes also begin to creep in, particularly when characters behave in ways that seem designed to move the story forward rather than feel believable. It is disappointing because the cast themselves are clearly capable performers, they just are not given enough material to work with.

At under 90 minutes, the pacing remains fairly brisk and the film never becomes dull. Even when it stumbles, it stays watchable throughout. The strength of the central idea helps carry it along, alongside the occasional striking image of the fjord and the glimpses of the creature moving beneath the water.

Kraken feels like a film that should have landed more effectively than it ultimately does. The concept is strong, the setting is perfect for this kind of story, and the opening act pulls you in with ease. Unfortunately, the execution never quite lives up to the promise. It remains an entertaining enough creature feature, though one that leaves you thinking more about what it could have been with a little more refinement and polish.

I score Kraken 6 out of 10

Apple TV - https://apple.co/4ulJOKV

PREVIEW: WOKEN (2026 Film) - Starring Erin Kellyman

 

By Jon Donnis

Woken centres on a stripped back idea that quickly turns unsettling. A woman wakes up on a remote island with no memory of who she is or how she got there. She is heavily pregnant, surrounded by people who claim to know her, and expected to accept their version of events. From that starting point, the film builds a tense and uneasy situation rather than rushing into spectacle.

Erin Kellyman takes the lead as Anna, a role that leans heavily on confusion and instinct. Around her are figures who seem helpful on the surface, including her husband, played by Ivanno Jeremiah, and neighbours brought to life by Maxine Peake and Corrado Invernizzi. They attempt to fill in the gaps, but the more they explain, the less stable things feel. That tension sits at the centre of the film’s premise.

The wider situation is only revealed gradually. A pandemic has pushed humanity close to collapse, and the island setting suggests a form of separation from whatever remains beyond it. Even so, the real focus appears to stay close to Anna’s experience. Her uncertainty drives the story, especially as she begins to question whether the people around her are telling the truth.

Director Alan Friel keeps things contained, at least on paper. The setting, the limited group of characters, and the fractured perspective all point towards a film built on suspicion rather than scale. The presence of actors like Peter McDonald and Oscar Coleman adds to that sense of a closed circle, where everyone has a role but not necessarily a clear motive.

Set for a UK digital release on 25 May through 101 Films, Woken reads as a story that leans into paranoia and uncertainty. It keeps its ideas close, focusing on one character trying to piece together her reality while everything around her feels slightly off. That alone gives it a quiet tension that could carry through if handled carefully.

Apple TV - https://apple.co/3QELsZJ

PREVIEW: 13 Souls (2026 Film) - From award-winning writer-director Paulo Nascimento

By Jon Donnis

13 Souls arrives as a chilling new possession horror where trauma, faith and something far more sinister collide. From award-winning writer-director Paulo Nascimento, known for A Oeste do Fim do Mundo, this unsettling supernatural tale is set to reach digital platforms on 25 May 2026, released by Seven Tales.

The story reaches back to the 1970s, where 13 people died in a catastrophic apartment block fire. Their bodies were so badly burned that none could be identified, and they were laid to rest side by side in a New Jersey cemetery. What follows suggests that the past never truly stays buried.

Years later, 15-year-old Agne, played by Sienna Belle, is discovered wandering through her home while her mother’s body lies lifeless and decaying nearby. Her estranged father Ariel, played by Tim Shelburne, and her older sister Nina, played by Brielle Tucker, arrive to take her in after years of separation following Agne’s childhood abduction. As Agne tries to adjust to family life, strange and increasingly disturbing events begin to take hold inside the household.

The unease deepens when Ariel returns to his work as a cemetery caretaker. Agne becomes fixated on the burial ground and is drawn with an unexplainable pull towards 13 unmarked graves linked to the long ago fire. Something within her begins to shift, and it becomes clear she is no longer alone in her own mind. What starts as unsettling behaviour soon escalates into violent possession, with Agne turning against her family and targeting Nina in particular.

In desperation, Ariel seeks help from an unconventional priest who carries his own hidden connection to the fire that started it all. But with forces already tightening their grip on Agne, it remains uncertain whether faith can intervene, or whether her soul has already been claimed by something far darker.

13 Souls builds towards a grim question of salvation versus damnation, where buried trauma and supernatural terror become inseparable. It arrives on digital platforms on 25 May 2026 via Seven Tales.

Interview with M.T. Maliha - Writer/Director of The Vord

 

By Jon Donnis

We recently previewed The Vord, check that out at Preview: The Vord, and we wanted to find out more about who was behind the film, so we caught up with Writer/Director M.T. Maliha.

Can you take me back to the exact moment The Vord first clicked for you as a film, what was the idea or image that made it feel real?

Thanks for the opportunity to talk about The Vord.

I was brought up in a home on convent property where my parents work. Raised as a Catholic, but with heavy influences via my Sami and Norwegian background, the push-pull of divergent religious leanings sometimes created a not always pleasant confusion. So I had been toying with a short story related to that 'confusion', which became a novel in progress. There was a lot I wanted to say that only film could express. So off I went.

You handled writing, directing and producing. Was there a point during production where those roles pulled you in different directions, and how did you deal with that in the moment?

I think that any position in film making can be that way. But yes, having to juggle all three was sometimes very hard. But it pushed me harder to say what I felt needed to be said. I was and remain to this day, immensely grateful to the cast and crew who understood I was open to digging through any chaos or challenges as a team. Our AD, Priscilla, was a blessing! She kept the wheels on every day, all day.

Independent film making often means working with limits. Was there a specific constraint on this film that actually pushed you to make a better creative decision?

Originally I had hoped to film in Norway, but it quickly became apparent that the logistics and schedules weren't going to get it done. So I made the decision to film here in The Catskill Mountains of NY State, where the physical landscape was conducive to creating scenes I wouldn't, and couldn't, budge on, such as the rocky ledges and river side. Creatively speaking, some locations I had envisioned needed to be reworked, but as you know, if we can't be nimble, nothing works.

 

The film draws on mythological elements. Was there one piece of research or a detail you came across that directly shaped a scene or character?

I loved stories my Norwegian/Sami family told me about mythology and the beginning of what is now known as The Asatru. While The Asatru was never a true religion, but has since been adapted as such, the fundamental ideologies of it were woven into the modern version of my ancestor's ways of life. So I set out to give a clear vision of what became corrupted ideas. I'm a huge research person. I wanted to make certain I wasn't further corrupting the way of life my ancestor's lived, by giving anything a false voice.

When you were developing the central character, was there a moment during filming where that character shifted from what you originally wrote?

Yes! Due to a cast member's illness, an unfortunate situation with a cast member that needed immediate attention, and a departure I was forced to insist on, I changed out roles and shifted emphasis on the first and third day of filming. I feel fortunate that the cast and crew were as prepared as they were, and were there to re-write lines and rework an entire scene. True partners. And Lydia Manson, who had the roll of Mother - Killed it! I won't give one particular scene away, but let's say the woman risked her health despite my desperate attempts to drag her back to the narrative for her safety. She is an incredible person and actor.

 

What was the toughest day on set, the one where things were close to falling apart, and what did you do to get through it?

Every day felt like it went haywire for the first week. I quickly recognized who I could count on. The weather changed from hot sun to snow with high winds, in a blink. I refused to give up or given in, and held tight to the idea that a team could do anything if they wanted it badly enough. And we did.

Having worked as a producer on The Forest Hills, did you find yourself thinking differently about time, budget or compromises when you were the one directing?

Absolutely. It's one thing to have an idea for a film when it's your own, and quite another to know when to speak up and when to stay silent. I confess I have a bad filter. I loved the freedom of making decisions within my film, and ignored any portion of my thoughts that whispered 'you'll fail.' Failure was not an option. I think it was contagious. Again, because we were a team, the cast, crew and I.

 

When you look at a finished scene in The Vord, how do you know it is working. Is there a specific feeling or detail you look for before you move on?

I cried during one scene. It was exactly what I had envisioned. My AD teared up. My actor, who played The Shadow/Ivar, Steve Wallenda of The Flying Wallenda family fame, later told me he was so invested in the character, and the scene I am referring to deeply effected him. The character stayed with him for a very long time after we wrapped. The scene had to be real to me. Even if no one else ever understood it. I never set out to create the film for easy consumption. I wanted it to be hard to understand at times, to reflect the chaos of a dual life led. He killed it.

 

Was there a decision you made during the film that you were unsure about at the time, but in hindsight turned out to be the right call?

Honestly, I went with the flow. I went on faith that all things would work out in the end, even if it meant extra post work. I do not like to rely on that! But we all know that's a fact of film making. Someone once told me- There is the film you write, the one you shoot, and the one you end up. That's been very true for The Vord.

 

Now that the film is finished, is there anything you would approach differently if you were starting The Vord again today?

Yes. I'd block scenes a whole lot better. I would have insisted that the film not be portrayed as true blood and guts horror that is filled with jump scares. It isn't. The horror comes from the confusion of will, of faith and trust or lack of same, and the psychological horror of being shown that what we do in life, does carry on with us in an ever-after. Sometimes, with great pain and terror. I think hardcore horror fans expected something like a Nordic slasher ripping and cutting his way through life and death. Literally, no. Figuratively, yes, he did. To me, that is the truest horror of all. Confusion. Doubt. Ghosts of our past chasing us down until we no longer know which is fact or illusion. And the duality of who we all are at our core, we faced it down within The Vord.

As a postscript, I have written the prequel/sequel to The Vord titled The Malus: The Book of Ivar. It has cleared up questions some had about The Vord's direction and scenes. We are currently in pre-production for its adaptation. So stay tuned. Thanks again!

On UK digital 4 May from Miracle Media