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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Apple TV - https://apple.co/3NzbQmz

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

 

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

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

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

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

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

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

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

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

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

Out now.

https://apple.co/4t7TwAK

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

By Jon Donnis

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

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

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

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

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

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

Play Dead is on UK digital 9 March from Seven Tales

Apple TV - https://apple.co/40KDcsK

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

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

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

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

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

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

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

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

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

Apple TV - https://apple.co/4sg5cjU

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

 

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

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

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

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

Out on Digital

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

COMPETITION: Win DOGTOOTH on Blu-ray

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

And to celebrate we have a copy  to give away!

Synopsis:

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

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

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

Enter now for a chance to win.

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

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

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

1. Closing date 09-03-26

2. No alternative prize is available

3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.

4. Winners will be chosen randomly and will be informed via email.

5. Entries that come directly from other websites will not be accepted.