Interview with Ed Crimi - Owner and Curator of Vampa Museum by David Kempf

 Ed Crimi  - Owner and Curator of Vampa Museum in Doylestown, PA

1. When did your group first become interested in horror?

My fascination with horror and the paranormal began when I was about 13 or 14 years old, growing up in Brooklyn. I remember listening to my father tell extraordinary stories about his uncle and great-uncle, both of whom were full-time priests and exorcists in Catania, Italy. Those stories sparked a fascination with the supernatural that has stayed with me throughout my life.

2. Did you always think a full time museum was the right venue for your subjects? How did you come up with the name VAMPA?

My daughter Francesca came up with the name VAMPA while we were searching for a name for the museum. We decided on Vampire Art Museum of Paranormal Activity, which later also evolved into Visual Arts Museum of Paranormal Antiquities. I was excited about creating the museum, not only as a place to share my passion for the supernatural but also as a stepping stone toward ministry work, which has now become an important part of what we do.

3. Do you prefer the Halloween season over the rest of the year?

Not necessarily. I enjoy it because people tend to be more interested during that time of year, but personally, I love all the seasons.

4. Is there another genre or subject like murder mystery that you are interested in?

I’m more interested in philosophy, psychology, and neuroscience because I believe that understanding the human condition requires exploring the connection between spirituality, psychology, and neuroscience.

5. When did you first decide to make vampires the central subject of your museum’s exhibits?

About five years ago, I realized that my extensive collection of vampire-related art and antiquities had grown to the point where I wanted to share it with the public. That was when I decided to make vampires the central focus of the museum.

6. Do you do any props or production and mask making yourself?

No, we don’t do that. However, we do rent out some of the magnificent objects from our collection for use on movie sets.

7. Do you believe viewers need to horror fans in order to enjoy your work?

Absolutely not. We are an academic art museum that explores the age-old battle between good and evil. People are fascinated by the mystery, history, and deeper meaning behind this timeless struggle.

8. Why do you think horror books and movies remain so popular?

I believe our fascination with vampires also has a neurological and psychological connection, which helps explain why they have remained so popular throughout history. At the heart of it is our fear of death, the concept of memento mori, the reminder that we are all mortal. Vampires, on the other hand, represent the possibility of immortality, something that has fascinated humanity for centuries.

9. Why do you think that people are obsessed with learning something new about classic films like Dracula or Nosferatu?

Films like Dracula and Nosferatu are beautifully made and visually captivating. They demonstrate that you don’t need excessive gore or violence to stimulate an audience’s imagination. Their atmosphere, mystery, and artistic qualities continue to fascinate viewers, which is why people remain interested in discovering new details about these classic films.

10. Who inspires you?

Jesus Christ inspires me because of his message and teachings. I also admire Muhammad and Buddha, and I remain open to different religious beliefs and philosophies. Our ministry is founded on the principles of love, compassion, and charity, values that I believe transcend religious boundaries.

11. What are some of your favorite horror books?

I love anything written by Bram Stoker. His work has always fascinated me, particularly the way he combines horror, mystery, and the supernatural.

12. What are some of your favorite horror movies?

Although it’s not a movie, I’ve always loved the television series The Night Stalker. I’m also a fan of just about every Dracula film ever made.

13. What are your current projects?

Some of my current projects include expanding the museum and growing our ministry so we can reach more people, offer greater support, and make a meaningful difference in their lives through love, compassion, and charity.

14. Please in your own words write a paragraph about yourself & your organization’s work.

I have spent much of my life fascinated by art, history, philosophy, psychology, and the mysteries of the human condition. My interest in the supernatural began at an early age, growing up in Brooklyn and listening to my father tell stories about his uncle and great-uncle, who were priests and exorcists in Catania, Italy.

Over the years, I assembled an extensive collection of extraordinary art and antiquities, which eventually inspired me to establish VAMPA.

VAMPA is much more than a museum about vampires. It is a place where art, history, religion, and the eternal struggle between good and evil come together, encouraging visitors to explore the mysteries of life, death, and the human spirit. I am particularly interested in the connections between spirituality, psychology, and neuroscience, and how they influence our understanding of the world.

Beyond the museum, one of my greatest passions is expanding our ministry, which is dedicated to love, compassion, and charity. My goal is not only to preserve and share remarkable objects and their history, but also to help people, inspire curiosity, encourage understanding, and make a positive difference in the lives of others.

For those interested in learning more about my personal journey, my experiences, and the story behind my lifelong fascination with the supernatural, I share much more of my life story in my book, Vault of the Vampire.

You can visit the Vampa Museum at 3686 US 202, Doylestown, PA 18902

Check out https://www.vampamuseum.com for more details
 

PREVIEW: Trick and Treats - (2026 Film) - Starring Malcolm McDowell and Gary Busey

 

Preview by Jon Donnis

Trick and Treats, a new horror film directed by Eric Hector and starring Malcolm McDowell and Gary Busey, arrives on UK digital on 19 October through Miracle Media, following its release in the US.

The film takes inspiration from the old nursery rhyme Peter, Peter, Pumpkin Eater, introducing a sinister jack-o'-lantern named Trick, voiced by McDowell. More than two centuries after the rhyme first appeared, the story moves to a decaying roadside biker club, where Pastor Joseph (Busey) believes the pumpkin is connected to the infamous nursery rhyme.

Joseph attempts to steal Trick, but his plan fails. His warnings about the pumpkin are dismissed as madness, leaving a group of young friends to discover whether there is any truth behind the strange tale.

While celebrating Halloween, Ashley (Loren Ledesma) and her costumed friends find themselves at the roadside bar. Their evening takes a terrifying turn when a gang of bikers captures them and threatens to torture and kill them.

With the situation becoming increasingly desperate, Ashley begins hearing Trick's voice in her head. Whether the ancient pumpkin is attempting to help the group or has more sinister intentions remains unclear.

Trick and Treats combines supernatural horror with a tale of captivity and violence, drawing on familiar Halloween imagery while giving the traditional pumpkin a murderous twist.

Trick and Treats arrives on UK digital on 19 October, courtesy of Miracle Media.

Apple TV - https://apple.co/4zAGGxz

PREVIEW: Haunted (2026 Film) - Starring David Daradan, Joseph Baronio, Nathaniel Kelly, Jack Rawlinson and Jordan Bender

 

Preview by Jon Donnis

An unexplained incident on a beach, a series of teenage disappearances and a man troubled by disturbing memories form the basis of HAUNTED, a supernatural horror film directed by Myles McEwen and Ripley Stevens, whose previous work includes Nightfall.

The story begins on 19 October 2003, when a violent storm hits the remote Australian town of One Season. That night, something happens to a group of teenagers on the beach, leaving a lasting mark on the community. The details remain a mystery, but the consequences begin to emerge four years later, when teenagers start disappearing and unsettling events suggest that whatever happened that night has not been forgotten.

At the centre of the story is Sol, a reclusive man living with fragmented memories and disturbing visions. His isolation is disrupted when the house he occupies faces demolition, forcing him to confront a world he has spent years avoiding. As a supernatural presence begins to stalk him, Sol finds himself drawn towards the mystery surrounding the storm and the events that followed.

HAUNTED seems to be a film interested in buried secrets and fractured memories as it is in the supernatural. Its isolated coastal setting provides a fitting backdrop for a story in which an apparently quiet town conceals something far more disturbing. The connection between the disappearances and the events of 2003 gives the mystery a clear direction, while Sol's uncertain grasp of his own past raises questions about what he remembers and what he may have misunderstood.

The film's emphasis on atmosphere and unsettling imagery suggests a slow-building approach to horror rather than a story driven solely by sudden scares. Whether the mystery can sustain that tension will depend on how effectively the film connects its supernatural elements with the tragedy at its centre.

With Sol attempting to piece together a past that continues to intrude on his present, HAUNTED sets up a story about the consequences of events that a community may have tried to leave behind. The question is whether uncovering the truth will offer any escape, or whether some secrets are better left undisturbed.

This is one film I am really looking forward to seeing!

HAUNTED is represented internationally by BLACK MANDALA.

Interview with Sean Hogan - Director of The Dark Gets In

Ahead of the international premiere of his latest feature, THE DARK GETS IN, at Tubi FrightFest Halloween on 31 October, Sean Hogan discusses the film’s journey, the challenges of working with improvisation, and drawing on personal loss.

THE DARK GETS IN has been described as a’ mock-true crime documentary.’ What true-crime cases / TV series did you draw your inspiration from?

The true crime elements were something that came about via a discussion with the film's producers, who admittedly were more familiar with those sorts of shows than I was. They were keen to make something along those lines, which led me to suggest that we utilise a fictional documentary format. That way we could play around with classic true crime tropes but also take the story in some unexpected directions. So I did have to brush up on my true crime in order to write the screenplay! In the end, the one that probably inspired me the most was Joe Berlinger's The Vanishing at the Cecil Hotel.

Sean Hogan on the set of THE DARK GETS IN

We follow the harrowing case of a missing female teenager. You’ve gone on record as saying that you have lost close family members suddenly and unexpectedly and know just how wrenching that experience can be. How did this inform the creative process?

It's true that I have been through the experience of losing family members very suddenly. That wasn't actually something I consciously thought about when I started writing the script; it was only when we started production that I realised I'd probably been channelling those feelings without really even being aware of it. The thing is, when I look back at the work I've been doing in the last 5-10 years, I can see now that a lot of it is actually attempting to come to terms with those same experiences. With this particular film, it just made me want to try and deal with those sorts of emotions as honestly and realistically as I could. I've seen first-hand what a tragic loss like that can do to a family, and the terrible grief and incomprehension that springs out of not being able to properly explain or understand why such a loss happened. While the film ultimately goes to places that are not naturalistic, it still felt important to ground the core drama in something that felt very raw and real.

You wanted actors that were deft at improvising to help create a sense of documentary reality. How challenging was it to get the right cast, given the naturalistic narrative style required?

It did take quite a long time. When we put out the initial casting call, I think we had hundreds, if not thousands of applicants. So firstly, we had to look at a lot of showreels and decide who the best candidates for the various characters might be. However, improvisation is a very particular skill and not something that all actors are proficient at. We then had to hold an improvisatory audition process where we asked the people on our shortlist to answer some interview questions in character. That gave us a much better idea of who would be able to work in this sort of naturalistic off-the-cuff style. In a couple of cases, I felt like I was already seeing the character I'd written in those audition tapes and couldn't imagine anyone else playing them – luckily those particular actors went on to accept the roles!

Kezia Cotterrell as Aisling in THE DARK GETS IN

What do you want audiences to take away?

I hope they're as interested in the human drama of the film as the more horrific elements. The film does take a fairly slow-burn approach and you spend a while getting to know the characters before any supernatural elements start to creep in. It's really an experiment in trying to create a sense of slowly mounting dread, which is always more interesting to me than a succession of “boo!” moments. Of course, I also want people to enjoy the horror once it arrives. I suppose I'd like audiences to walk away from the film thinking that they'd seen something that managed to be both frightening and tragic.

Can you describe your personal journey making this film?

I'd never made anything like this before. Although there was a written script that served as the roadmap/bible for the film, I've never utilised improvisation to the same extent that we did here. That could be nerve-wracking at times but also incredibly exciting. I gave the actors a lot of freedom to come up with their own ideas and some really creative material came out of that. The finished film does follow the basic narrative structure of the original screenplay, but there are also moments in there that I never would have written myself. The process of making something in this fashion wasn't always easy, but it was incredibly invigorating. I feel like the whole experience has taught me an incredible amount, even if I never make anything in quite the same way again.

The title The Dark Gets In suggests a theme of creeping, unstoppable corruption or psychological unravelling. What is the "dark" representing for you, and how does it manifest for your characters?

As you say, it can be read in several different ways. In the film, the character of Natasha talks about a darkness that has followed her all her life: an early childhood tragedy that now seems to be repeating itself. That threat is ultimately revealed as something very specific: darkness personified, if you like. By the climax of the film, these same dark forces will have literally “got in” and invaded the family home. But there's also an interior darkness to some of the characters, a suggestion that the people we're closest to in life might have murkier aspects to their personalities that we never normally see. Added to which, the film also looks at how the internet functions as a kind of breeding ground for darker behaviour, an arena in which online anonymity permits people to indulge in all sorts of illicit fantasies and forbidden impulses. And given that the internet is now in almost all our homes, it can very easily serve as a pipeline to channel this kind of darkness directly into people's lives.

Much of your previous work, like The Devil's Business, thrives on tense, Pinteresque contained spaces. Does this film continue that tradition, or are you experimenting with a more expansive canvas this time?

The nature of this film means it can't help but be somewhat more expansive, simply because of the number of characters and locations. The documentary form dictates that you're constantly cutting from here to there and back again, so you can't really build that same atmosphere of claustrophobia. On the other hand, I hope The Dark Gets In still has a similar sense of tension, that same inexorable feeling of events spinning slowly out of control. Although they take very different forms, both this film and The Devil's Business are ultimately about characters finding themselves trapped in situations they can't possibly control or understand; and finally coming to the realisation that the world is a much more illogical and terrifying place than they ever imagined.

You’re known for brilliantly imbuing character-driven drama with classic horror genre themes. Does this stem from your literary roots?

I suppose that while I loved horror from a very early age, over time I also became interested in other creative areas, be that different kinds of films or novels or theatre. Everything I do now is just kind of a stew of those sorts of influences. I do take a lot of care over the writing process; ideally, I guess I'm trying to make films where both the visuals and the dialogue are equally important. It always seemed obvious to me that horror movies were better when they took the time to create interesting characters and give them well-written dialogue to say, so that's just something I've always striven to do. I also believe that genres need to expand and progress in order to stay relevant, and one of the ways you achieve that is by bringing in outside influences, whether that be (in my case) Pinter or Bergman or true crime documentaries or a hundred other things.

You’re very much a stalwart of independent filmmaking. Beyond directing, you have championed the genre by writing extensive metafiction and books deeply rooted in the history of cult and independent cinema. Is this something you want to continue doing?

I hope I can continue doing all of it! Getting films produced is always very difficult; part of the reason I started writing prose fiction is because I hadn't been able to make a film for several years. Luckily, that all changed recently but there are never any guarantees it will continue. So I will keep on writing fiction regardless, because that's much more under my control. I'm not sure whether I'll write any more actual cinema metafiction, as I've published several books in that vein now and there are other things I want to do. But whatever I write will probably always have at least one foot in the genre: my most recent novel was a folk horror/psychological thriller, and I've just finished the first draft of a noir/horror novel.

Finally, what can you tell us about future projects?

There is one really exciting project bubbling under which involves a classic horror property, but I'm still waiting to be given a contract, so can't say any more. Beyond that, I have a US-set script I'm trying to make, and a TV miniseries I'm developing. I'm also working on an idea for another UK indie film. I wish I could be more certain about what might happen next, but such is the nature of the business. We'll just have to see how this film is received and if anything else comes of it!

THE DARK GETS IN is screening at Tubi FrightFest Halloween at the ODEON Luxe West End on Saturday 31 Oct, at 3.40pm and 4.10pm.

PREVIEW: Rise of the Rats (2026 Film) - Starring Grace Gallagher, Mark Collier, Tania Staite, Jamie Nowski, Shayli Reagan, Darren Le Fevre, Adrian Annis

 

Preview by Jon Donnis

RISE OF THE RATS is a new horror-punk feature from Black Mandala, directed by Stephen Roach, whose previous work includes The Crucifix: Blood of the Exorcist and Cookster: The Darkest Days.

The film follows Kayla Thornhill, a rebellious young punk who travels with her estranged father, Jack, to Ditchfield, the town where he grew up. Their uneasy return soon takes a darker turn when Kayla discovers that the town is dealing with a relentless rat infestation.

There is more to Ditchfield's problem than an abundance of vermin, however. As Kayla begins digging into the town's history, she uncovers whispers of a brutal act of collective violence committed decades earlier, along with a secret that the residents have spent years trying to bury.

That buried history has given rise to the Rat Man, a grotesque embodiment of the town's guilt, violence and unresolved trauma. With hordes of bloodthirsty rats at his command, he begins taking revenge, sending Ditchfield into chaos as the death toll rises.

Kayla is left caught between the horrors unfolding around her and the truth about her father's connection to the town's darkest secret. As the past begins forcing its way back into the present, she must confront what really happened in Ditchfield and the consequences of leaving it buried.

Directed by Roach, RISE OF THE RATS draws inspiration from 1980s genre favourites including The Lost Boys, A Nightmare on Elm Street and Gremlins, while combining horror with dark humour, punk energy and a distinctly British setting.

Starring Grace Gallagher, Mark Collier, Tania Staite, Jamie Nowski, Shayli Reagan, Darren Le Fevre, Adrian Annis

Coming Soon

Tubi FrightFest Announces 2026 Halloween Line-Up With Nine Premieres

 

By Jon Donnis

Tubi FrightFest is returning to London’s ODEON Luxe West End in Leicester Square for its annual Halloween event, with two days of horror, sci-fi and fantasy cinema taking place on Friday 30th and Saturday 31st October.

Following its five-day August festival, the 20th edition of the Halloween event will feature nine premieres from five countries, spanning Europe, North and South America, and Australia/Oceania. Every film in the line-up will be screened twice across the two days.

The Halloween weekend opens with the UK premiere of Freaks Part II, from Zach Lipovsky and Adam Stein, the co-directors of Final Destination Bloodlines. The pair return to the mutant world of their 2018 cult hit Freaks with a sequel that promises a more intense and gory take on the Canadian sci-fi horror story. Both directors will be attending the screening.

THE CULL

The festival then heads to Cornwall for the World premiere of The Cull, J.P. Davidson’s gritty Halloween folk horror starring Craig Russell, who FrightFest audiences will remember from his role in Protein. Members of the cast and crew are also expected to attend.

Friday’s programme concludes with the UK premiere of American Dollhouse, described by FrightFest as the ‘meanest slasher of the year’. Drawing on Psycho and Black Christmas, the film introduces Sandy, an unhinged neighbour who is presented as one of the event’s most disturbing antagonists.

AMERICAN DOLLHOUSE

Saturday begins with the UK premiere of Talking to a Stranger, a supernatural thriller directed by Adrián García Bogliano. The film stars acclaimed filmmaker Gigi Saul Guerrero in her first leading role.

TALKING TO A STRANGER

The Christmas season then arrives early with the UK premiere of Unholy Night from Canadian director Michael Gabriele. The film promises a gruesome festive horror ride with echoes of The Evil Dead, bringing some decidedly bloody Christmas cheer to Leicester Square.

UNHOLY NIGHT

Sean Hogan follows with the World premiere of The Dark Gets In. Hogan has a long association with FrightFest through films including The Devil’s Business, Isle of Dogs and Daddy’s Girl. His latest film combines found footage and faux documentary elements with a claustrophobic horror thriller. Hogan will attend alongside members of the cast and crew.

THE DARK GETS IN

Marcel Walz then brings his latest splatter offering to FrightFest with the World premiere of Brute 1986, an ultra-violent sequel to Brute 1976. Walz, whose previous FrightFest appearances include Blood Feast, Blind and Pretty Boy, will be in attendance.

BRUTE 

The penultimate screening is a special presentation of Crawlers, which follows residents of an apartment complex battling to survive an infestation of rapidly multiplying venomous spiders. Matilda Lutz leads the cast in what promises to be an intensely claustrophobic body horror experience.

CRAWLERS

The Halloween event concludes with the UK premiere of Dead Howling, an action-packed post-apocalyptic horror that pits werewolves against zombies. The film comes from the producer of cult favourite Dog Soldiers and stars Ryan Kwanten, known for True Blood and Dead Silence, alongside Temuera Morrison, whose credits include The Mandalorian and Aquaman.

DEAD HOWLING

Ryan Gillett, Tubi’s Marketing Director, International, said: “Following an incredible five days in August, we are thrilled to keep the screams going as the headline sponsor for FrightFest’s Halloween event. Horror isn’t simply a genre to us, it’s one of the biggest, most passionate communities on our platform. Bringing the UK’s premier horror festival together with our permanent 'Terror on Tubi' hub allows us to give dedicated genre fans exactly what they crave this spooky season, completely for free.”

FrightFest co-director Greg Day added: “This is our 20th edition of the Halloween event, and it remains an unmissable highlight for genre cinema lovers, bringing an exceptional lineup of new horror, sci-fi, and fantasy films to London’s ODEON Luxe West End. We know this year’s selection goes some way into capturing the spirit of the Halloween weekend.”

Passes and tickets for Tubi FrightFest’s Halloween event go on sale at noon on Saturday 3rd October.

Prices: Two-day pass - £85 | Friday 30 Oct  Day pass - £36 | Saturday 31 Oct Day pass - £65 | Single tickets - £14.99

https://frightfest.co.uk/tickets/

All tickets costs may incur booking fee.

PROGRAMME

FRIDAY 30 OCTOBER

OPENING FILM:  FREAKS PART II (UK Premiere)

(Times: Screen 1: 5.45pm, Screen 2: 6.15pm)

Directors: Zach Lipovsky, Adam B. Stein. Cast: Amanda Crew, Lorelei Olivia Mote, Lili Taylor, Stephen Toblowsky. Canada 2026. 114 mins.

Synopsis: Mary  and her daughter Chloe are now living on the road, hiding their powers and identities, and being hunted by the Abnormal Defence Force, paramilitary police that specialise in ruthless extermination. Mary is fuelled by revenge: to find ADF officer Erica Lang who killed her first child while trying to control Chloe, now a precocious and powerful tween whose longing for a friend causes chaos and carnage.

THE CULL (World Premiere)

(Times: Screen 1: 8.30pm, Screen 2: 9.00pm)

Director: J.P. Davidson. Cast: Craig Russell, Sarah Bowden, Ollie McFarlane, Rory Wilton. UK 2026. 88 mins.

Synopsis: Wrongly imprisoned for his mother’s murder, Niall is finally released having found God and renounced a life of violence and addiction. Retreating to a remote woodland cabin seeking the truth behind her death, he finds a hostile community ruled by a ruthless family, where every encounter deepens the mystery surrounding his mother’s past. As brutal violence erupts and terrifying visions blur the line between nightmare and reality, Niall uncovers a sinister legacy of witchcraft, blood sacrifice and forbidden ritual.

AMERICAN DOLLHOUSE (UK Premiere)

(Times: Screen 1: 10.50pm, Screen 2: 11.05pm)

Director: John Valley. Cast: Hailley Lauren, Kelsey Pribilski, Richard C. Jones, Tinus Seaux.  USA 2026. 87 mins.

Synopsis: Sarah inherits her childhood home, seeking solace from a chaotic city life marked by addiction and debt. But Sandy, a psychotic neighbour becomes disturbingly obsessed with her due to a haunting resemblance to Sandy’s deceased mother. As the fixation turns violent, Sarah’s friends begin disappearing, drawing her into a perverted, blood-soaked Christmas nightmare she may not survive.

SATURDAY 31 OCTOBER

TALKING TO A STRANGER (UK Premiere)

(Times: Screen 1: 11.00am, Screen 2: 11.30am)

Director: Adrian Garcia Bogliano. Cast: Gigi Saul Guerrero, Eugenio Rubio, Yago, Andreu Sandoval, Tatiana de Real. Mexico 2026. 90 mins.

Synopsis: Tortured by grief and guilt after seeing her young son burn to death in front of her, Patricia  is unconsolable, her depression deepening with heavy medication. The pills keep her in a constant numb state and in this cloudy twilight she is confronted by an uncanny presence that wears the face of her lost child. Should we look towards darkness rather than away from it for consolation?

UNHOLY NIGHT (UK Premiere)

(Times: Screen 1: 1.20pm, Screen 2: 1.50pm)

Director: Michael Gabriele. Cast: Alissa Mahar, Al Sapienza, Celia Own, Cristina Rosato. Canada 2026. 91 mins. 

Synopsis: Gino’s traditional family Christmas Eve turns into a bloody battle for survival when his long-dead grandma drops by and goes on a murderous rampage. Amid the chaos, Gino reunites with his ex, and the dysfunctional duo must avoid his dead Italian relatives popping up all around the neighbourhood as they search for a way to get rid of these Yuletide revenants and survive his family’s Noel celebrations.

THE DARK GETS IN (World Premiere)

(Times: Screen 1: 3.40pm, Screen 2: 4.10pm)

Director: Sean Hogan. Cast: Charlotte Pyke, Cameron Lewis, Scott Burchell, Kezia Cotterell. UK 2026. 91 mins.

Synopsis: When a documentary team set out to investigate the mysterious disappearance of a young girl, events soon take an unexpected turn, leading the filmmakers down an increasingly dark and horrifying path. Prepare for the worst as Hogan explores the outer limits of the genre

BRUTE 1986 (World Premiere)

(Times: Screen 1: 6.00pm, Screen 2: 6.30pm)

Director: Marcel Walz. Cast: Bill Kaulitz, Lew Temple, Gigi Gustin, Sarah French. USA 2026. 80 mins.

Synopsis: Leather Kobra, a glam metal band, decide to film their new music video in an abandoned Western town. Ignoring the ‘No Trespassing’ signs, the rebellious group have no idea they are being watched by the notorious Birdy family. And when their paths do finally cross, let the onslaught of brutal bloodshed begin! Stars Bill Kaulitz, Tokio Hotel frontman, whose band is among Germany’s most successful music acts.

CRAWLERS (London Preview)

(Times: Screen 1: 8.10pm, Screen 2: 8.40pm)

Director: Ángel Gómez  Hernández. Cast: Matilda Lutz, Gregg Sulkin, Melina Matthews,

William Miller. USA 2026. 86 mins.

Synopsis: Serena, the overworked manager of the Paradiso Palms apartment complex, discovers a mysterious death. But what begins as a suspected viral outbreak quickly spirals into something far more terrifying: a catastrophic infestation of venomous spiders spreading rapidly through the building. Armed only with her intimate knowledge of the building, Serena may be the only one of the residents who can keep everyone alive -- if she can confront her deepest fear.

DEAD HOWLING (UK Premiere)

(Times: Screen 1: 10.20pm, Screen 2: 10.45pm)

Director: John V. Soto. Cast: Ryan Kwanten, Temeura Morrison, Tom Burlinson, Tea

Heathcote-Marks. Australia 2026. 103 mins.

Synopsis: Carter is a lone werewolf fighting for survival in a post-apocalyptic world overrun by zombies. Taking vengeance for his murdered family, he spends his days hunting down the living dead, until he finds new purpose after saving the lives of two humans seeking a rumoured sanctuary for survivors. However, despite Carter now joining them on their journey, the group faces new and unimaginable dangers when they discover that their undead enemy is beginning to evolve.

PREVIEW: Heresy (2026 Film) - Starring Anneke Sluiters

Preview by Jon Donnis

Salvation comes from the darkest of places in Heresy, Didier Konings’ folk horror fable that explores religious terror, repression and belief. After earning praise during its festival run, the film is set to make its UK digital debut on 28 September courtesy of GrimmVision.

Set in a small Dutch village during the Dark Ages, Heresy follows Frieda, played by Anneke Sluiters, as she attempts to live up to the expectations placed upon her. She tries to be a good wife, contributes to her community, says her prayers and focuses on becoming a mother.

Her life takes a disturbing turn after a traumatic encounter with one of the villagers in the woods. A mysterious presence saves Frieda’s life, but it also latches itself onto her, forcing her to question the beliefs that have shaped her existence.

When Frieda returns to the village unharmed, suspicion quickly follows. The community begins to question whether it was really God who brought her safely home, or whether something far darker was responsible. Beyond the forest, a dark force cloaked in fog appears to be watching.

As the otherworldly creature continues to follow Frieda, strange events begin occurring throughout the village. She is eventually accused of witchcraft and finds herself increasingly isolated as those closest to her turn against her in the name of God.

With its focus on misogyny, bodily autonomy and belief, Heresy looks set to deliver a dark and unsettling folk horror story rooted in religious fear and repression. The film has already drawn comparisons to Robert Eggers’ The Witch and received festival praise, including a description from Dread Central calling it a "stellar psychedelic folk horror".

Heresy arrives on UK digital on 28 September from GrimmVision.

Apple TV - https://apple.co/4z0Q25z