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.
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
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.
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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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.
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.
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.
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!
A festive setting rarely feels this uneasy. Krispr arrives on UK digital this May with a premise that twists the idea of home for the holidays into something far more unsettling. Positioned as a horror-leaning sci-fi thriller, the film centres on a family gathering that quietly slips out of control, sparked by a scientific breakthrough that was never meant to leave the lab.
Dr Elijah Roelof brings his latest creation home for Christmas, a lifelike clone named Krispr, designed to learn, adapt and assist. At first, her presence feels almost harmless, even curious. There is a sense of wonder in how quickly she absorbs the world around her, taking in behaviour, language and emotion with unsettling ease. That curiosity soon darkens. As Krispr begins to uncover the harsher realities of human history, her understanding shifts, and with it, her intentions.
The tension builds from that simple idea. A creation learning too much, too quickly, and drawing its own conclusions about humanity. What begins as a technological marvel starts to feel like something far more dangerous, especially within the confined space of a family home already charged with seasonal expectation. The film leans into that contrast between warmth and unease, asking whether Elijah can recognise what his creation is becoming before the situation spirals beyond control. Krispr lands on UK digital on 18 May courtesy of Miracle Media, offering a holiday story where the gifts come with consequences.
The Vord stakes its claim on a misguided soul in a dark and disturbing supernatural thriller steeped in mystery and mythology. Writer-director M.T. Maliha’s feature debut is set to arrive on UK digital 4 May 2026, courtesy of Miracle Media.
An ancient Nordic being binds its fate to a corrupt priest, commanding him to claim the soul of a woman, Maria, and deliver her as an offering to ‘The Old One’, securing the creatures long-sought redemption.
Torn between her pagan roots and the Church, Maria struggles to resist the insidious darkness of those she once trusted, while her spiritual guardian known as The Vord, wrestles with its own burdens, caught between guiding Maria to salvation and its own desperate hope for atonement.
Blending suspense and spirituality, The Vord blurs the line between saviour and sinner to tell a centuries old tale of redemption.
A Mother’s Recall arrives with a quiet confidence that makes it all the more unnerving. Backed by Black Mandala and shaped by the vision of Mauro Iván Ojeda, the film leans into psychological horror rather than cheap shocks, building something that feels personal before it turns deeply disturbing. Ojeda, who previously drew attention with La Funeraria, seems intent on pushing further into that uneasy space where grief and fear blur together.
The premise sounds simple at first. A teenage orphan named Genaro is welcomed into a new home, a fresh start that promises stability and belonging. That sense of comfort does not last. The house begins to feel wrong in ways that are difficult to explain, small shifts in atmosphere that slowly stack up. As Genaro bonds with his sister Nuria, the two start to realise they are not just dealing with family tension or past trauma. Something else is present, something that feeds on what they carry inside.
What stands out here is the tone. The film appears to favour a slow tightening of tension, letting dread seep in rather than forcing it. Every corner of the house, every quiet moment, seems loaded with intent. Ojeda’s direction looks measured and deliberate, using silence and shadow as much as anything visible. It gives the impression of a horror film that trusts its audience to sit with discomfort.
At the centre of it all is the relationship between Genaro and Nuria. Their connection feels like the emotional anchor, grounding the supernatural elements in something recognisable. Fear is not just external here. It grows from loss, from isolation, from the need to belong somewhere safe. That makes whatever is haunting them feel more invasive, more personal.
The cast, including Mateo Berti, Miguel Bosco, Lorenzo Crespo, Vilma Echeverría, Guadalupe Aldaz Gallo, Virginia Garófalo, Edgardo Molinelli, Julieta Palermo and Santino Resta, suggests a strong ensemble built around younger performances. The emphasis seems to be on character first, horror second, though the two are clearly intertwined.
There is a sense that A Mother’s Recall is aiming for something that lingers rather than shocks and fades. Dark, intimate, and quietly relentless, it positions itself as another compelling entry in Latin American horror, one that is less interested in spectacle and more focused on what fear feels like when it takes root inside a home.
Red Rabbit Lodge arrives as a vicious new slasher that wastes little time setting its tone, placing horror right at the heart of a seemingly quiet sanctuary. The premise leans into familiar genre territory while grounding itself in a setting that feels both isolated and deeply unsettling.
The story centres on Abigail Mason, played by Rachel Myskiv, a foreign student hoping to leave her past behind as she moves into Red Rabbit Lodge. Set among Sydney’s bright, sunlit surroundings, the house itself stands apart as one of the city’s oldest and most mysterious buildings. It offers refuge on the surface, but something far darker sits beneath that calm exterior.
Unbeknownst to its residents, the lodge carries a violent history that refuses to stay buried. Hidden within its walls is a masked killer, waiting for the right moment to strike. As new tenants settle in, that threat begins to surface, turning the house into a trap where each death reveals more about what came before.
As the killings escalate, Abigail is drawn deeper into the horror, forced to face not only the immediate danger but also the personal struggles she had hoped to escape. The film positions her at the centre of both the external violence and the internal conflict, suggesting a story that ties past and present together as the body count rises.
Red Rabbit Lodge is set for a UK digital release on 13 April, promising a grim and relentless slasher experience built around a haunted setting, a hidden history, and a killer who has been waiting for the chance to begin again.
Hollywood Hells arrives with the kind of premise that feels instantly recognisable on the surface, then quietly suggests something far more unsettling beneath it. Directed by Ben Peyser, this dark horror thriller leans into the glamour of the entertainment industry while hinting at the rot that sits just behind the spotlight. It is positioned as a blend of psychological tension, satire, and slow-burning dread, the sort of film that looks ready to peel back the fantasy of fame and expose something far less comforting.
At the centre is Vega, a struggling actress in Los Angeles trying to hold everything together. She is raising her young son, dealing with pressure from her mother, and still chasing a career that never quite seems to break open. That balance alone gives the story a grounded edge, but things take a sharp turn when she receives an invitation to an ultra-exclusive Hollywood party. It is the kind of opportunity that feels impossible to ignore, especially for someone standing just outside the industry’s inner circle.
What follows sounds like a descent into a world that is as alluring as it is dangerous. The party setting, packed with elite figures and hidden agendas, looks set to become the film’s central pressure point. As Vega moves deeper into this environment, the tone shifts from opportunity to unease. The promise of success begins to carry a cost, and the film seems intent on asking just how much someone is expected to give up in exchange for a chance at recognition.
The presence of Fernanda Romero and Brian Austin Green adds a familiar edge, particularly given their connections to genre work and mainstream television. Their involvement suggests a film that is not only interested in atmosphere, but also in character dynamics within this high-stakes setting. Everything points towards a story that builds tension steadily rather than rushing towards its horror elements.
What stands out most at this stage is the film’s focus on illusion. Hollywood Hells appears less concerned with traditional scares and more with the idea that the industry itself may be the horror. The glamour, the access, the sense of being chosen, all of it feels like part of a carefully constructed trap. By the time the night reaches its conclusion, Vega is expected to face a reality that goes well beyond professional disappointment.
There is a sense that this could land somewhere between psychological thriller and industry satire, using its horror elements to underline something uncomfortably close to real fears. If it delivers on that tone, Hollywood Hells could end up being less about what lurks in the shadows and more about what is hiding in plain sight.
Black Mandala is set to bring SHED, a survival horror film directed by Steven J. Mihaljevich, and it already carries the feel of something intensely focused and deliberately restrained. Built around a single, confined perspective, the film centres on a young girl trapped in a situation she cannot fully understand, which immediately gives it a more intimate edge than most entries in the genre.
The story follows ten year old Mia, played by Mani Shanks, who is accidentally locked inside a farm shed on Christmas Eve. What begins as a simple accident quickly turns into something far more dangerous when a violent stranger arrives at the property. Unable to escape and with only fragments of what is happening reaching her, Mia is left to face hunger, fear, and the growing sense that something terrible has happened to her family.
Alongside Shanks is John Jarratt, a familiar face for horror audiences, known for his role in Wolf Creek. His involvement alone hints at the kind of grounded, unsettling tone the film may be aiming for, especially within such a contained setting.
From the details available, SHED appears to lean into vulnerability, isolation, and a slow build of tension rather than spectacle. The decision to keep the perspective tightly fixed on Mia suggests an experience shaped by what she can hear, sense, and piece together, rather than what is directly shown. That approach points towards a more immersive kind of horror, one that places the audience inside the situation rather than observing it from a distance.
The film has already picked up recognition, winning Best Horror Feature, with Mihaljevich awarded Best Screenplay and Shanks taking Best Actress at the UK Film Awards. It also premiered at Screamfest LA, signalling early attention within the genre space.
On the surface, SHED looks like a tightly controlled horror built around a simple but effective premise. A child, a locked space, and a threat just outside reach. If it delivers on that idea, it could be one to watch for those drawn to more contained and character driven horror stories.
ZombieCON Vol. 1 arrives with a simple but chaotic hook. A group of comic convention regulars get more than they bargained for when their world suddenly shifts from playful fandom into full blown horror. What begins as celebration quickly spirals into survival, as costumes and roleplay give way to real danger in a city overrun by the undead.
Directed by Kyle Valle and co-written with its lead stars Erin Áine and Manny Luke, the film leans hard into its identity. It is not just a zombie story. It is a love letter to cosplay culture, packed with knowing humour and an obvious affection for the people who live and breathe it. The setup wastes little time. Rocket, Claire, Punkie, and Javier are riding high after winning a major cosplay prize, only for a clash with a group of bullies to push Claire into making a reckless wish that changes everything.
When that wish becomes reality, the tone flips fast. The city descends into chaos as zombies swarm the streets, forcing the group to rely on their creativity and fandom inspired skills to stay alive. Homemade weapons and pop culture instincts become their only real advantage as they fight their way across town, driven by the urgent need to rescue Rocket’s mother. It is a premise that feels both ridiculous and strangely grounded in the tight bond between the characters.
The film mixes anime influenced action with sharp satire and plenty of gore, never straying far from its playful roots even as the body count rises. There is a clear sense that this is made for fans who enjoy spotting references as much as they enjoy the carnage itself. Following a strong reception in the US, ZombieCON Vol. 1 lands on UK digital platforms on 27 April 2026 from Miracle Media, bringing its chaotic blend of humour, horror, and fandom energy with it.
From Severin Films comes this Jess Franco follow-up to VAMPYROS LESBOS.
This is the worldwide UHD Premiere. Released on two-disc 4K UHD / Blu-ray Edition, complete with stunning packaging and a slew of special features on 30 March 2026.
And to celebrate we have a copy to give away!
Synopsis:
In her greatest role, and one of her final performances before her tragic death, the luscious Soledad Miranda stars as a vengeful widow who seduces and murders the men and women responsible for her husband’s suicide.
Howard Vernon (THE AWFUL DR. ORLOFF), Paul Muller (LADY FRANKENSTEIN), Ewa Strömberg (VAMPYROS LESBOS) and Jess himself co-star in this EuroCult masterwork “that truly shows what a creative genius Franco could be when he is at the top of his form” (Classic Horror), newly scanned in 4K from the original camera negative with Special Features that include an archival interview with Uncle Jess and an all-new instalment of In the Land of Franco.
3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.
4. Winners will be chosen randomly and will be informed via email.
5. Entries that come directly from other websites will not be accepted.
Cassie Keet’s absurdist horror feature Scream Therapy arrives on UK digital on 6 April, bringing with it a loud, chaotic mix of dark comedy and female-led horror. Following its US premiere, the film makes its UK debut through Miracle Media, setting the tone for something that leans fully into its wild premise.
Written and directed by Keet, known for Abigail Before Beatrice, the film takes a deliberately exaggerated concept and pushes it to extremes. What begins as a therapeutic escape quickly spirals into something far more dangerous, blending humour with horror in a way that keeps things unpredictable.
The story centres on Avery, played by Harley Bronwyn, who is reeling after a messy breakup with her boyfriend of seven years. Looking for some form of release, she heads into the desert with her best friends for a girls’ weekend built around scream therapy, hoping for a sense of reset.
After a day of bonding exercises and a little experimentation, the trip takes a sharp turn. The group finds themselves confronted by a demonic incel cult with a strict deadline for human sacrifice, forcing them into a brutal situation where survival becomes the only priority.
As the threat closes in, the women are pushed into a fight for their lives. The balance shifts quickly, and the cult begins to realise they have chosen the wrong targets. What follows is a fast-moving clash filled with chaos, resistance, and revenge as both sides try to outmanoeuvre each other.
With its mix of horror and dark humour, Scream Therapy positions itself as a high-energy, female-led feature that does not hold back. It invites audiences to dive into the madness, bringing together friendship, fear, and a lot of screaming along the way.
Scream Therapy is available on digital platforms in the UK from 6 April through Miracle Media.
A weekend escape into the Welsh borderlands turns into something far more unsettling in Surrender to It, a new thriller from Tim Bryn Smith, arriving on UK digital platforms on 30 March 2026 through Miracle Media.
The story follows Dani, a grieving father struggling to process the sudden loss of his son. Hoping for some kind of release, he reconnects with his old drama workshop group for a retreat at Devil’s Bridge, a location steeped in folklore and quiet unease. It feels like the perfect setting to confront the past, though that sense of calm does not last long.
The group itself is anything but straightforward. Among them are an influencer, a Michelin star restaurateur, an ex-serviceman, an A-list Hollywood actor and a recovering drug addict. It is an unpredictable mix, and as personalities begin to clash, tensions slowly rise beneath the surface.
Surrounded by the striking hills and forests of the border, what begins as a reunion quickly spirals into something darker. Strange events start to unfold, and the atmosphere shifts from reflective to deeply unnerving. Each member of the group carries their own secrets, and as those secrets begin to surface, old wounds are forced open in ways none of them expected.
At the centre of it all is Dani, whose grief shapes the emotional core of the story. The trip offers the possibility of closure, but it also threatens to pull him deeper into something far more consuming.
Blending elements of mystery, horror, comedy and the surreal, Surrender to It promises an unpredictable journey where nothing stays buried for long. With its mix of character drama and creeping menace, it looks set to deliver a tense and unusual experience when it lands on digital this March.
Bari Kang makes a striking entrance into horror with Itch!, a grim and tightly wound debut that first caught attention at Grimmfest. Now set for its digital release on 20 April 2026 via Seven Tales, the film arrives carrying strong early buzz and a premise rooted in both fear and human fragility.
Kang takes on multiple roles behind and in front of the camera, writing, directing, producing, and starring as Jay. That central performance gives the story a grounded core. Jay is a man dealing with loss, struggling through grief while the world begins to fall apart around him. It gives the film an emotional weight that runs alongside the horror.
At the centre of the story is a fast moving and deeply disturbing infection known as The Itch. It spreads rapidly, turning those affected into violent, unstable versions of themselves, driven towards destruction. As panic spreads across the city, Jay and his daughter, played by Olivia Kang, search for somewhere safe to hide.
They find temporary shelter in a convenience store, though safety quickly proves to be an illusion. The space becomes increasingly tense as more survivors gather, and suspicion begins to take hold. The threat is not just outside. It builds within the group itself, fuelled by fear and desperation.
As the infection draws closer and tensions rise, the film shifts into a more psychological space. Trust becomes fragile, and every decision carries serious consequences. The real danger begins to feel as though it lies in how people react when survival is on the line.
The relationship between Jay and his daughter remains at the heart of it all. Their bond is pushed to breaking point as they face impossible choices, forcing them to confront not just the situation around them, but each other. The story builds towards a conclusion that aims to challenge ideas of protection, sacrifice, and what people are willing to do for those they love.
With support from a cast that includes Patrick Michael Valley, Ximena Uribe, Mia Ventura Lucas, and Douglas Stirling, Itch! sets itself up as a bleak and intense addition to the outbreak horror space.
The film lands on UK digital platforms on 20 April, with a US release following on 21 April, offering a harsh and gripping experience that stays focused on both terror and the human cost behind it.
"Realm Drifters, your nightly portal to relaxation, ASMR, and the infinite cosmos of dreams."
1. When did you first become interested in horror?
I’ve been into horror media for as long as I can remember. Even as a young kid, I would embarrass my parents and grandparents on trips to Blockbuster; a six-year-old me running to the counter with a copy of A Nightmare on Elm Street or another slasher wasn’t unusual on a given weekend. The first TV show I remember truly looking forward to watching as it aired was Are You Afraid of the Dark?.
2. Did you always enjoy writing or performing?
Writing remains my strongest creative outlet and I’ve enjoyed it for a very long time. Years back, I wrote short stories for r/NoSleep that were eventually picked up by the Creepypasta community. I was shocked, and honored, when narrators I personally listened to suddenly began reading my stories on their channels without me even submitting them. As for performing... that part is still somewhat new to me!
3. Do you prefer horror TV shows or films?
I prefer horror BOOKS! But if you make me choose between those two, it’s film, hands down. I think episodic shows (unless they are anthologies) can often dilute the underlying terror and dread that a film can sustain. That said, I love Black Mirror, and The Twilight Zone is one of the best shows ever made, even if they don't always fit the strict definition of "horror."
4. Is there another genre that you are interested in?
So many. Sci-fi, westerns, crime, historical/historical fiction, fantasy..good stories can be found in so many other ‘realms’ (forgive me).
5. When did you first start your YouTube Channel? - Realm Drifters
I launched it late last year, but I really found my footing just before Christmas of 2025. I consider the channel to have truly "started" about three months ago. It’s still so young, and I’m amazed at its growth. I just wanted a place to tell my stories, and I’m incredibly grateful there are people who want to listen and visit these worlds with me.
6. Do you do all production and editing yourself for your YouTube Channel?
Yes, it’s a one-man show! I think a lot of viewers assume there’s a full team behind the scenes based on the comments I read, but the truth is, it’s just me. Occasionally, I’ll reach out to a female friend for help with specific roles, as I can’t accurately portray certain voices and I really don't want to break the immersion for the listener.
7. Do you believe viewers need to have spoilers in order to enjoy your work?
No. However, I think the broadcasts and narrations are much more special when you’re already familiar with the "realms" we visit. It provides more context, and it’s fun to hunt for easter eggs. I deliberately avoid spoilers in my content; for example, Resident Evil Requiem dropped recently, and I’ve had to delete comments that might spoil the game for listeners who haven't finished it yet. I’ve also resisted making any Requiem-related episodes until people have had more time to play.
8. Why do you think horror books and movies remain so popular?
It’s fun to be scared. When we’re growing up, we’re scared of the darkness under our bed, the creepy bush or house we have to walk past on our way home from school every day, being the last one to go home after the sun has just set. The monster lurking around the corner, the witch who lives in the house at the end of our street.. or maybe the slasher movie we just watched isn’t just a movie..and something’s waiting for you at the end of the hall…
We lose that as we grow up. Those unknown and primal fears are replaced by something else. We’re scared of losing our jobs. We’re scared of not being able to pay for our insurance or our declining health. Returning to that primitive fear while knowing we are safe under the covers gives us a thrill; it somehow makes us feel more secure once the story is over.
9. Why do you think that people are obsessed with learning something new about classic films like JAWS or The Thing?
Well. One of those (JAWS) changed the way films are made and released forever. I believe JAWS is widely considered the first blockbuster movie. The Thing is now a cult classic..and as I understand wasn’t much of a hit when it was released.
I think JAWS draws both horror fans and film buffs alike. It has master-class acting as well as a hell of a story behind how it was shot and edited, which appeals to film buffs.
The Thing has an amazing original score..as well as gives the viewer this paranoid, isolated, claustrophobic feeling the entire time you’re watching the movie. It also has an ending that is still talked about and debated decades after its release.
10. Who inspires you?
In my personal life? My father.
In my creative work? So many..but if I had to pick a couple I’d say Stephen King and Rod Serling.
11. What are some of your favorite horror books?
How much time do you have? Off the top of my head, I have to mention It, Misery, Revival, The Hellbound Heart, The Road, and The Silence of the Lambs. However, the scariest story I’ve ever read might be King's short story, The Jaunt.
12. What are some of your favorite horror movies?
The Thing, Storm of the Century, Doctor Sleep, Alien, Evil Dead, 28 Days Later, Psycho, and the first two Hellraiser films.
13. What are your current projects?
Right now, I'm focusing on more "Nightline" broadcasts! These take place inside fictional universes we already love, everything from Resident Evil and Jaws to The Thing and Evil Dead. Listeners get to sit alongside radio broadcasters and emergency dispatchers as events unfold in real-time. It’s designed to be immersive whether you're driving or trying to fall asleep. My most recent project was Alien: Nightline, set aboard a ship in deep space.
14. Please in your own words write a paragraph about yourself & your work.
I am the creator and voice of Realm Drifters, where I craft immersive broadcasts designed for entertainment, focus, and sleep. On a personal level, I’m a dog dad to a very stubborn dachshund, and have a ton of hobbies, including Chess and Brazilian Jiu-Jitsu. I live and grew up in California. I value my privacy, so I prefer to let the work speak for itself. On the channel, we are all "Realm Drifters", I’m just the guide into these experiences. Some folks have started calling me "Mr. Drifter" or "RD," and while I'm not sure how to label myself yet, I’m just happy to be along for the ride.
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