PREVIEW: SHED (2026 Film) - Directed by Steven J. Mihaljevich

Preview by Jon Donnis

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.

Coming Soon

PREVIEW: ZombieCON Vol. 1 (2026 Film) - Stars Erin Áine and Manny Luke

 

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.

Apple TV - https://apple.co/41DeU4o

COMPETITION: Win She Killed in Ecstasy on 4K Ultra HD and Blu-ray

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.

Pre-Order from https://amzn.to/4s0u1jg

Enter now for a chance to win.

Who directs She Killed in Ecstasy?

Send your name, address and of course the answer to competition365@outlook.com

Quick Terms and conditions - For full T&C click here

1. Closing date 13-04-26

2. No alternative prize is available

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.

PREVIEW: Scream Therapy (2026 Film) - From Writer-director Cassie Keet

 

Preview By Jon Donnis

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.

PREVIEW: Surrender to It (2026 Film) - Starring Daemian Greaves

 

By Jon Donnis

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.

On digital 30 March from Miracle Media 

Apple TV - https://apple.co/3NraRFa

PREVIEW: Itch! (2026 Film) - Starring Bari Kang

 

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.

Interview with "Realm Drifters" By David Kempf

"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.

Check Out Realm Drifters on Youtube at

https://www.youtube.com/channel/UC8fBHdfXYzHDfLozB7T3irg
And join their Patreon at

https://www.patreon.com/cw/RealmDrifters

NEWS: Ghosts Heads to the Big Screen with a Halloween Release

 

By Jon Donnis

Lionsgate UK has announced that Ghosts: The Possession of Button House will be released in cinemas across the UK and Ireland on Friday 23 October 2026. Just in time for Halloween half term, the feature brings the beloved BBC comedy to the big screen for the first time.

Plot details are being kept secret while filming continues at West Horsley Place and other locations in the South East of England. Fans will have to wait to see how Button House and its quirky residents make the leap from television to cinema.

The film will be released in the UK and Ireland by Lionsgate, with global sales managed by BBC Studios. BBC Film presents it in association with BBC Studios as a Monumental Production, keeping the creative team behind the series firmly involved.

Marie-Claire Benson of Lionsgate UK described the film as a chance for families to enjoy a shared Halloween experience, capturing the humour and charm of the series on a larger scale. Producers Alison Owen, Debra Hayward and Alison Carpenter said they are thrilled to bring Ghosts to audiences in a new format, calling it an unmissable continuation of the story.

Directed by Simon Hynd, the cast includes Mathew Baynton, Simon Farnaby, Martha Howe-Douglas, Jim Howick, Laurence Rickard, Ben Willbond, Lolly Adefope, Charlotte Ritchie and Kiell Smith-Bynoe, reuniting the ensemble that made the show a success.

BIO: Laura Ellen Wilson - British Actress and Horror Genre Specialist

Laura Ellen Wilson is a British actress and martial artist whose career has grown largely within independent horror film. Born and raised in Chorley, Lancashire, she spent her early years as an only child before her parents became foster carers when she was sixteen.

Growing up in an active household, she trained in Kung Fu with her father and enjoyed outdoor activities such as weekend hikes. From a young age, Wilson showed a flair for performance, often putting on solo shows for her parents, and by thirteen she began taking acting classes and performing in school productions. Studying Musical Theatre at college further cemented her ambition, surrounding her with like-minded peers and confirming that acting was the path she wanted to pursue.

After college, Wilson worked internationally as a singer and dancer in hotels and on cruise ships, balancing these performances with small student film roles. In 2016, an injury forced her to retire from performing on stage, leading her to focus entirely on acting. The following year she landed her first lead role in the book-to-screen adaptation Monster, a pivotal moment that solidified her commitment to an on-screen career and introduced her to international audiences through horror film festivals.

Wilson has largely specialised in the horror genre, drawn to its collaborative nature and the chance to explore intense emotions and complex characters. She enjoys the combination of costumes, makeup, special effects and dramatic storytelling, which allow her to fully inhabit her roles. Among her notable performances are Friday the 13th: Vengeance, Chained, Monster, A Coven of Evil, and Introspectum Motel. Monster remains a standout experience as her first lead role and first feature film, while playing Trinity in Friday the 13th: Vengeance marked her first American project, working alongside original franchise alumni.

Her work in independent horror has been defined by close-knit collaboration, often living with cast and crew during shoots and forming quick, familial bonds. Long, late-night filming schedules are typical, and Wilson thrives in the inclusive, hands-on environment that independent productions offer.

Wilson’s upcoming projects demonstrate her range, including Clown Motel 3, where she plays the military character Sergeant Gunny; Skate to Hell, her first horror-comedy role alongside Eric Roberts; and The Black Sheep, her first antagonist role as the character Elizabeth. She is also cast in Campout Nightmare, portraying a survivor who guides younger characters, reflecting her ongoing interest in slasher and survival stories.

Wilson is drawn to narratives that challenge audiences and keep them thinking long after the film ends. While she is open to many types of characters, she particularly enjoys roles such as first kills or final girls. Looking forward, she aims to continue her work in the United States and hopes to transition into television within the next few years, aspiring to guest or recurring roles in series in the zombie, apocalypse or survival genres.

With a foundation in performance, martial arts, and independent horror filmmaking, Laura Ellen Wilson continues to expand her career while exploring challenging and memorable roles.

PREVIEW: Bad Voodoo (2026 Film) - Grief, Vengeance and Dark Spirits Collide

Horror built around grief often hits a different nerve, and Bad Voodoo leans directly into that uneasy territory. Directed by Andrew Adler and Andre Hepburn, the supernatural revenge story blends folklore, faith and psychological terror into a nightmarish home invasion where the criminals quickly realise they have chosen the worst possible place to hide.

The film stars Cristina Moody, known for Future Justice, alongside Justin Genna of Law and Order: Special Victims Unit, Manny Pérez from Pride and Glory, and John Fiore, familiar to many viewers from The Sopranos. After first arriving in the United States, the film is set to reach audiences in the United Kingdom on digital platforms from 16 March 2026 through Miracle Media.

At the centre of the story is a desperate group of four convicts who escape prison and break into what they believe will be a safe refuge. Instead, the house they choose carries a dark and deeply personal history. Years earlier, the home belonged to Abigail and John, a couple whose lives were shattered when their two daughters died in a horrific car crash. The tragedy left wounds that never healed.

Consumed by grief and a desire for vengeance, the couple turned to forbidden forces in an attempt to punish those they believed responsible for the accident. Their actions summoned powers that refuse to remain buried. Now those forces linger within the walls of the house.

When the escaped prisoners force their way inside, they stumble into something far more dangerous than the law. Voodoo spirits haunt the property, and Abigail’s hunger for revenge has taken on a life of its own. What begins as a desperate attempt to lie low soon turns into a terrifying fight to survive.

The criminals find themselves trapped in a supernatural snare where guilt and blood seem to feed the curse surrounding them. As the night unfolds and the truth behind the long ago car crash begins to surface, the men realise that escape may no longer be possible. Their struggle is no longer just about avoiding capture. It is about whether they will leave the house with their souls intact.

Bad Voodoo mixes elements of psychological horror with the deeply human pain of loss. The story explores how grief can twist a sense of justice into something far darker, suggesting that the most frightening forces are not always the spirits themselves, but the emotions that summon them.

Bad Voodoo arrives on UK digital platforms on 16 March 2026 from Miracle Media.

Apple TV - https://apple.co/3NzbQmz

REVIEW: Dust Bunny (2025 Film) - Starring Mads Mikkelsen, Sophie Sloan, Sheila Atim, David Dastmalchian, and Sigourney Weaver

 

Bryan Fuller’s Dust Bunny arrives as something of an oddity, though in a good way. It is a fantasy action film that feels unlike most current studio releases and carries a strong sense of personal vision for a debut feature. Fuller relies more on atmosphere, fairytale logic and emotional instinct than on neat explanations. That choice gives the film a strange, lingering quality that keeps it engaging even when parts of the story falter.

The film follows Resident 5B, a worn down hit man played by Mads Mikkelsen, who is approached by eight year old Aurora after her family is brutally murdered. Aurora, played by Sophie Sloan, believes a monster under her bed was responsible. In her mind it was a literal bunny made of dust. The assassin suspects a far more human and dangerous explanation. The story that unfolds blends elements of an assassin thriller with childhood fantasy and horror. Much of the action takes place inside a New York apartment building that somehow feels both ordinary and quietly cursed.

Visually the film is often impressive. Fuller shows a confident sense of style, making strong use of colour, shadow and unusual imagery. An early sequence in Chinatown, where armed gang members hide beneath a dragon costume, immediately sets the tone and hints at the film’s strange blend of the fantastical and the grounded. Fuller allows scenes to breathe and is comfortable letting silence carry emotional weight. The film often trusts viewers to follow the feeling of a moment, even if the narrative logic occasionally slips.

Mads Mikkelsen delivers a strong performance. He brings his familiar physical presence and quiet threat, yet also reveals an unexpected softness. The way he moves between sudden violence and a calm, protective bond with Aurora becomes the emotional centre of the film. Sophie Sloan holds her own remarkably well, balancing fear, determination and an unsettling sense of certainty. Their connection gives the story its warmth. Sigourney Weaver also makes an impression as Laverne, adding an edge that strengthens the film’s darker elements.

The film does run into problems with pacing. Despite a running time of roughly one hundred minutes, the middle section begins to feel stretched as the story circles similar ideas. The shift towards larger scale action and mythic horror works in concept, though not every moment lands as intended. Some of the computer generated effects, particularly those involving the creature itself, are uneven and occasionally pull the viewer out of the experience.

The horror side of the story is also more intense than the premise might suggest. A few scenes are unexpectedly brutal, which places the film firmly outside the range of younger viewers despite its child centred perspective and fairytale tone. For some audiences this clash of innocence and violence will be intriguing, while others may find it jarring.

Even so, the ending is where the film truly finds its strength. Fuller closes the story on a note of hope rather than dread, suggesting that compassion and care are the only real protection against the monsters people create or inherit.

Dust Bunny is not without flaws. It begins strongly, slows during the middle, and finishes with confidence. What it offers above all is originality. This is a distinctive piece of fantasy horror supported by strong performances and a clear emotional core. For older teenagers and adults willing to embrace its unusual rhythm and rough edges, it leaves a lasting impression.

I enjoyed Dust Bunny and would give it a solid 8 out of 10. With tighter pacing and more refined visual effects, it might have reached an even higher mark.

Out now.

https://apple.co/4t7TwAK

PREVIEW: Play Dead (2026 Film) - Stars Paula Brasca

By Jon Donnis

A single room, a masked killer, and the thin line between life and death. That is the brutal premise at the centre of Play Dead, an upcoming survival horror thriller arriving on UK digital platforms on 9 March 2026 through Seven Tales.

Directed by Carlos Goitia, known for 100 Candles Game: The Last Possession, the film leans into the grim intensity of classic horror inspirations such as The Texas Chainsaw Massacre and The Collector. Early festival screenings have already introduced audiences to its stark and claustrophobic approach, with the story focusing almost entirely on one woman’s desperate attempt to stay alive.

The nightmare begins when Alison, played by Paula Brasca, wakes up inside a decaying basement. Injured, frightened, and surrounded by the bodies of murdered women, she quickly realises that her only chance of survival is to blend in with the dead. Remaining perfectly still becomes a matter of life or death as a masked killer moves through the room.

As more victims are dragged into the basement, Alison is forced to maintain the terrifying illusion while quietly searching for a way out. Every movement carries the risk of discovery, and every moment stretches the tension further. The situation becomes even more disturbing when she uncovers a grotesque ritual taking place in the house above.

What follows promises a relentless game of patience and nerve. Alison must keep up the charade while planning an escape from a place that seems designed for suffering. One mistake could expose her, yet doing nothing means waiting for the same fate that claimed the others.

With its stripped down premise and suffocating atmosphere, Play Dead aims to deliver a tightly wound horror experience built on suspense and dread. If the tension holds as tightly as the premise suggests, this could be a chilling addition to the survival thriller genre when it arrives on digital platforms this March.

Play Dead is on UK digital 9 March from Seven Tales

Apple TV - https://apple.co/40KDcsK

PREVIEW: 1978 (2026 Film) - Directed by Luciano Onetti and Nicolás Onetti

Black Mandala Films presents the horror feature 1978, directed by Luciano Onetti and Nicolás Onetti, the filmmakers behind ABRAKADABRA and WHAT THE WATERS LEFT BEHIND. The film combines political terror with occult horror and takes place during one of the darkest periods in Argentine history.

The film had its world premiere at the Sitges Catalonian International Film Festival, an event widely regarded as the world’s most important festival dedicated to fantasy and horror cinema. From its first screening the film drew attention for its uncompromising tone and its shocking narrative turns.

After its festival debut, 1978 went on to receive theatrical releases across several international territories. The film later became one of the most watched genre titles on HBO Latin America, confirming its strong appeal with both horror fans and mainstream audiences.

The story is set during the 1978 World Cup final between Argentina and Holland, at the height of the country’s military dictatorship. A group of torturers violently storm a house and abduct several young people, taking them to a clandestine detention centre.

What begins as a brutal and inhumane interrogation soon turns into something far worse. The captors have made a fatal mistake. The victims are not who they appear to be and are part of a sinister cult guided by an unknown supernatural force.

As reality begins to fracture and the violence escalates, the detention centre becomes a living nightmare where the torturers find themselves becoming the tortured.

With raw performances, a suffocating atmosphere, and a fearless combination of historical horror and the occult, 1978 presents a disturbing experience.

1978 is now available across major digital streaming platforms in North America, and is also available on DVD and Blu ray, bringing one of Latin America’s most talked about modern horror films to audiences looking for intense and unforgettable genre cinema.

Apple TV - https://apple.co/4sg5cjU

REVIEW: Space / Time (2026 Film) - Starring Ashlee Lollback and Hugh Parker

 

Space / Time is a sharp and engaging science fiction thriller set in the near future of 2033. The story opens with an ambitious scientific experiment intended to bend space itself. What begins as a promising breakthrough soon turns into disaster, leaving those involved disgraced and the entire project quietly shut down. Holt, played with steady intensity by Hugh Parker, refuses to abandon the work. Convinced the experiment can still succeed, he pushes ahead with plans to rebuild the device. Alongside him is his capable assistant Liv, portrayed by Ashlee Lollback with calm intelligence and confidence. Together they step into the criminal underworld in search of the resources needed to continue the project, creating an atmosphere of tension and risk that carries through the film.

One of the film’s greatest strengths is its pace. With a running time just under ninety minutes, the story moves quickly and rarely lingers. The early scenes establish the premise efficiently before the narrative gathers momentum. When the time travel element properly comes into play, roughly an hour into the film, the plot becomes more intricate and demands careful attention. The twists that follow bring both clever ideas and moral complications. Director Michael O'Halloran makes strong use of a limited Australian budget, delivering visual effects that feel surprisingly polished while never overwhelming the story. Hugh Parker anchors the film with a performance that captures both intelligence and growing obsession, while Ashlee Lollback provides an effective counterbalance through Liv’s composure and clarity. Pacharo Mzembe adds further depth to the supporting cast, helping to round out a group of characters that hold the narrative together. The film also stands out by presenting a slightly different take on time travel, an area where genuine originality is often difficult to find.

The main weakness lies in how the film presents the threat the characters are attempting to prevent. The story suggests the possibility of a large scale disaster, perhaps connected to climate change, yet the danger itself remains somewhat vague. A clearer picture of what might happen if the experiment fails again would have strengthened the urgency of their mission and raised the dramatic stakes. Even so, the tension created by the characters and their decisions is enough to keep the story moving forward.

In the end, Space / Time proves to be a confident and well made science fiction thriller. The performances are strong, the direction keeps the narrative focused, and the visual work is impressive considering the film’s modest scale. Its approach to time travel feels inventive without becoming unnecessarily complicated, making it both an exciting and thoughtful watch. I give Space / Time a solid 8 out of 10.

Out on Digital

Apple TV - https://apple.co/4oRY4rD

COMPETITION: Win DOGTOOTH on Blu-ray

From Visions Home Video comes the release of DOGTOOTH on Blu-ray

And to celebrate we have a copy  to give away!

Synopsis:

From director Yorgos Lanthimos. A controlling, manipulative father locks his three adult offspring in a state of perpetual childhood by keeping them prisoner within the sprawling family compound.

Dogtooth is Lanthimos's third feature film. It won the Prix Un Certain Regard at the 2009 Cannes Film Festival and was nominated for Best Foreign Language Film at the 83rd Academy Awards.

Pre-Order from https://amzn.to/4rwVIAD

Enter now for a chance to win.

Dogtooth is the 3rd film directed by Lanthimos, but can you name is first two films?

Send your name, address and of course the answer to competition365@outlook.com

Quick Terms and conditions - For full T&C click here

1. Closing date 09-03-26

2. No alternative prize is available

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.

PREVIEW: Bare Skin (2026 Film) - Written and directed by Mico Montes

Preview by Jon Donnis

Bare Skin drags trauma out into the open in a psychological horror that leaves nowhere to hide. Written and directed by Mico Montes in his feature debut, the film arrives on digital platforms on 23 February through Miracle Media. It promises something intimate and deeply uncomfortable, a story that pushes its characters to confront the damage they carry when their defences finally fall away.

Structured as a dark anthology, Bare Skin threads together six emotionally charged stories that collide over the course of one intense night. A group of strangers, each scarred by horrific experiences, gather in therapy seeking support and understanding. They are urged to revisit the moments that shattered them and take part in exercises meant to break down emotional barriers. At first it feels like catharsis. Then the mood shifts. With every confession the boundary between recovery and further harm begins to dissolve, and an unsettling truth starts to surface.

As the session deepens, it becomes clear that their shared presence is no accident. Hidden connections between their pasts slowly emerge, revealing that their suffering may be linked in ways none of them expected. What began as a search for healing transforms into a suffocating confrontation with the people and systems that shaped their trauma.

Claustrophobic and unflinching, Bare Skin strips back each layer to expose the raw nerve beneath. When it lands on digital on 23 February, courtesy of Miracle Media, audiences can expect a relentlessly tense experience that lingers long after the session ends.

Interview with David Kempf by Jon Donnis

 

I caught up with one of my favourite authors, David Kempf, for a chat about his new book Dystopia.

1. Why do you think people want to read dystopia stories in this day and age?

I think that people are full of anxiety today. They can’t make ends meet, technology keeps getting more advanced, and now AI can almost perfectly imitate human beings. I think this should appeal to both the young and old. My older readers closer to my age still remember great works of fiction like George Orwell’s 1984 and Animal Farm. Me, personally, I am a huge fan of Huxley’s Brave New World  and William F. Nolan’s Logan’s Run. Only the more hardcore fans probably remember that Nolan wrote that with George Clayton Johnson. Since not everyone reads, movie fans probably remember the movie version of Logan’s Run with Michael York. 

2. Are these original characters or are you borrowing from classic literature again?

Well, we both know that good artist borrow and great artist steal. Pause to laugh But seriously these are all new and original characters for this short story collection. 

3. But I'll bet there are pop culture references. Am I right?

Well, you know me very well. Guilty as charged. There are a few nods to George Orwell and other dystopian stories. And of course, my Michael Caine reference. There is a sort of AI robot probation officer and the protagonist uses a voice that sounds like Michael Caine. Of course I make references to DeathTrap and The Dark Knight. Lately I have been obsessed with another Michael Caine movie Sleuth. It’s so great and I just now discovered it. So there you have it. I wish I would have referenced that in the story. I am using imagery of the past to convey that in the near future the machines are taking over. One more thing about Sleuth, I could not believe it had the line “a jumped up pantry boy who does not know his place.” That line was made famous ten years later by The Smiths. 

4. What inspires your stories?

Observations from daily life, and of course, the books I read, the radio shows I listen to, and the movies I see. I always want to see if I can come up with something original which is really tough. The best most of us can aspire to is to be clever. Maybe to come up with two unrelated things put together to try and create something new. With this story collection I try really hard to utilize real life horrors in the world but to put the brakes on it a bit. I still want to entertain the audience more than I wish to horrify them. 

5. So you would classify this new book Dystopia as more science fiction than horror?

Yes, I would say so. There are some horrific elements for sure. The horror in this particular collection is more psychological than anything. Freedoms and freedom of thought being slowly and insidiously taken away from us when we are supposed to have that right. Other factors, too like technology becoming more advanced than we can keep up with. It is technology that takes away our freedom or at least helps to do just that. It’s also technology slowly building a police state. That is the nature of the horror of my new tales. There is also one story about a serial killer, and one about someone who hires a hit man, a professional killer. I don’t need monsters in this new book, because all of the monsters in it are human. 

6. How does this book compare to your other short story collections?

I would say it’s different but there are some similarities. Tales of Monster Madness, and Ghost Stories borrowed heavily from classic stories and myths. For this one I had to rely on my own imagination and observations. I still make references to some famous figures like H.G. Wells, but no werewolves or vampires, or ghosts. It’s not the fear of supernatural monsters in this case, it is the fear of a bleak unknown future controlled by people who are either malicious or indifferent to the struggling masses. 

7. How do readers get your new book DYSTOPIA?

It’s available on Amazon. You can either get the entire book at once, or download any of the following short stories. I actually sell each short story of the collection separately. The sthort stories of Dystopia-

1. The Pawn Lottery.

2. Bill.

3. Alfred.

4. The Evictors.

5. Talbot. 

6. The Comedians. 

7. The Department of Complaints.  

8. Trains

9. The Pearly Cloud

10. The Last Lottery 

11. A Dark World 

The Pearl Cloud was co-written with my son Andrew. All of the covers were done by my cousin Heather Slawecki from her publishing company Graylyn Press. 

8. Have you recorded an audio-book?

No. Not yet. But I am working with friends Wesley Critchfield and Matt Porter to do more and more audio dramas for The Cambridge Geek and I eventually would love to start my own podcast and YouTube channel.  Matt is someone I went to film school with and for our last production Goths, he found a musician to do original music for us. That young man’s name is Ian Meranus and I am very happy with the music he provided.

 

Eventually I am going to take stories from Tales of Monster Madness, and Ghost Stories and Dystopia for original audio drama productions.  Ironic I am working with someone I used to make short films with because my current obsession with Orson Welles had me doing some serious research. I found out that although he made Citizen Kane, considered the greatest movie ever made, he preferred radio (audio dramas) to film. The last audio production I did PUZZLE was taken from my first novel Dark Fiction. Basically, all my books have stories in them that are up for grabs to turn into audio dramas. I am very excited about that. What did you think of the narrator of PUZZLE? Yes, that was a joke. It was you Jon Donnis who read my story PUZZLE. And you did a marvelous job playing Scrooge in A Christmas Warning, one of my favorite audio dramas I produced. 

(Thank you, it was a pleasure playing Scrooge) 

Available to listen to at https://audiofiction.co.uk/tafa.php

9. What are your current projects?

Well, there are all those potential short stories to be made into audio dramas. This will be much fun, and will probably take years, but that is okay. We still got time. I am also working on a novel exploring the contradictions in the journeys of alcohol recovery groups. I do not want to talk about it too much now, and this could also be a project that takes me years to complete. And I am sure I will come back here to MastersOfHorror.co.uk. to do another interview when I finish it and publish it. 

You can count on that!

Thank you David once again, and everyone please check out the new book at the following links.

Amazon UK - https://amzn.to/4qMTlJ0

Amazon US - https://amzn.to/4kIrCaL