PREVIEW: Bogieville (2025 Film) Hits Digital This June - Vampires, Turf Wars and Blood Trails:

A sinister trailer park in the Deep South is the setting for Bogieville, a twisted new vampire flick from actor-director Sean Cronin, known for Drained and Mission: Impossible – Rogue Nation. The film lands on UK digital platforms on 9 June, courtesy of Reel 2 Reel Films, and promises a blood-soaked clash between rival immortals.

After screening at both Cannes and FrightFest, Bogieville now invites UK audiences to take the plunge into its unnerving world. At the centre of it all are Ham and Jody, played by Arifin Putra (The Raid 2) and Eloise Lovell Anderson (Villian), a young couple who find themselves lost and desperate. What they stumble upon is no safe haven. It's an eerie trailer park called Bogieville, seemingly forgotten by the world and watched over by the unsettling caretaker, Crawford, played by Jonathan Hansler (Axed).

He warns them not to leave at night. Of course, they do. And that’s when the horror truly begins. The park isn't deserted at all. It's home to a clan of vampires led by the terrifying Madison, played by Cronin himself. But even he’s not the only threat. There’s another vampire faction circling, ready to challenge Madison for control of the park, dragging the unsuspecting visitors into a long-standing war with no rules and no mercy.

As Ham and Jody try to escape, they quickly realise they’ve become more than just witnesses. Jody has caught the attention of the monsters, and once that happens, there’s no going back. Meanwhile, a detective is closing in, following a string of gruesome deaths that all point back to this cursed place.

Bogieville blends classic horror with an edge of dark, Southern gothic menace. It’s a bloodcurdling ride into a world where no one gets out clean. Whether it’s the eerie calm of the park or the fangs waiting just beyond the shadows, this is one horror tale that sinks in deep.

Arriving on digital 9 June through Reel 2 Reel Films.

Apple TV - https://apple.co/45c9JM2

REVIEW: The Legend of Ochi (2025 Film) Starring Helena Zengel, Finn Wolfhard, Emily Watson, and Willem Dafoe

 

A Beautifully Crafted Fantasy That Struggles to Stay Afloat

Isaiah Saxon's The Legend of Ochi is a visually enchanting yet narratively uneven debut that blends old-school fantasy charm with a modern emotional undercurrent. Brimming with atmosphere and anchored by handmade artistry, the film has a distinctive voice. But despite flashes of magic and menace, it struggles to maintain momentum, particularly in its slow-moving middle.

Set on the wintry island of Carpathia, the story follows Yuri (Helena Zengel), a young girl raised in a brutal, male-dominated village. Her father, Maxim (Willem Dafoe), is a hard-edged patriarch who trains children to hunt down the elusive, goblin-like creatures known as the Ochi. When Yuri discovers and befriends an injured baby Ochi, she turns her back on her upbringing and sets out to return the creature to its kin. Her journey becomes a quiet rebellion as she seeks her estranged mother (Emily Watson) and tries to stay one step ahead of her relentless father.

The film's greatest strength is its visual world-building. Saxon, with a background in animation, leans into practical effects, matte-painted vistas and textured design choices that evoke the spirit of 1980s fantasy cinema. The Ochi creatures are especially compelling. Created with puppetry and animatronics and subtly enhanced by digital work, they feel tangible and expressive. The baby Ochi, in particular, is both charming and memorable, likely to appeal to younger viewers.

The opening sequence is gripping, launching with a moonlit hunt through snowy woods. Torches flicker, shadows dart and the tone is instantly serious, with a sense of danger that marks the film as something darker and more contemplative than most family adventures.

But after that strong beginning, the pacing slows dramatically. The narrative shifts into familiar territory, a child protecting a misunderstood creature, and doesn’t bring enough novelty to reinvigorate the trope. Much of the middle act is taken up by long sequences of travel, hiding and quiet contemplation. Though these moments are often visually stunning, they lack urgency, and the story loses its grip.

Helena Zengel is quietly committed throughout, carrying the film with physical intensity rather than dialogue. Her performance reflects the film’s mood: introspective, muted, and at times emotionally distant. Dafoe brings a grim presence to Maxim, but the role is underwritten. Emily Watson appears briefly, and Finn Wolfhard’s Petro has limited impact. The film opts for minimal dialogue and prolonged silences, which adds to the atmosphere but also slows down character development.

At just 90 minutes, the film avoids overstaying its welcome, but the minimal plot movement in the central section may test the patience of some viewers. While young children may enjoy the creature design and gentle tone, older audiences might wish for more story and emotional depth.

Still, The Legend of Ochi marks Isaiah Saxon as a filmmaker to watch. His preference for handcrafted visuals over glossy effects is refreshing, and his ability to conjure mood through design and tone is evident. The film has heart, even if its narrative pulse is faint.

Thoughtful, original and beautifully made, The Legend of Ochi is a strong visual debut with a clear directorial voice. It begins with tension and ends with sincerity, though its dreamy detours may leave some viewers behind. As a first feature, it is promising, and worth seeing for its craft alone.

Rating: 7 out of 10

Out now on Digital

Apple TV - https://apple.co/3F6kiFQ

Interview with Jason Robert Stephens - Gory Nostalgia, Statham Comparisons and a Potential Return in Popeye the Slayer Man 2

There are horror films. Then there are public domain fever dreams where a beloved cartoon sailor turns into a gore-splattered vigilante with forearms that could pulp a man’s skull. Popeye the Slayer Man, a horror reimagining that’s as bloody as it is bizarre, belongs to the latter camp. And standing tall at the centre of the madness is Jason Robert Stephens, a former real-life cop turned screen slayer. As the film launches in the UK on Amazon and Apple, Stephens sat down with Masters of Horror to talk through the physical demands of becoming Popeye, improvising emotional beats between kills, and yes, who he’d like to slaughter in a potential sequel.

This version of Popeye is definitely not your grandpa’s sailor, how did you prepare to embody such a gritty, slayer-style version of this iconic character?

Mentally, it was pretty easy to get into the character. Once you have all that makeup on, the costume, etc., you kind of have to become that character. It was actually really fun to play.

What drew you to this project in the first place? Did you have any connection to the classic Popeye cartoons growing up?

I’ve known the director Robert Michael Ryan since we were 11 years old. We started out making short horror movies with a home video camera and our love for cinema grew from there. One day he told me that the Popeye character was going into the public domain, and he wanted to direct a Popeye horror movie. He asked me to play Popeye, knowing that it was going to be pretty physical and I'm all about that. So I told him as long as he didn’t skimp on the gore, I’m game.

As far as the original iconic character, I did watch the cartoons as a kid and I even went and saw the Robin Williams version of Popeye in the theatre. So, it was definitely part of my childhood.

The physicality of Popeye is that of a mutated monster. How intense were the make-up transformation demands on you?

It depended on the scene. For example, if it was a far-away shot, or I was in the shadows, getting into the character makeup wasn't all that terrible. If I was doing a close up with dialogue, then it was a little bit more tedious, but all in all, I knew it was going to be worth it in the end.

How did you balance the over-the-top, badass elements of this Popeye with the heart of the original character?

As the movie progresses, you realise that Popeye isn't really 100% bad. He's actually taking out the bad guys.

Maintaining the heart of the original character played itself out in the script. And luckily, Robert let me improvise a couple of things that I think helped with that heart element. For example in the Popeye’s "layer" you get to see his softer side. A lot of that scene I improvised. I just had to hit my marks and eat the spinach.

What was your favourite scene to shoot, and was there one that totally pushed your limits as an actor?

My favourite scene as far as the kills are concerned, is the arm scene but I won't give it away. You'll know which one I'm talking about. That one was super physical, totally over the top and fun plus you really want to see that guy get what’s coming to him. My favourite scene of the movie is when I'm in the layer and you get to see my softer side.

Popeye traditionally relies on his fists and forearms how did the kill scenes choreography evolve for The Slayer Man? Were you involved in any of it?

Most of the kills were pretty much written and filmed as in the original script. We did have to improvise a few things due to time constraints and some other location limitations. I've worked on a lot of movies and directed several of them and utilised stunt coordinators before. So the stunt choreography actually came pretty easily.

If you could face off against any classic cartoon character in slayer form, who would you choose, and who’d win?

If I had to face off against any cartoon character, I think I'd have to take care of that Winnie the Poo guy...... And if not him, maybe the grinch in "Popeye Slays Christmas".

You were a cop for thirty years, and a fugitive hunter for five. So, who do you prefer to play – good guys or bad guys?

Yeah, for thirty years, I chased the bad guys and I prefer playing the good guy or the good guy with an edge. I'm told I looked a little bit like Jason Statham, probably because of our physical build and similar hairline..... some of the fugitives I brought back even called me the Transporter. Lol.

What’s next for you?

Watch this space but you never know, maybe part two of Popeye the Slayer Man.

POPEYE THE SLAYER MAN is currently available to scream in the UK on Digital

Apple TV - https://apple.co/41YEzFS

Prime Video - https://amzn.to/3HkDSPj

REVIEW: Death of a Unicorn (2025 Film) Starring Paul Rudd and Jenna Ortega

 

A Bizarre, Mythical Collision of Satire and Fantasy

Death of a Unicorn is a rare breed in modern cinema. It presents a completely original story that blends absurd comedy, biting satire and eerie folklore into a surprisingly emotional experience. Written and directed by Alex Scharfman in his feature debut, the film takes a concept that sounds absurd and transforms it into something oddly grounded and occasionally profound.

The plot follows Elliot Kintner (Paul Rudd) and his daughter Ridley (Jenna Ortega) as they travel to the countryside estate of Elliot’s boss. During the drive, they accidentally hit a unicorn. What starts as a freak accident quickly spirals into a strange and dangerous situation. The unicorn’s mystical properties spark a frenzy among a wealthy and powerful family, who see it not as a creature of wonder but as an opportunity to exploit. As the situation escalates, Elliot and Ridley find themselves hunted by two vengeful parent unicorns while trapped in a house full of increasingly unhinged humans.

The performances are one of the film’s strongest assets. Paul Rudd delivers his usual likeable charm but with a weariness that grounds the character. Jenna Ortega brings intensity and emotional clarity, capturing both teenage scepticism and wide-eyed wonder. Richard E. Grant plays the sinister Odell Leopold with a quiet menace, while Will Poulter, Téa Leoni, Stephen Park and Sunita Mani round out the supporting cast with memorable turns that balance absurdity with threat.

Visually, the film shows ambition. While some of the CGI falls short in high-motion scenes, the practical effects and design choices are bold and effective. There is a recurring visual motif where the unicorns change colour based on their emotions. This, combined with Ridley’s psychedelic visions and the estate’s dreamlike atmosphere, gives the film an otherworldly feel. These flourishes help create a tone that sits somewhere between fairy tale and psychological thriller.

Tonally, the film is all over the place. It swings between heartfelt moments and grotesque satire. One scene presents a magical healing miracle, the next features graphic violence. This unpredictability can be disorienting. The constant shift between themes of reverence and ridicule might alienate viewers looking for a clearer narrative lane. However, the chaos feels deliberate, even if the execution is uneven.

The greatest strength of Death of a Unicorn is its commitment to being strange. It doesn’t follow familiar paths or copy trends. The film draws on real mythology, including medieval views of unicorns as symbols of purity and divine power. These ideas are explored through Ridley, who sees the unicorns as sacred and untainted. Her journey becomes a philosophical one, wrestling with what should be preserved and what should be consumed.

Despite its flaws, the film leaves a lasting impression. The final act brings together absurd humour, horror and tragedy in a way that should not work but somehow does. It may not appeal to mainstream audiences, but it is likely to gain a cult following.

Death of a Unicorn is messy and ambitious. It may stumble at times, but it stands out in a landscape of safe, familiar stories. Scharfman's debut shows real vision and offers a rare kind of cinematic originality.

Rating: 8 out of 10.

Out Now on Digital

https://amzn.to/4k065cM

Stephen King’s The Long Walk Hits UK and Irish Cinemas on 12 September 2025

Lionsgate UK has confirmed that The Long Walk, directed by Francis Lawrence, will arrive in cinemas across the UK and Ireland on 12 September 2025. To accompany the announcement, a new trailer and official poster have been released, offering a first look at the upcoming adaptation.

Based on Stephen King’s novel of the same name, the film is scripted by JT Mollner and presented by Lionsgate in association with Media Capital Technologies. It is produced by Vertigo Entertainment and about:blank.

Francis Lawrence, known for directing several entries in The Hunger Games series, leads the project. The production team includes Roy Lee, Steven Schneider, Francis Lawrence and Cameron MacConomy.

The cast features Cooper Hoffman, David Jonsson, Ben Wang, Garrett Wareing, Tut Nyuot, Charlie Plummer, Roman Griffin Davis, Jordan Gonzalez, Joshua Odjick and Josh Hamilton, with supporting roles from Judy Greer and Mark Hamill.

The newly released trailer suggests the film remains faithful to King’s original story, depicting a brutal endurance challenge in which teenage boys must keep walking or face deadly consequences. While full plot details are still under wraps, the footage hints at a tense and emotionally charged adaptation.

The Long Walk opens in cinemas across the UK and Ireland on 12 September 2025.

Fantasy Adventure Mythica: Stormbound Arrives Digitally on 16 June

 

The Mythica saga returns with its long-awaited sixth chapter, Mythica: Stormbound, set to release on digital platforms from 16 June via Signature Entertainment. Picking up several years after the events of the previous films, the story follows a world left shattered by sacrifice.

Although Marek and the Redthorns succeeded in defeating the dark necromancer Szorlok, the cost was devastating. The gods have fallen, the land lies in ruin, and the people are struggling to rebuild after the loss of their heroes.

As the realm begins to recover, a new danger emerges. Mythica: Stormbound introduces a new protagonist who must face a rising darkness threatening to plunge the world back into chaos.

The cast includes Nate Morley, Will Kemp (Reign), Paul Cartwright (Six Days in August), Dave Martinez (The Chosen), Joe Abraham (UnREAL), and Matthew Mercer (Critical Role). The screenplay is by Jason Faller, Kynan Griffin and Justin Partridge, with direction from Jake Stormoen (The Outpost).

Mythica: Stormbound will be available to stream on digital platforms in the UK from 16 June.

Watch on Amazon UK: https://amzn.to/3EEBj9W

Eyes of the Abyss, a Supernatural Survival Thriller from Argentina's Daniel de la Vega

 

Black Mandala and Del Toro Films have unveiled the first trailer for Eyes of the Abyss, a tense and visually striking thriller from Argentine director Daniel de la Vega (On The 3rd Day, White Coffin, Jennifer's Shadow). Set aboard a warship drifting in the South Atlantic, the film weaves supernatural elements into a harrowing tale of survival.

The story follows a soldier who awakens alone among the dead, her memory fractured and her surroundings steeped in mystery. As she fends off an approaching enemy force, the boundaries between the real and the unreal begin to dissolve. The ship transforms into a haunted battleground, echoing with unresolved horrors of war.

De la Vega describes the film as a meditation on anguish and liminality. “On a warship laden with corpses and threatening to sink, the film explores the suffering of those caught between life and death,” he said. “It defies genre conventions with bold visuals and a non-linear structure.”

Eyes of the Abyss is a co-production between Furia Films and Del Toro Films, continuing a successful collaboration that has previously delivered genre titles now streaming on platforms such as Shudder. The new film is set to premiere at Cannes 2025 during the Marché du Film, under the Fantastic Galas banner curated by Fantastic Pavilion.

Uncork’d Entertainment has secured distribution rights across North America, the UK, Ireland, Australia and New Zealand.

Cast: Verónica Intile, Carolina Alfonsín, Kevin Schiele, Raymond Lee, Cristian Mariani, Pablo Turturiello, Gustavo Pardi

Writers: Luciano Saracino, Gonzalo Ventura, Daniel de la Vega

Director: Daniel de la Vega

Reality Fractures in Dimension Slip, a Tense Sci-Fi Mystery Out Now on Digital

 

Prepare to question everything in Dimension Slip, a gripping new science fiction mystery out now on UK digital platforms via Miracle Media.

Directed by Barbara Toschi (Chunks of Horror), the film stars Sophie Craig (The Adventures of Maid Marion, The Bay) as Kate, a struggling dreamer whose life is unravelling. Beset by mental health challenges and disturbing seizures, she begins to experience vivid visions of a woman who looks exactly like her.

Kate’s world is upended when she wakes in a bathroom she doesn’t recognise, surrounded by strangers who call her Hannah. Though everything appears normal to those around her, Kate is certain something is wrong. As she pieces together the unsettling reality, she realises she has slipped into a parallel dimension, one where a killer is at large, and where Hannah has seemingly taken Kate’s place in the original world.

Trapped in a life that isn’t hers, Kate must assume Hannah’s identity and navigate an unfamiliar existence filled with secrets, suspicion and mounting danger. If she hopes to survive and return to her own reality, she must uncover the truth about Hannah, and confront a deadly threat before time runs out.

Blending psychological suspense with a smart sci-fi twist, Dimension Slip explores identity, perception and the fragile boundaries between alternate realities. With strong performances and a sharp, fast-moving narrative, it offers a chilling and original take on the mystery thriller.

Dimension Slip will be available digitally in the UK from 28 April via Miracle Media.

Watch on Apple TV: https://apple.co/3RvzWNw

Preview: Bone Keeper (2025 Film) – New Horror from Howard J. Ford

 

By Jon Donnis

Howard J. Ford has completed production on Bone Keeper, his latest horror film, which follows six friends who enter a remote cave system in search of the legend of the ‘Bone Keeper’. As they explore further, they encounter a mysterious creature that may have lived there for thousands of years.

The film was produced through Ford’s company Latitude Films. His previous directing credits include The Dead, The Dead 2, Never Let Go, and Darkgame.

The cast is led by John Rhys-Davies, known for his roles in The Lord of the Rings and Indiana Jones franchises. Also featured are Sarah Alexandra Marks, Louis James, Tiffany Hannam-Daniels, Sophia Eleni, Danny Rahim, Tyler Winchcombe and Sarah T. Cohen. Giordano Aita serves as the film’s visual effects supervisor.

REinvent is handling international sales and is expected to present the first footage at the Cannes Film Festival.

In a statement, Ford said: “I’ve always been intrigued with caves and caverns and imagined if something lurked down there in the depths, so I am very excited to be making a creature-feature and reuniting with the REinvent team and not least working with the legendary Mr. John Rhys-Davies, who has been an absolute blast.”

A release date has not yet been announced.

 

PREVIEW: Lanier (2025 Film) History Resurfaces in This Lake-Based Horror - Arrives on Digital This May

A peaceful weekend turns into a nightmare in Lanier, a tense horror thriller inspired by true events and set around Georgia’s infamous Lake Lanier. Written and directed by William Eric Bush-Anderson and Cindy Kunz-Anderson, this eerie feature debut surfaces on UK digital platforms from 5 May, courtesy of Reel 2 Reel Films.

The story follows Detective Jeff Stevenson (Ali Ashtigo), who sets off to Lake Lanier with his wife (Jamie Lee) to celebrate their daughter’s birthday. The trip soon takes a dark turn when Jeff is pulled into a suspicious drowning investigation, teaming up with local detective Daniel Wilson (Jarrett Michael Collins – Captain America: Brave New World, Johnson).

While working the case, Daniel raises unsettling theories about the lake being haunted and built over the submerged town of Oscarville, a once-thriving Black community destroyed in 1912. Jeff, however, dismisses the idea, a decision that leads to dire consequences.

As masked intruders break into his home, Jeff is forced to confront a terrifying threat to his family and question everything he thought he knew about the lake and its secrets.

Lanier explores the disturbing legacy and local legends tied to one of America’s most notorious bodies of water, offering a chilling take on a true historical tragedy.

Available on digital from 5 May via Reel 2 Reel Films.

https://apple.co/445uTLd