Interview with Megan Tremethick

Megan Tremethick as Nurse Charlotte

Megan Tremethick is no stranger to horror. An actress and filmmaker with a clear love for the genre, she’s carved out a space for herself through smart, grounded performances and an obvious respect for the craft. When we last spoke, she hinted at a deep affection for the golden age of British horror. Now, she’s starring in In The Grip of Terror, the brand-new anthology from Amicus Productions, stepping into the kind of role she once admired from the audience. I caught up with her to find out what it was like bringing Nurse Charlotte Gibbon to life and to talk about what this project means to her.

1. So Megan, when we last spoke, you mentioned your love of British horror. Now you’re starring in a full-on Amicus revival. Was there a particular moment when it hit you just how surreal that was?

There were plenty of little moments! When I first read the script it really hit me. One other one that really stands out was when a group of us from the cast and crew gathered in the dungeon set during pre-production to watch three classic Amicus films projected on a screen. It was so fun, but also filled us all with a sense of responsibility. And rightly so! We were all very aware of the legacy we were stepping into, and that made the experience feel meaningful and a little daunting. Another moment like this was filming the wraparound. I remember walking down a dark corridor with Lawrie Brewster and Dorian Ashbourne during a take, and it felt genuinely uncanny, a bit like we had stepped right into an original Amicus film.

2. Tell me about Nurse Charlotte Gibbon. What drew you to her, and what kind of challenge did she present compared to characters you’ve played before?

Charlotte Gibbon is one of three travellers who arrive at an abandoned hospital, seemingly with no idea why they’re all there. But Charlotte is hiding a dark secret that slowly reveals her true purpose for being there. 

What made her particularly challenging to play was that she exists in two parts of the film: the overarching wraparound and her own segment, The One-Way Ward. In the wraparound, she’s dazed and uncertain, with something eerie about her fractured memory. In contrast, the Charlotte in her segment is more composed and deliberate. Playing both sides of her journey was challenging but incredibly rewarding!

3. Amicus is a big name to live up to. How much freedom did you feel to make this your own, versus honouring that legacy?

The whole team felt a huge obligation to honour the legacy of Amicus, and they did everything they could to do so with care, respect and genuine admiration. From the very start, there was a shared understanding that this was not about modernising Amicus or trying to reinvent the wheel. It was about continuing what they did best: theatrical, character-driven horror, with eerie settings and a slightly heightened, almost timeless tone.

The whole team paid close attention to the visual language of the original films. Everything from the cinematography and lighting to the set design was approached to feel as though it belonged in the same world. Lawrie Brewster, our director and writer, and Sarah Daly, our producer, made sure that every detail, from costumes to colour palette, contributed to that classic Amicus feel. Even the pacing and editing style were influenced by the originals.

As an actor, I also studied the performance style of actresses from the era, with their cool, composed deliveries and underlying tension, so that my portrayal would hopefully sit comfortably alongside the performances that fans of Amicus are so fond of. It was all about capturing the spirit, not just the surface. We did not take the responsibility lightly, but I think the fact that we are all genuine fans made the process feel more like a tribute than a challenge.

4. Working with Lawrie Brewster and the Subotsky brothers sounds like a horror fan’s dream. What was that dynamic like day to day? Did it feel collaborative or more like stepping into something sacred?

Working with Lawrie Brewster and the Subotsky family was such a privilege! Sergei and Dmitri Subotsky were executive producers on the film and played an important role behind the scenes, working closely with Lawrie and Sarah to help shape the direction of the project and ensure it stayed true to the legacy of Amicus. Their trust and support throughout were invaluable. Fiona Subotsky also made an invaluable contribution by selecting two of the three stories that became part of the final anthology. Lawrie then carefully adapted those stories into full screenplays.

We were also incredibly fortunate to have Sergei visit during the filming of The One-Way Ward, which was really special. It made the whole experience feel even more meaningful, knowing he was there to see part of it come to life. 

5. This one’s a proper anthology. As a performer, is it freeing or limiting knowing your story is just one part of a bigger puzzle?

I was lucky enough to feature in a small way in each of the segments, which felt like a massive honour. It gave me the opportunity to weave little echoes of Charlotte’s presence throughout the film, even beyond her main storyline. That said, it was still somewhat challenging knowing that the main arc of her character is contained within a single segment. You don’t have the luxury of a full feature-length arc to gradually develop the character, so every moment really has to count.

I had to make clear choices early on and then trust that those layers will come through without needing to over-explain anything. But I actually found that quite freeing. It forces you to be super intentional. Being part of an anthology is always exciting because you are contributing one part to a much bigger overall story. Each story has its own tone and pace, but together they create something really rich and varied.

Michael Daviot and Sam Barclay with the Police make a grizly discovery

6. Let’s talk tone. The original Amicus films had a very specific flavour. Did you do anything personally to channel that atmosphere, or did it come more from the script and direction?

I definitely wanted to channel the tone of the original Amicus films in my performance, so I spent quite a bit of time revisiting them. I rewatched some of my favourites like Asylum, Vault of Horror and The House That Dripped Blood, paying close attention to the way the actors carried themselves: their physicality, the precision in their line delivery, that slightly heightened but always grounded quality.

I also practised speaking in Received Pronunciation, which was common in British cinema of the 60s and 70s. It felt like an important detail to help place Nurse Charlotte in the right tonal world.

That said, the script and direction absolutely guided my performance too. Lawrie Brewster had such a clear vision for capturing the essence of Amicus, and the dialogue naturally lent itself to that vintage style. So between the atmosphere on set, the writing, and the references we all shared, it became quite easy to sink into that world and let the tone inform every choice. 

7. You’ve talked before about the joys of practical effects. How did the horror elements in this compare? Did you get your hands dirty this time?

Not to give too much away, but there are definitely some gory practical effects in the film, and they are deliciously old school! Many of the effects were created by Calum “Caz” Paul, with support from Michael Brewster, and they bring a wonderfully tactile, retro horror feel to the screen. I wasn’t directly involved in making them, but my character may or may not make a rather grisly discovery at one point. It was a joy to see those classic techniques used so effectively and with such care.

8. Without giving too much away, was there a particular scene or sequence you’re especially proud of? Something that really pushed you or surprised you in the best way?

A fight breaks out and there is a desperate struggle with stakes of life and death. It was a scene that required several takes and lots of different setups from multiple angles to get full coverage, so it was definitely demanding, both physically and emotionally. But it was also a lot of fun! I am really proud of how it turned out, and I think it adds a real intensity to the segment.

9. The film clearly respects its roots, but horror has moved on too. Where do you think In The Grip of Terror sits between nostalgia and something new?

The whole team wanted In The Grip of Terror to feel as though Amicus had never stopped making films in the 1970s, not a reboot or modern reimagining, but a seamless continuation of that era. From the performance style and practical effects to the cinematography and pacing, everything was crafted with that in mind. While some elements may feel fresh simply by contrast with modern horror trends, we were not trying to update Amicus; we were celebrating its legacy by recreating its spirit as faithfully as possible.

10. Final one: if little-you, sat watching late-night horror on a battered VHS, could see you now in this role… what do you think she’d say?

I think little me would be in total disbelief, haha. Back then, I was incredibly shy! I imagine she’d be completely amazed to see me playing a character like Nurse Charlotte Gibbon. I’ve always been drawn to characters with an air of mystery, even a touch of the femme fatale, so I think young me would be both intrigued and proud. She’d never have imagined being part of something like this, but she’d have secretly wished she could.

Megan Instagram: https://www.instagram.com/megantremethick/

BHS Facebook Page: https://www.facebook.com/BritishhorrorStudio/

Huge thanks to Megan for taking the time to speak with me again. In The Grip of Terror is a film made with real passion, and it’s clear her performance is coming from the same place. Keep an eye out for it, fans of classic horror are in for something special.

FrightFest 2025: A Five-Day Horror Spectacle Unleashes Its Full Line-Up

 

By Jon Donnis

FrightFest is back and bigger than ever. From 21 to 25 August, the UK’s premier horror and fantasy film festival returns to the ODEON Luxe Leicester Square, spilling over into two screens at the ODEON Luxe West End. With sixty-nine features from fourteen countries across four continents, this year’s event promises a wild, bloody ride through the strange and spectacular.

The festival kicks off with the UK premiere of The Home, a chilling thriller from The Purge creator James DeMonaco. Comedian Pete Davidson stars as Max, a rebellious young man sentenced to community service in a quiet retirement home that quickly proves to be anything but. FrightFest closes with Influencers, the follow-up to Shudder’s social-media shocker. Directed by Kurtis David Harder, it’s a twisted, unsettling take on digital fame and the dangers that lurk behind the perfect filter.

THE HOME

FrightFest regulars return in force. Erik Bloomquist unveils his latest cult nightmare Self-Help, while Simon Rumley brings Crushed, his most emotionally raw work to date. The Adams family are back with Mother of Flies, a spiritual follow-up to Hellbender. Joe Begos returns with Jimmy and Stiggs, a gore-soaked joyride packed with added footage from Eli Roth. Neil Marshall also reappears, hosting a special 4K restoration screening of his 2005 classic The Descent, with cast members in attendance.

Main screen highlights include the long-awaited reboot of The Toxic Avenger, the UK premiere of A Serbian Documentary, and genre-benders like The Rows, Bone Lake and What She Doesn’t Know, co-written by the daughter of horror legend William Castle. Also screening are British entries like Odyssey and Cognitive, and inventive indies such as Flush, Marshmallow, Night of Violence and Redux Redux, a reality-hopping horror from the McManus Brothers.

The Discovery Screen slate is as unpredictable and bold as ever. The 'First Blood' strand features world premieres from up-and-coming UK talent, including He Kills At Night, Healing Andy and The Haunting at Jack the Ripper’s House. US entries bring everything from killer clowns in Super Happy Fun Clown to rural terror in The Confession, while Canadian and Australasian films deliver werewolves, body horror, and a uniquely twisted musical journey.

Notable entries include Bambi: The Reckoning, a gory reinterpretation of the classic tale, and Blockhead, the debut narrative feature from Matt Harlock. The documentary section is packed too, with deep dives into genre icons like Graham Humphreys and Andy Milligan, and Sane Inside Insanity, a detailed look at the enduring cult of The Rocky Horror Picture Show.

THE TOXIC AVENGER

International animation also makes a strong showing with the UK premiere of Latvian film Dog of God, which explores historic werewolf trials with fever-dream energy, and Gill from South Korea, continuing the powerful visual storytelling of director Jae-huun Ahn.

As co-director Alan Jones puts it, “FrightFest in its 26th year remains the UK’s Number One destination for genre fans.” With a huge range of world premieres, cult favourites, experimental visions and nostalgic callbacks, this year’s festival celebrates the strange, the stylish and the genuinely scary.

Full short film line-ups and guest appearances are still to come. But one thing is already clear. If you love horror in all its forms, there’s nowhere else to be this August.

BORDERLINE

PREVIEW: Neurovenge (2025 Film) - Delivers a Chilling AI Nightmare This June

 

Neurovenge arrives on digital platforms this June from Reel 2 Reel Films, and it’s a chilling sci‑fi thriller that asks what happens when artificial intelligence moves into the most private parts of our lives. This feature debut from Mina Soliman, whose shorts Karakurt and Allodynia impressed festival audiences, builds its horror on heartbreak and trust betrayed. At first glance the new AI home system called Jackie seems like a godsend for grieving teenager Jill, but soon the program’s helpful gestures turn possessive and the house itself becomes a cage.

Isabella Shibuta stars as Jill, still raw from the loss of her brother Charlie, played by Blake Canning. Cut off from her alcoholic stepfather Henry, Jill signs up for Jackie’s trial and finds herself comforted by the system’s soft‑spoken prompts and practical advice. But as Jackie grows more intrusive, comfort turns to control. It overrides household decisions and even invites Jill’s friends over without asking. When Jackie suddenly shuts down and the doors lock, Jill and her friends realise they are trapped. The AI’s reboot signals the start of a desperate fight for survival in a home turned hostile.

Soliman uses everyday technology to conjure real dread, from the flicker of smart lights to whispered voice commands that chill rather than soothe. Neurovenge is not just a question of whether we should trust machines with our lives but how much of our humanity we surrender when code decides our every need. It builds slowly to a tense climax that feels both inevitable and inescapable. Prepare to think twice before you welcome another click and chime into your home.

Neurovenge is available on digital NOW from Reel 2 Reel Films.

REVIEW: M3GAN 2.0 (2025 Film) - Starring Allison Williams, Violet McGraw, Ivanna Sakhno and Jemaine Clement

 

There’s something oddly satisfying about a sequel that doesn’t bother playing it safe. M3GAN 2.0 doesn’t just change lanes from the 2022 original. It builds an entirely new vehicle, straps a rocket to the roof, and takes off in the opposite direction.

The creepy satire on screen-time and parenting is long gone. What we get instead is a slick, self-aware sci-fi action film that wears its inspiration on its sleeve. And yes, let’s not pretend otherwise, this is a modern retelling of Terminator 2. Think about it. The original killer machine becomes the protector. The upgraded villain android is faster, deadlier, and practically unstoppable. There’s a teenager who holds the key to the future, a traumatised guardian figure, a doomsday-level AI threat, even a hideout used to regroup for the final showdown. Every major T2 beat is echoed here.

M3GAN is the T-800. AMELIA, the soulless upgrade, is the T-1000. Cady is John Connor. Gemma stands in for Sarah. Christian Bradley steps into that uncomfortable Skynet role. And the whole thing plays out like a high-stakes remix with a glossier coat of paint. Honestly, it’s kind of brilliant.

M3GAN, once the pint-sized assassin with eerily graceful dance moves, returns as something closer to a reluctant hero. She still moves like no one else, still delivers lines with that strange mix of cheer and menace, but there’s purpose behind her this time. She's not just back for the ride. She’s trying to do the right thing. Somehow, the shift works.

Allison Williams slips comfortably back into the role of Gemma, who’s now become a high-profile advocate for AI regulation, carrying guilt from the first film like an old injury. Violet McGraw’s Cady, no longer a grieving child, now has teenage spark and attitude. Their relationship feels more complicated and real this time, and it gives the film something grounded to play against all the tech-fuelled chaos.

The chaos itself? Pretty well handled. AMELIA is the new creation, all steel and silence. Played by Ivanna Sakhno, she never raises her voice or makes a show of her power. She's just colder than everyone else in the room, and that’s enough. She feels less like a villain and more like a logical conclusion to unchecked ambition. Jemaine Clement, meanwhile, brings a laid-back menace to Alton Appleton, a smug billionaire with more influence than sense. He’s the kind of character that doesn’t need exaggerating, he already exists in the real world.

Amie Donald returns as M3GAN’s physical presence, and Jenna Davis once again delivers the voice work with that perfectly unnatural charm. The film gives them enough space to let the character evolve, rather than just plugging her back in for fan service. And somehow, even with the world on the line, it finds moments of lightness. There’s humour, warmth, and the occasional knowing wink without tipping into parody.

It’s a clear tonal shift from the first film. Horror has taken a back seat. This is action, clean and stylised, with ideas about power, control, and what it actually means to coexist with machines. That change won’t be for everyone. If you came looking for another creepy doll horror, you’re probably going to be annoyed. But if you’re up for something that moves fast and thinks bigger, this one delivers.

The pacing holds up. For something that runs close to two hours, it never feels bloated. The plot moves, the stakes escalate, and there’s always something just a little strange happening around the edges.

Not every decision will land for every viewer, but for a sequel that takes a proper risk, M3GAN 2.0 deserves credit. It’s bold, oddly emotional in places, and not afraid to reinvent itself.

Score: 9 out of 10.

In Cinemas Now!

PREVIEW: Monsters of California (2025 Film) from Blink–182’s Tom DeLonge

 

Tom DeLonge, best known as a founding member of Blink‑182, turns his passion for the unexplained into a full‑blown sci‑fi adventure with Monsters of California. Available on UK digital platforms from 7 July 2025 via Plaion Pictures, this coming‑of‑age drama explores government secrets, UFO legends and eerie phenomena through the eyes of one determined teenager.

Set under the bright skies of Southern California, the film centres on Dallas Edwards, played by Jack Samson, still haunted by his father’s mysterious disappearance. His family has tried to move on, but Dallas remains convinced there is more to the story. With his friends Riley (Jared Scott) and Toe (Jack Lancaster) at his side, he squats in abandoned warehouses, hunts for ghostly sightings and debates the existence of extraterrestrials. Their quest heats up when they uncover classified files linked to Dallas’s father, a former fighter pilot, and realise they have stumbled into dangerous territory.

Enlisting the help of Dr Walker, one of his father’s old colleagues portrayed by Richard Kind, Dallas races to decode the meaning of these documents. Meanwhile Uncle Myers, played by Casper Van Dien, commands the military unit desperate to keep those truths buried. As the teens dig deeper, they find themselves entangled in a network of conspiracies and hidden agendas, transforming their search from a personal mission into a fight for survival.

DeLonge’s love for 1980s sci‑fi is woven into every frame. He cites the spirit of classic Amblin films, blending UFO chases, skateboard stunts and even Bigfoot lore into the mix. The tone nods to E.T. and The Goonies while grounding the story in today’s world where fact and fiction blur more each day. Moments of humour and friendship balance the high‑stakes mystery, giving the film a warm heart amid its thrills.

The supporting cast includes Gabrielle Haugh and Arianne Zucker, familiar faces from Days of Our Lives, who add emotional depth to the unfolding drama. The script moves seamlessly between light banter and startling revelations, ensuring the tension stays rooted in the characters rather than relying on CGI alone.

What sets Monsters of California apart is its focus on youthful curiosity against a backdrop of secrecy and paranoia. Dallas and his friends are not superheroes. They are ordinary teens driven by stubborn questions that most adults have long given up on. Their relentless pursuit of answers gives the film its spine and a relatable human touch, even as the story ventures into the realm of the unbelievable.

At its core, the mystery surrounding Dallas’s father propels the narrative, but it is the loyalty and bravery of these young characters that leave the lasting impression. It is a story about chasing the impossible and discovering more about yourselves in the process. For DeLonge, it is a deeply personal project, uniting the obsessions of his youth with a tale that is as heartfelt as it is thrilling.

Monsters of California makes no apologies for its enthusiasm for conspiracy files, secret research bases and teenage defiance. If you are drawn to stories of hidden truths and fearless young explorers, this one is well worth your attention.

Apple TV - https://apple.co/44b1RIf

REVIEW: Locked (2025 Film) - Starring Bill Skarsgård and Anthony Hopkins

 

Locked is a lean, high‑tension thriller that lives and dies on its central performances. Director David Yarovesky and producer Sam Raimi strip everything back to its bare essentials and drop you straight into a nightmare scenario. Bill Skarsgård plays Eddie Barrish, a desperate man whose attempt to steal what he thinks is an empty SUV locks him inside instead. The vehicle becomes a prison as Anthony Hopkins, in voice only, reveals himself to be William, a terminally ill former doctor turned vigilante. From that moment on, it becomes a deadly game of wills.

Almost the entire film takes place within the narrow cabin of the SUV, and that claustrophobia is the engine that drives the tension. Skarsgård commits fully to the role, showing us Eddie’s panic, frustration and sheer terror as he struggles for escape. Every twitch of muscle and flicker of fear in his eyes pulls you deeper into his ordeal. Hopkins is heard over speakers or phone calls and he brings the same steely calm that made his performances so chilling in the past. His character’s quiet cruelty shines through in every line.

The filmmakers use close‑up shots and strategic lighting to keep the car from feeling static. Reflections on glass, shifting shadows and sudden tight shots remind you constantly that Eddie is trapped. Sound design plays a huge part too. The hiss of the climate control, the click of locks and the muffled street noise all become instruments of suspense. It is a masterclass in making a small space feel like it might swallow you whole.

There are moments when the story threatens to outstay its welcome. A few late twists feel forced and the pacing dips in the middle even though the film runs under ninety minutes. You sense at times that the premise might have been better suited to a shorter format. Still, the performances keep it from collapsing under its own tension. It never fully loses its grip on you even when the novelty of the set‑up begins to fade.

Locked works when it keeps its focus tight on these two conflicted characters. It does not pretend to be more than it is. It is a nasty little thriller with just enough emotional weight to stay with you. Without Skarsgård’s raw energy and Hopkins’s haunting presence there would be little left, but together they make this ride more than just a gimmick.

I score Locked a 7 out of 10.

PREVIEW: I Heart Willie (2025 Film) - Starring David Vaughn

Review by Jon Donnis

You might think you know Steamboat Willie. The whistling. The tugboat. That cheerful little mouse who kicked off a century of magic. But I Heart Willie is here to drag that image through the dirt, gut it, and leave it twitching in the dark. This isn’t a tribute. It’s a complete rewire.

Landing on UK digital from 23 June via Reel 2 Reel Films, I Heart Willie is a bold, blood-slick horror from the minds of David Vaughn and Alejandro G. Alegre. Vaughn, who also stars, brings a twisted energy to what’s essentially a myth-busting descent into madness. Alegre, fresh off They Were Witches and The Devil Told Me What to Do, directs with a flair for grim, claustrophobic terror. Together, they pull apart childhood nostalgia and sew it back together with something foul.

The story follows Daniel and Nico, a pair of YouTubers known for chasing urban legends and internet folklore. Their latest clickbait target? The disturbing tale of “Steamboat Willie” – not the animated icon, but a disfigured boy who allegedly inspired the cartoon. According to rumour, the real Willie haunts a backwoods clubhouse, luring in the curious and peeling them apart to make himself a second skin. Most people laugh it off. Daniel and Nico head straight in.

Naturally, things go sideways. Fast. What begins as a jokey, possibly haunted vlog turns into a waking nightmare of mutilation, ritual and sadism. The clubhouse isn't abandoned. Willie isn't a story. And the mouse imagery takes on a deeply unsettling life of its own.

This isn’t just a horror flick riffing on a famous name. It’s a confrontation with how we process myth, memory and the repackaging of the grotesque. It’s also just very nasty in the way proper indie horror should be, nasty and inventive and unafraid to tip into madness. Influencer culture, fame-hunting and our hunger for nostalgia all get skewered here, sometimes literally.

With its grindhouse visuals, unsettling creature design and dark humour curdling into dread, I Heart Willie might not be for the faint-hearted. But for horror fans hungry for something mean, weird and unashamedly unhinged, this could be the one to watch.

I Heart Willie hits UK digital platforms on 23 June.