PREVIEW: The Behemoth (2026 Film) - Starring Sarah Dawes, Ryan Wichert, Beatrice Fletcher, Johnny Vivash, Wilfried Capet, Alison Harris, Max Evans, Thilo Gosejohann and Stephanie Dickson

 

By Jon Donnis

Black Mandala is preparing to unleash The Behemoth, a bleak and unsettling cult horror from director Kai Edmund Bogatzki that leans heavily into atmosphere, dread and cosmic unease. Set in the frozen isolation of a remote mountain ski resort, the film uses snowbound silence and brutal landscapes to frame a story where faith curdles into fanaticism and ancient beliefs refuse to stay buried.

At its centre are Rebecca and Ryan, who escape to a secluded cabin hoping for rest and reconnection. Their refuge appears safe enough at first, thanks to Christine, a warm and reassuring host who seems eager to help them settle in. That calm quickly fractures as disturbing incidents begin to surface, all linked to a long dormant cult known as the Servants of Blood. What starts as a quiet retreat slowly becomes something far more dangerous and deeply personal.

Christine’s own attempt to flee a toxic relationship takes a horrifying turn when she is abducted and prepared for an apocalyptic ritual. As Rebecca searches for answers, she uncovers a far more troubling truth. She and Ryan are not accidental bystanders but vital components in the cult’s carefully planned design. The realisation shifts the story from survival horror into something more existential, where choice, belief and responsibility blur in frightening ways.

The film’s descent into full cosmic horror arrives with the birth of Behemoth itself, an ancient demon brought forth through blood and devotion. Once unleashed, the creature turns savagely on those who summoned it, tearing through followers with brutal indifference. Rebecca is left with an impossible task. To live, she must confront her own inner darkness, betray the belief system that trapped her, and face the monstrous force she helped bring into being.

The Behemoth promises an uncompromising experience rooted in Lovecraftian mythology, where blind faith leads only to ruin and salvation comes at a devastating cost. Its impact has already been felt on the festival circuit, earning Best International honours at the Nashville Horror Film Festival, Best International Feature at Dark Matters Film Festival, multiple awards at Haunted House FearFest including Best Horror Feature and the Grim Reaper Award, and recognition for Best Mutilation Scene at Fright Nights.

With a cast that includes Sarah Dawes, Ryan Wichert, Beatrice Fletcher and Johnny Vivash, and direction from Kai E. Bogatzki, The Behemoth positions itself as a stark, ferocious exploration of devotion, desperation and the horrors that emerge when humanity searches too hard for meaning in the dark.

Coming Soon.

REVIEW: Dracula: A Love Tale (2026 Film) Starring Caleb Landry Jones

 

Luc Besson’s Dracula: A Love Tale is a bold, visually sumptuous reinvention of familiar gothic territory, placing romance at the forefront rather than pure horror. The story spans centuries, opening with Prince Vladimir of Wallachia renouncing God after the death of his wife Elisabeta in battle. From the first scene, the film commits to portraying Dracula not just as a monster, but as a man hollowed by grief, driven by obsession, and sustained by the hope of finding his lost love reborn.

The emotional heart of the film is its greatest strength. Caleb Landry Jones delivers a mesmerising, committed performance as Dracula, presenting him as an anti-hero rather than a conventional villain. Sympathy for him is clear, even amidst gore, bloodshed, and moments of graphic horror. These elements underline the tragedy of a man who has damned himself for love, and the balance between romance and horror is handled with unexpected finesse, producing a melancholic rather than terrifying tone.

Visually, the film is consistently stunning. The sets, costumes, and cinematography are lavish and precise, from the shadowed halls of Dracula’s castle to the bustling streets of revolutionary Paris. Makeup and prosthetics are detailed and striking, with bloodwork and decapitations rendered with confidence. Danny Elfman’s score weaves everything together, enhancing the sense of doomed romance while elevating key emotional moments without overwhelming them.

Zoë Bleu brings quiet vulnerability to both Elisabeta and Mina, making the idea of love transcending time believable. Matilda De Angelis is compelling as Maria, one of Dracula’s vampiric followers, and Christoph Waltz adds gravitas as the priest who confronts Dracula with the possibility of repentance and eternal damnation. The final act lands with genuine emotional weight and stays true to the film’s central themes.

The film’s main weaknesses lie in its length and occasional casting choices. At over two hours, the pacing slows in the middle, and a tighter edit would have sharpened its impact. Caleb Landry Jones’ performance is intense and memorable, yet his slightly slight physique at times undermines the mythic presence traditionally associated with Dracula, even if his emotional depth largely compensates.

Despite these flaws, Dracula: A Love Tale is a striking, heartfelt reinterpretation. The romance and horror balance works, the story remains emotionally grounded, and the visuals and effects are first-rate. It may not redefine the genre, but it is a bold take on an immortal story that lingers longer than expected.

I would give Dracula: A Love Tale an 8.5 out of 10.

Coming to Cinemas February 2026.

FrightFest Brings Three Days of Horror Back to Glasgow in 2026

 

FrightFest returns to the Glasgow Film Festival for its 21st year with three days of horror, fantasy and genre cinema, running from Thursday 5 March to Saturday 7 March 2026. Once again the event will take over the Glasgow Film Theatre, continuing its long-standing place within the festival calendar.

The UK’s leading horror and fantasy showcase promises a packed programme of global discoveries. Across the three days there will be eight feature films, five of them world premieres, alongside a short film showcase dedicated entirely to filmmakers from the UK and Ireland. The event continues its reputation as the country’s most enthusiastic celebration of genre cinema, built around shared gasps, laughs and screams.

The Curse

FrightFest co-director Alan Jones said the festival has spent more than two decades programming films designed for a collective audience experience at Glasgow Film Festival. He added that this year’s selection aims to innovate and challenge while showcasing both feature films and shorts from some of the most imaginative voices working in the genre.

The event opens on Thursday night with the world premiere of JAILBROKEN, a high-pressure action thriller directed by Vasily Chuprina and set entirely within a single prison cell. The film is rooted in Scottish production talent and features a cast led by David Hayman, Bryan Larkin, Shauna MacDonald and Armin Karima. Chuprina, along with members of the cast and crew, will attend the screening.

The two-day FrightFest pass programme begins on Friday 6 March with the UK premiere of BURY THE DEVIL, a fast-moving and twist-heavy mystery that offers a fresh take on the exorcism genre. This is followed by the world premiere of Howard J. Ford’s creature feature BONE KEEPER, a survival story set deep inside a remote cave system. Ford will return to Glasgow to introduce the film alongside cast members.

Bone Keeper

Later on Friday comes the UK premiere of BOORMAN AND THE DEVIL, a documentary directed by David Kittredge examining the troubled production and lasting legacy of Exorcist II: The Heretic. The film features interviews with John Boorman, Linda Blair, Louise Fletcher and others connected to the infamous sequel.

The main Friday evening presentation is the UK premiere of Glenn McQuaid’s sci-fi horror comedy THE RESTORATION AT GRAYSON MANOR. Blending camp horror with classic monster movie influences, the film will be introduced by McQuaid alongside stars Alice Krige and Chris Colfer. The night concludes with the UK premiere of Kenichi Ugana’s THE CURSE, a sharp satire that updates the idea of cursed media for the age of addictive internet algorithms.

Saturday opens with the international premiere of Connor Marsden’s VIOLENCE, a visceral and fast-moving love story powered by punk energy and action-horror intensity. FrightFest then presents its second SHORT FILM SHOWCASE, continuing a strand launched last year that highlights emerging directors from the UK and Ireland. All participating filmmakers and several cast members will attend, marking a celebration of new talent.

Boorman and the Devil

The afternoon continues with the UK premiere of THE CONVENIENCE STORE, directed by Jiro Nagae and adapted from the Chilla’s Art game. Kotona Minami stars as a night-shift worker confronted by terrifying events in a seemingly ordinary Japanese convenience store.

Saturday evening begins with the world premiere of RED RIDING, Craig Conway’s directorial debut which reimagines the Little Red Riding Hood story in a contemporary horror-thriller setting. Conway will attend alongside executive producer Neil Marshall and members of the cast. This is followed by the UK premiere of KARMADONNA, a dark dystopian fable directed by Aleksander Radivojević that blends extreme violence with social commentary on religion, greed and modern life.

Karmadonna

The festival closes with DEATHKEEPER, an Australian fantasy horror film directed by Tristan Barr and adapted from the novella series by Vasilios Bouzas. The film promises an unsettling and mysterious atmosphere to bring FrightFest 2026 to a close.

FrightFest passes are priced at £88 and go on sale at 10am on Friday 16 January 2026. Passes will be exchanged for wristbands before the first screening on Friday 6 March and are valid for films on Friday and Saturday only. Tickets for the Thursday night film JAILBROKEN, along with individual tickets for Friday and Saturday screenings, go on sale to CineCard and CineCard+ members from 10am on Friday 23 January, with general sale starting at 10am on Monday 26 January 2026. Individual tickets are priced at £12, or £9.60 for concessions. The Thursday night screening is not included in the FrightFest pass and requires a separate ticket.

REVIEW: The Running Man (2025 Film) Starring Glen Powell

 

Edgar Wright’s 2025 take on The Running Man brings Stephen King’s dystopian world into a sleek, modern action thriller, though it is a curious mix of spectacle and missed opportunity. Set in a near-future United States dominated by a media network that distracts the poor with violent game shows, the story follows Ben Richards, played with steady charm by Glen Powell, who is forced into the deadly competition to save his sick daughter. Powell gives the character grit and heart, making him both relatable and compelling as he navigates a landscape filled with professional hunters and a bloodthirsty audience. Josh Brolin delivers menace as Dan Killian, the charismatic producer who manipulates the show for ratings, while Lee Pace’s masked Hunter, Evan McCone, offers a cold, calculated threat that keeps the tension sharp. Supporting roles from Michael Cera, Emilia Jones, and William H. Macy inject humour and humanity amid the chaos.

The film is undeniably entertaining. Wright delivers striking set pieces, from explosive firefights in Boston to high-speed chases through New York and tense sequences in isolated bunkers. Cinematography and visual effects give the world of The Running Man a polished, futuristic edge, and the pacing rarely relents. The narrative balances personal stakes with social commentary, touching on economic disparity and media manipulation without feeling overly heavy-handed. Ben’s journey builds to a satisfying climax, with a confrontation that offers both justice and catharsis.

However, the remake has its flaws. Dialogue rarely lingers in the memory, and the villains, though competent, lack the flamboyance of the 1987 version’s antagonists. Much of the humour and camp that made the original so memorable has been stripped away, leaving a more serious but less distinctive tone. Occasional modern political commentary feels forced, undercutting the otherwise thrilling spectacle. For fans of the original, the remake feels safe and overly polished, removing much of the charm that earned the first film its cult following.

The Running Man is slick, packed with action and anchored by strong performances, but it suffers from losing the soul of its predecessor. It works as a popcorn thriller and is enjoyable in its own right, yet it raises the question of why a remake was needed when an original dystopian action story could have delivered the same excitement. Still, it remains an entertaining watch, deserving a solid 7 out of 10.

Out Now on Digital

https://apple.co/4q4pprK

REVIEW: Predator: Badlands (2025 Film) Starring Elle Fanning and Dimitrius Schuster-Koloamatangi

 

Predator: Badlands arrives with plenty of expectation, and it mostly earns it. Dan Trachtenberg knows how to make this universe feel gritty, textured and alive, and the seventh entry opens with a confident swagger. What unfolds is a curious mix of spectacle, character work and franchise reinvention that thrills at times and makes you sigh at others.

The story follows Dek, a Yautja runt who has never gained his father’s approval and is exiled to the savage world of Genna. The film wastes no time plunging you into its darker corners, where the hostile flora and dense atmosphere make every step feel perilous. Dek’s uneasy partnership with Thia, a damaged Weyland Yutani synthetic played with real emotion by Elle Fanning, provides the film’s strongest thread. Their bond develops as they face the Kalisk, a regenerating apex predator that delivers the film’s most intense action sequences. When Dek finally confronts the creature, loses, survives and ends up in corporate captivity, the sequence carries surprising heart, helped by Dimitrius Schuster Koloamatangi’s quiet resolve.

Visually, the film is striking. Practical effects blend seamlessly with digital work, and Genna’s wide-open vistas feel genuinely dangerous. The fights are clear, tight and impactful, and even the lighter buddy elements land effectively, particularly thanks to Bud, a native creature that ties several plot threads together.

The problem emerges when the film’s place within the franchise is considered. The script relies heavily on familiar sci-fi beats, and some scenes feel lifted from other adventures rather than offering something fresh. More significantly, the Predator is recast from menacing apex hunter to sympathetic underdog, pushing the film into buddy-movie territory. That tonal shift will jar older fans, as it softens the creature’s legendary edge in ways that feel deliberate but blunt its historic menace.

Taken on its own, the adventure works. Taken in the context of the franchise, it struggles. Predator: Badlands is entertaining, heartfelt and packed with strong action, but it is the wrong fit for the badge on the poster. Turning a once-terrifying monster into a troubled youngster evokes the image of a small, nervous dog compared with the brutal force of the 1987 original.

It is still a fun ride, and for what it is, it deserves a 7 out of 10.

Out in Cinemas Now.

Apple TV - https://apple.co/3Mwbuwd

PREVIEW: Lily’s Ritual (2026 Film) - Starring Maggie García, Patricia Peñalver, Elena Gallardo, Eve Ryan, Mike Fajardo and Antea Rodríguez

By Jon Donnis

Released by Black Mandala, Lily’s Ritual is a haunting folk horror film directed by Manu Herrera and set against the dark mysticism of late 1990s Spain. Rooted in atmosphere and unease, the film draws its power from silence, ritual, and the slow realisation that faith, when left unquestioned, can become something monstrous.

The story unfolds in 1999 as four friends retreat to a secluded cabin deep within the forest. What begins as a spiritual initiation soon curdles into something far more disturbing. Witchcraft, sacrifice, and betrayal surface as the true intent of the gathering reveals itself. A demon as old as the world is summoned, and blood will be spilled.

Set during the autumn equinox near Madrid at the end of the 20th century, the film follows Lily, a pale and withdrawn young woman travelling with her friends to a remote woodland cabin. She believes she is there to be initiated into witchcraft. As preparations are made and night falls, the ritual begins. When Lily collapses mid ceremony, she later awakens bound, injured, and alone. She does not yet understand that she herself has been chosen as the sacrifice. Nothing, however, unfolds as planned.

As a demonic laugh echoes through the forest, alliances fracture and buried lies come to the surface. The ritual turns violently against those who created it, unleashing a force that cannot be controlled. What was meant to bring harmony instead exposes betrayal and fear, as belief becomes the very thing that destroys them.

Blending atmospheric dread, pagan mythology, and psychological horror, Lily’s Ritual explores blind devotion, hidden motives, and the terrifying cost of belief. Its slow burn tension and striking visuals place it firmly alongside elevated folk horror such as The Witch, Midsommar, and Kill List, without losing its own distinct identity.

With next level practical effects and an unwavering commitment to mood and menace, Lily’s Ritual is set to become one of the must see highlights for horror fans in 2026. It is a dark and unsettling descent into ancient evil, where harmony is an illusion, friendship is a lie, and some doors should never be opened.

Directed by Manu Herrera, with a script by Javier Fernández Moratalla and Herrera, the film stars Maggie García, Patricia Peñalver, Elena Gallardo, Eve Ryan, Mike Fajardo, and Antea Rodríguez.

Coming 2026

PREVIEW: Witchboard (2026 Film) - Stars Madison Iselan

 

Vertigo Releasing has announced the digital release of Witchboard, a fresh reimagining of the 1986 cult classic that marked one of Chuck Russell’s early forays into horror. The film also represents a return to the genre that defined his career, following the cult successes of A Nightmare on Elm Street 3: Dream Warriors and The Blob. This new project completes a trio of fantasy horror films for Russell, a chance to push the boundaries of familiar fright worlds while staying true to the elements that made them endure.

The cast blends established talent with genre favourites. Madison Iselan leads as Emily, known for her roles in the Annabelle and Jumanji franchises. She is joined by Jamie Campbell Bower, whose Stranger Things and Twilight credentials suit the darker tone. Aaron Dominguez brings the sharp presence he showed in Only Murders in the Building, while Charlie Tahan adds the grit familiar from Ozark. Mel Jarnson, seen in Mortal Kombat, and Antonia Desplat, from Modi and Three Days on the Wing of Madness, complete the ensemble.

The story follows Emily after she uncovers an ancient spirit board. Soon after, those around her begin dying in sudden and disturbing ways. Her friends quickly realise they are facing a force far older than superstition, and the only way to stop it is to break the curse before it spreads further.

Russell produces alongside Kade Vu, Greg McKay and Bernie Gewissler, with a wide roster of executive producers including Eric Schiermeyer, Barry Brewer, John Paul Isham, Walter Josten, Patrick Josten, Marc Rousseau, Yannick Sadle, Robert Abramoff, Kevin Tenney, Jeff Geoffrey, Arianne Fraser, Delphine Perrier and JJ Caruth. Yaron Levy oversees cinematography, Camille Parent handles production design, and Véronique Marchessault creates the costumes. Editing is shared between Alex Márquez, Joe Plenys and Émile Vallée, with Sam Ewing composing the score.

Witchboard arrives digitally on Amazon, Apple TV, Sky Store and YouTube Movies on 2 February 2026.