The Last Sacrifice: An Interview with Director Rupert Russell

Rupert Russell on location with THE LAST SACRIFICE

Ahead of the UK premiere of The Last Sacrifice at FrightFest Glasgow 2025, director Rupert Russell discusses his chilling true-crime documentary. The film explores the eerie cultural forces that shaped British folk horror while investigating a gruesome and unsolved murder that continues to fascinate and disturb.

Your film is premiering in the UK at FrightFest Glasgow this year. How do you feel about that?

It is an exciting moment, especially with Glasgow being so close to Summerisle, the fictional island from The Wicker Man.

What first drew you to this project?

I only watched The Wicker Man for the first time in 2022, and to me, it did not feel like a horror film. It felt like a documentary about Britain in recent years. The madness of Summerisle was no different from the madness of the British Isles. That final moment, where Sergeant Howie begs for his life, saying, "Killing me won’t save your apples," and Lord Summerisle simply replies, "I know it will," is something I have seen reflected in daily life. When I shared these thoughts with a friend, they stopped me and said, "You do know there was a real murder that inspired all of this?"

The film centres around the unsolved murder of Charles Walton in 1945. What is the background of the case?

Charles Walton was a 74-year-old farm labourer found murdered in a field in the Cotswolds on Valentine’s Day, 1945. A pitchfork had been driven into his face, and a billhook was embedded in his throat. The scene was so gruesome that the Warwickshire police contacted Scotland Yard, which sent one of Britain’s most famous detectives, Robert Fabian. When he arrived, he described the crime as a “slaughterhouse horror.” Despite Fabian’s investigation and continued efforts by the local police, no one was ever charged with the murder.

What fascinated you about this case?

It was never about finding out who committed the crime. It was about understanding why people believed certain theories about the killer. Mysteries act as mirrors, reflecting our fears, anxieties, and cultural beliefs. When a murder goes unsolved, people fill in the gaps with their own ideas. The theories that circulated about Walton’s murder revealed something about Britain at that time. Instead of the classic horror trope of the dangerous outsider, this case introduced the idea of the hidden threat within a seemingly ordinary community.

The rural setting and superstitions surrounding Walton’s death mirror themes in films like The Wicker Man. How did these parallels shape your storytelling?

The link between fact and fiction was the most exciting part of making this film. I started by watching documentaries about real witches from the 1960s. These films were often exaggerated and theatrical, yet when I spoke to modern-day witches who had been part of them, they confirmed that they were largely accurate representations of what was happening at the time. The real events were often stranger and more shocking than the folk horror films inspired by them.

The conspiracies surrounding Walton’s murder introduced tropes that became staples of folk horror. These were not just the creations of screenwriters but were based on the speculations of police officers and amateur detectives trying to make sense of a brutal and bizarre crime.

Writer Janet Farrar (“The Witch Queen of Ireland”) being interviewed for THE LAST SACRIFICE

The media played a major role in shaping the public’s perception of ritual sacrifice and the occult in post-war Britain. Do you think this influenced the murder investigation?

Not at first. The press only picked up on the occult angle years later, after Robert Fabian wrote about it in his memoirs. His police reports from 1945 suggest that the biggest obstacle to solving the crime was the secrecy of the local villagers. He believed that in a small community like that, the killer’s identity must have been widely known. The fact that no one came forward suggested to him that the villagers either knew who had done it or understood the reason behind it and did not want the truth to come out.

What do you think is the lasting impact of the Charles Walton case, both in real-life folklore and in horror cinema?

Folk horror films of the late 1960s and early 1970s were shaped by a mix of cultural changes. Writers and filmmakers connected the Walton murder to the rise of Wicca, the counterculture movement, women’s liberation, class conflict, and the broader shifts happening in Britain at the time. These ideas all swirled together around the figure of the witch, who became a symbol of both fear and rebellion.

How would you compare British folk horror films of the ‘60s and ‘70s to the American ones that followed?

British folk horror often revolves around a member of the professional class, a teacher, doctor, or policeman, who arrives in a rural village and becomes the target of a conspiracy. The villagers, often under the influence of an aristocratic leader, are portrayed as resisting modern progress in favour of older, more sinister traditions. These films reflect a fear that the post-war social changes brought in by the Labour government might be undone, returning Britain to a feudal past.

American folk horror, by contrast, tends to feature tourists who unknowingly walk into danger. Films like An American Werewolf in London or Midsommar are about outsiders encountering a cult, rather than a clash between social classes. The fear is less about political regression and more about the dangers of extreme ideology. Given that many early American settlers were religious extremists, this fear makes a lot of sense.

What is your favourite folk horror film?

I did not know much about the genre when I started making this film, but I loved discovering it. Some of my favourites are Penda’s Fen, The Plague of the Zombies, Twins of Evil, and Demons of the Mind.

Finally, what is next for you?

I have two fiction horror films in development, as well as another archive documentary.

THE LAST SACRIFICE SCREENING DATES

October 24:      Dublin: The IFI (as part of HORRORTHON)

October 28:      London: The Nickel + Q&A with Rupert Russell

October 30:      Manchester: Home + Q&A with Rupert Russell

October 30:      Edinburgh: The Cameo

October 30:      Epsom Cinema

October 30:      London: Finsbury Park Cinema

October 30:      Liverpool: FACT

October 30:      Liverpool: The Plaza Community Cinema

October 31:      Lewes: Depot cinema + Q&A with Rupert Russell

November 1:     London: Picturehouse Central + Q&A with Rupert Russell

November 1:     Lancaster: The Dukes

PREVIEW: THE LAST SUPPER (2025 Film) - Red Owl’s Haunting Horror Feast

Red Owl presents THE LAST SUPPER, a chilling new horror film directed by Pick Poison, Christer B. Runde, Aleksandr Boikov, Doyeon Noh, Felipe Vargas, Craig D. Foster, and Marc Martínez Jordan. From the team behind international hits The 100 Candles Game and Asylum: Twisted Horror and Fantasy Tales, the movie delivers a fresh approach to horror, blending elegance with brutality and multiple viewpoints to create a distinctive cinematic experience.

The film spans the full range of horror, moving from psychological tension to intense body horror, with moments of dark humour woven throughout. Food serves as a central motif, transforming each story into an exploration of the grotesque, the forbidden, and the delightfully macabre.

THE LAST SUPPER follows a mysterious man enjoying an exquisite meal in an empty house, joined by an unseen guest. From this strange dinner, a succession of terrifying stories unfolds, probing deep human fears of hunger, flesh, and survival. The narrative moves through suspenseful, shocking, and sometimes unsettling moments, maintaining a constant sense of dread.

The cast features Santiago Ríos, Nicolas Melian, Tyler Sanders, and Taylor Jorgensen, each delivering performances that heighten the eerie, food-infused atmosphere of the film.

With its striking visuals, inventive storytelling, and uncompromising horror, THE LAST SUPPER promises a cinematic experience that will captivate and unsettle audiences who crave a bold, sophisticated take on terror.

Interview with Can Evrenol

Ahead of the UK premiere of THE TURKISH COFFEE TABLE at FrightFest Halloween, director Can Evrenol reflects on the challenges of screen adaptation, tackling dark subject matter and the anticipation of the biggest home release of his career.

What drew you to remake The Coffee Table into The Turkish Coffee Table?

Most of my short & feature films are about family, the social claustrophobia of the family, mostly there’s a baby, usually there’s death in the family and mostly there’s a key scene around the dinner table! It was a match made in heaven for me. (Or hell, for that matter!)

How did you balance preserving the tone or key themes of the original with infusing your own creative voice?

I just treated it as a cultural translation where I had full creative licence. The story felt like it was bound to go even deeper and crazier once set up in Turkey, because of the madness of modern Turkey.

What was your approach to casting, especially around the lead roles and any roles that might evoke comparisons to the original?

I wanted to do this with a Turkish comedy star. Just like Adam Sandler doing Uncut Gems. But I didn’t think any of the comedy stars in Turkey would be interested in such a dark experiment of the human soul - until I met Alper Kul! He was amazing. So was Algı Eke who plays the wife.

Were there moral or censorship constraints that shaped your creative decisions?

None. I went as dark or as funny as the original did - if not more. I think I did push the envelope a bit more, with full respect and in awe of the original.

Given your past films like Baskin and Saýara, what thematic throughlines or obsessions do you see connecting them to The Turkish Coffee Table?

Family. Dark fate. Social claustrophobia. Sudden mood changes. 

Alper Kul in The Turkish Coffee Table

How do you anticipate different audience reactions, between those who know the original and those seeing your adaptation fresh?

I hope those who’ve seen the original will be happily surprised by the acting, the cinematography, and the ending of our film. Also, the music. But mostly the sterile weirdness of the whole thing. It’s a bold remake, in tone.

What was the most difficult scene to shoot, and how did you overcome those difficulties?

The very first scene when our lead character is confronted with the death of his baby. That was the day when we all thought, ok this will be the bomb! The actor was positively very worried to get it right. He had never done such a dark scene in his storied career. 

What can you tell us about the films planned release?

This will be the biggest home release of my career. It’s exciting. It will be on theatres across the country. People will be shocked! - and double shocked to find themselves laughing at this.

Finally, what’s next?

I am currently on the post-production of my first non-genre feature film which I shot over the summer in my own neighbourhood with an extremely tight crew and non-professional (but amazing) actors. It’s a strictly +18, erotic, punk, and emotional love letter to French New Wave; titled “Beril_XXX”.

THE TURKISH COFFEE TABLE is showing at The ODEON Luxe West End on Sat 1 November at 6.40pm and 7.10pm, as part of FrightFest Halloween 2025.  Can will be attending.

COMPETITION: Win Malpertuis (Limited Edition) on Blu-ray

From Radiance Films comes this cult masterpiece in a definitive edition that celebrate the allure of Harry Kümel’s work. 

And to celebrate we have a copy to give away!

Synopsis:

Malpertuis (1971) Plunges audiences into the surreal with a haunting tale of ancient gods, crumbling mansions and cursed bloodlines.

Adapted from the novel by Jean Ray and featuring legendary filmmaker Orson Welles (Citizen Kane) in a towering late-career performance, the film centres on a young man trapped in a labyrinthine house where family secrets blur into mythic horror. Jean-Jacques Griffon (Mathieu Carriere – India Song), a disillusioned young man, returns to his ancestral home after his father’s death, only to find the sprawling mansion has become a cryptic maze filled with strange inhabitants. His dying father has trapped several relatives and mysterious figures inside Malpertuis, an ancient, decaying mansion rumoured to be a prison for old gods

disguised as humans. As Jean-Jacques navigates a world where myth bleeds into reality, he unravels disturbing secrets about his family’s cursed legacy and the supernatural forces at play. 

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

Enter now for a chance to win.

What is the name of the character played by Mathieu Carriere in Malpertuis?

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 20-10-25

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.

REVIEW: The Long Walk (2025 film) - Starring Cooper Hoffman

By Jon Donnis

Francis Lawrence’s 2025 take on Stephen King’s novel arrives with a premise as harsh as it is simple. Fifty boys are forced to walk until only one is left standing, watched by soldiers and a hungry crowd. That single idea drives the entire film, giving it a mood that is bleak and unrelenting.

The acting is where it shines. Cooper Hoffman carries the story as Ray Garraty, bringing a mix of grit, exhaustion and quiet decency that feels completely real. When the focus narrows to small exchanges between the walkers, those moments land because Hoffman gives them a weary sincerity. The rest of the cast are fine, and the rare flashes of camaraderie among the boys provide the only real warmth.

Beyond that the positives thin out quickly. Once you grasp the rules of the Walk there is little left to uncover. The film stretches the concept to nearly two hours, and the pattern becomes predictable. A death, a burst of grief, a bit of talk, then more marching. The cycle repeats until the sense of tension gives way to a dull rhythm.

The lack of surprise is another drag. Key events unfold exactly as expected, draining the big moments of impact. The bleak tone, effective at first, slides into monotony. Even strong performances cannot disguise how thin the material feels. Scenes often play like filler rather than character study, and the story cries out for a tighter format that could deliver the same punch in half the time.

There is a grim honesty to the film that may appeal to anyone who prefers their dystopia stripped of polish. But it misses chances to explore its own premise or build a deeper emotional arc. What might have worked as a sharp forty-minute piece feels stretched and weary as a feature.

The Long Walk boasts a superb lead turn and commits fully to its grim vision, but it drags far too long and offers little that surprises. I left impressed by Hoffman and frustrated by how little else it achieved. My score is 4 out of 10.

In cinemas now.

On Digital Soon

https://apple.co/4nLCOE2

Interview with Thorne & Cross by David Kempf

Do you prefer short stories or novels?  

When we met, we tried to write a short story to see if we were compatible. It immediately turned into a novel. We’re both character writers, and short stories don’t give us the space we need to explore. We thrive on intricate plots and multiple points of view. 

How would you classify the genre of writing in your work?

We definitely fall into the broad category of horror, sure, but we go in a lot of different directions. We both love Gothic. We love ghosts. And another thing we really love getting into is abnormal psychology -- serial killers in particular. While we generally have something paranormal going on in our books, sometimes (as in Mother), we focus purely on human monsters -- which, as far as we’re concerned, are the worst monsters of all.  

How did you decide to collaborate and how long have you been doing it?

After Alistair interviewed Tamara on one of his long-ago blogs, that was that. It was kismet. We spoke or texted everyday after that. We still do. That was almost fifteen years ago. Tamara read Alistair’s previous novel and liked his style. Alistair read Tamara with the same reaction. We had the same interests and sensibilities -- and our styles were quite similar. Add to that, we’d both had dark experiences with previous collaborators that drew us together. 

While we were both wary of collaborating again, mutual trust was instantaneous. Having dealt with unseemly amounts of drama in our previous collaborations, the possibility of finding a kindred co-author was too strong to deny. Within two weeks of our daily chats and texts, Tamara proposed trying to write a short story together. That turned into our first book, The Cliffhouse Haunting. Not only did that “short story” turn into a full novel, but it was so long that we ended up cutting over 50,000 words to get it to publishable length. That’s when we learned that neither of us had problems “killing our darlings” and that our egos were compatible. 

What is your average writing day like working as a team?

We get together in our virtual office five days a week and go into our documents, where we work together. We split the day between collaborations and solos. We also spend a little time on our newsletter and marketing a few days a week. We write together, quite literally, on our collaborations, and read back and edit daily. We write our solos independently, of course, but still in our office. We read those aloud to each other daily as well. We brainstorm together, edit together, and take our breaks together. One of our favorite pastimes is when one of us sneaks in and does absurd rewrites on the sly to surprise whoever’s reading aloud. Sometimes we share the cleaner rewrites on Facebook. Sometimes we leave the cruder ones for our editors to find, just to make sure they’re paying attention. 

Do you have any advice for writers who want to collaborate?

Finding the right collaborator is rare, so never undertake a partnership lightly. Remember, you’re going into business. We’re basically an exception to the rule -- and we don’t take that for granted. We know from personal experience, as well as many stories from others who’ve tried collaborating, that it’s usually a disaster. 

Collaborations can and do work out, but they’re the exception, not the rule. If you’re going to partner up with someone, make sure you’re more alike than not. Opposites may attract, but compatibility is key for a lasting partnership.  We were attracted to one another because everything was in alignment -- our attitudes about writing and business, our pasts, our vision, our emotions, and even our senses of humor. One of the main things we have in common is our mutual aversion to drama. 

  

You both write solo novels as well as collaborations. Do your separate worlds ever merge?

All the time. We call it cross-pollination. For instance, Tamara created deejay Coastal Eddie Fortune way back in her novel, Candle Bay, but he now appears in most of our books -- including Alistair’s solo works. We have lots of cameos between our solos and collaborations -- ours is a shared universe. Readers love looking for Easter eggs from book to book as much as we love adding them, so we’re always on the lookout for opportunities to add more. We share locations, fictional TV shows, books, celebrities, restaurants, just about anything you can name. We keep it wide open. 

Do you ever maim or kill your real-life enemies in your books?

We wouldn’t give them the satisfaction.

Speaking of unsavory people, have either of you had to deal with stalkers?

Oh, just a few… Tamara had one follow her home from a book signing. Another one hacked into her work-in-progress and created a lot of havoc. Her very worst one involved phone calls, literal stalking, parking outside her house, and crazy letters. It went on for years. At the time, her friend and publishing mentor, Chelsea Quinn Yarbro, counseled wearing “Teflon armor” -- meaning never let the shit stick to you and never respond. It’s advice she lives by to this day and passed along to Alistair, who has had more than his fair share of unstable admirers. He’s experienced stalking in the online world as well as the real world, and has learned never to divulge personal information.f We are of the belief that if you’re in front of the public in any capacity -- including simply being present on social media -- a few unusual characters will inevitably come out of the woodwork and try to lay claim to you or your work in some way. It’s best to keep your head down, focus on the job, and be very, very careful about how much of yourself you give away. 

What about the unsavory characters in your novels? Who are some of your favorites and why?

Prissy Martin might be our very favorite. She’s the star of our thriller, Mother. Prissy is just your basic full-on narcissistic, power-hungry, manipulative, dangerous, sociopathic everyday mother next door. Another favorite is Roger Siechert from The Cliffhouse Haunting. Poor old Rog is a doctor and a horn dog who loves making sausage and dressing up in lederhosen for Oktoberfest. Unfortunately, he’s easy to push over the edge. We love Roger, especially when he’s singing The Happy Wanderer.  In The Ravencrest Saga, our constant villain is the witchy Mrs. Heller. She’s oversexed, overaged, and always trying to get into our heroine’s body.  All Mrs. Heller wants is love, and she has a sex dungeon to prove it.

Our new favorite villain is the subject of our latest collaboration, The Bride of Ravencrest. Amelia Randall Manning is probably the scariest character we’ve ever written. Just wait til you see what she keeps under her skirts! 

Tell us a little more about your latest entry in The Ravencrest Saga

Okay, here’s how we sum it up:

At Ravencrest Manor, the organ in the abandoned east wing begins to play -- low, mournful, and mad -- and the walls tremble with each chord. The Bride is awake.

Centuries ago, she wed Sir Lionel Manning, only to lose him to war. Alone and slowly going mad, she gave birth to a son who died in his crib -- or so the legend goes. Locals whisper that the child’s bones still cling to her beneath her tattered wedding gown, and that the ghost of her long-dead husband remains trapped in the scorched armor displayed in the dining hall.

Then the Bride, broken by grief, solitude, and something far darker, sealed her fate by taking a second husband: Ravencrest itself. Locked away, she slept for centuries, even as the manor was uprooted and brought to California. But now, something has disturbed her slumber. The Bride is restless -- and hungry for the life she was denied.

Whispers crawl down the walls. Shadows stretch too long. And as spectral unrest builds and ancient curses stir, governess Belinda Moorland is torn between leaving Ravencrest behind, or facing the Bride … and the darkness she was born to defeat.

What are your favorite horror novels?

Our favorite newer novel is September House by Carissa Orlando. What a unique, spooky, and funny take on traditional haunted house tales. It’s a delight. Going back in time, we both teethed on Shirley Jackson’s The Haunting of Hill House, and Matheson’s Hell House. We love Peter Straub’s Ghost Story and If You Could See Me Now. Another big favorite is Rebecca by Daphne du Maurier. We both feel Michael McDowell can do no wrong, but The Elementals is a special favorite. When it comes to Stephen King, we love Gerald’s Game, Salem’s Lot, The Shining, Carrie, and The Body (Stand by Me). Fevre Dream by George R R Martin, Dracula by Bram Stoker, Interview with the Vampire and Violin by Anne Rice are all favorites. Robert McCammon is beloved by both of us. Our favorites of his are Boy’s Life, Mine, and Usher’s Passing.

What are your favorite horror movies -- the ones you have to watch every Halloween?

First, our favorite new horror movie is Abigail. Otherwise, every Halloween, we watch these movies: Ghost Story, The Shining, The Lady in White, Halloween, Halloween 3, Halloween H20, The Changeling, The Woman in Black (BBC version), The Haunting (1963), Rocky Horror Picture Show (Tamara only), Shawn of the Dead, Wait Until Dark, Evil Dead 2, The Ghost and Mrs. Muir, and The Uninvited. 

Do you have any favorite horror novels that are also favorite movies?

Yes. The Exorcist and Legion (Exorcist III) written by William Peter Blatty, were made into movies by Blatty’s brilliant collaboration with director William Friedkin. 

First, the books are exceptional. The plotting is tight and the characters are compelling. Tension builds, taking us from each character’s everyday world, whether it’s unique, pleasant, or mundane, and amping things up in various ways that at first seem to barely be connected. They’re like instruments in an orchestra tentatively playing notes until they all come together in a complicated symphony that entrances, hypnotizes, and terrifies. As much as you want to look away, you can’t.

One of our favorite writing exercises involves the movie, The Exorcist. If you sit down with the film and take notes on the scenes and their order, you’ll see just how brilliantly the film is put together. It’s very instructive.

What’s coming up for Thorne & Cross?

We both love Gothic horror and happily wallow in it. We took a break from gothic Ravencrest to write our equally gothic Spite House Chronicles. Now we’re back to the Ravencrest Saga with The Bride of Ravencrest appearing this month. Our sixth entry, The Curse of Devilswood, will be out next year. You can only imagine what’s going on in that one!

We’re also kicking around the book that will follow Mother. Mother is about a matriarch that would make Norman Bate’s mom look like Martha Stewart. We can’t tell you who the next book is about, but we can say we sure do enjoy exploring twisted family dynamics. 

Solo-wise, Alistair’s next novel in the Vampires of Crimson Cove series will appear in 2026, as will Tamara’s next Old Wives’ Tales novel, The Spiral Sea.  

BIOS:

Tamara Thorne has written such international bestsellers as Haunted, Bad Things, Moonfall, and Eternity. A lifelong lover of ghost stories, she is currently working on collaborations with Alistair Cross as well as a new solo novel in her Old Wives’ Tales Series. Learn more about her at: www.tamarathorne.com

Alistair Cross' debut novel, The Crimson Corset, a vampiric tale of terror and seduction, was an immediate bestseller earning praise from veteran vampire-lit author, Chelsea Quinn Yarbro, and New York Times bestseller, Jay Bonansinga, author of The Walking Dead series. He’s currently working on a new novel in his Vampires of Crimson Cove series. Learn more about Alistair at  https://www.alistaircross.com/

In 2012, Alistair joined forces with Tamara, and as Thorne & Cross, they write the successful Gothic series, The Ravencrest Saga as well as such bestsellers as The Cliffhouse Haunting, The Spite House Chronicles, and Mother. They’re currently working on their next collaboration.

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PREVIEW: Delivery Run (2025 Film) A Chilling Midnight Chase

 

A late shift turns lethal in Delivery Run, a gripping new horror starring Alexander Arnold and landing on UK digital platforms on 6 October 2025 through Plaion Pictures. Directed and co-written by Joey Palmroos, the film caused a stir at Grimmfest 2024 and is drawing praise for its sharp mix of brutal tension and sly humour. Horror Fuel calls Arnold “terrific as a likeable loser we can’t help but cheer for,” while Screen Sphere describes it as “a bloody and fun rollercoaster of a horror film” that delivers both scares and wicked laughs.

The plot centres on Lee, a delivery driver drowning in gambling debts and trouble he can’t shake. Arnold brings weary charm and raw energy to the role as Lee heads out on a freezing night shift across the backroads of Minnesota, hoping to scrape together quick cash. A minor clash with a menacing snow plough soon explodes into a deadly game of cat and mouse. What starts as petty intimidation becomes a relentless pursuit across frozen rivers, silent truck stops and endless winter highways, each turn cranking up the danger.

Armed with a battered car, a dying phone and sheer stubbornness, Lee has to outthink a driver hell-bent on grinding him into the snow. The result is a nerve-jangling road trip from hell that fuses survival horror with the rush of a high-speed thriller. With strong support from Liam James Collins, Arthur Sylense, Jussi Lampi and Nadine Higgin, Delivery Run promises a sharp and chilling ride that never eases off the accelerator.

On UK digital platforms 6 October 2025.

https://apple.co/4pZ9dZM