Interview with Jonathan Fuller - By David Kempf

1. When did you first become interested in horror?

My initial interest in horror started very early. When I was around nine years old my father introduced me to horror and science fiction movies. First up was Evil Dead, and as I got older I stared renting all the movies that featured behind the scenes of making of stuff and I was hooked. 

2. Did you always enjoy horror special effects?

Yes! When I was eleven I was asked by a friend if I would like to do this guy’s haunted house. He was going to be made up like Freddy Kruger for Halloween. So I showed up to this guy’s house and it was wall to wall special FX everywhere. From masks to props to full bodies, and Fangoria magazine everywhere. His garage was a production line of molds and masks. And these cool itmes called GoreKnobs. Yep. Eleven years ago I was meeting Tim Gore for the first time. 

3. Do you prefer horror TV shows or films?

I enjoy everything. 

4. Is there another genre that you are interested in?

I love comedy, mysteries, and thrillers. 

5. When did you first attend Dick Smith’s school of makeup?

I met Dick at Fangoira Weekend of Horrors. I showed him my portfolio. He said that he was impressed and that I had to take his famous course. This was a bit pricey for me at the time, and I showed my grandfather everything. He graciously purchased everything for me. I think I was bout noineteen at the time. 

6. Do you do all production and mask making yourself?

Yes. I do everything. Sculpture, mold making, casting, and painting. 

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

I don’t think so. Many people seem to be fascinated by the art form itself. 

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

It’s exciting and fun. Who doesn’t like a good scare?

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

Well, JAWS and The Thing were ahead of their times. Especially The Thing. You can watch it today and still be in awe of how they did that work. Holds up to this day. 

 

10. Who inspires you?

Anyone who does amazing work. I could do what everyone does and list all of the same people we list but with this day in social media-great artists are everywhere. 

11. What are some of your favorite horror books?

When I was a big reader, it was everything by Dean Koontz and Patricia Cornwell. 

12. What are some of your favorite horror movies?

I just watched Obsession last night. It was fantastic. But the OG Horror is The Thing, Friday the 13th,  From Dusk til Dawn, and the EVIL DEAD series. 

13. What are your current projects?

Currently it’s design work for Halloween companies, and independent commissions. 

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

I’ve been a professional sculptor and creature designer for decades, specializing in realistic horror masks, props, and collectible sculptures. I love creating original characters along with my favorite classics, and bringing them to life through expressive anatomy, lifelike textures, and attention to detail. My inspiration comes from horror films, practical FX, and the incredible artists who paved the way before me. Whether I am working on a commission or developing my own designs, my goal is to always create something that tells a story, and leaves a lasting impression. For me, sculpting is not just a career-it’s something I am passionate about, and I am always looking for ways to improve my craft and push myself creatively. RIP Tim Gore. 

https://www.instagram.com/thejonfullerproject

REVIEW: The Xenophobes (2026 Film) - Starring Svetlana Tulasi

 

Independent science fiction often stands or falls on the strength of its ideas. When budgets are minimal and resources are stretched to their limits, there is little room to disguise shortcomings. The Xenophobes, directed by Hal Dace and Penny Cullers, is very much that kind of film. This ultra low budget production never attempts to hide its limitations, yet beneath the rough presentation sits an ambitious and surprisingly thoughtful story exploring first contact, time dilation, fear of the unfamiliar and the experience of becoming an outsider.

The film follows Captain Shriya Ballah, played by Svetlana Tulasi, as she leads an international crew on humanity’s first diplomatic mission to Gliese 849d, the first known world inhabited by intelligent alien life. Aware of the personal sacrifices involved, she takes her husband and two daughters aboard the Jerusalem. What begins as a historic journey gradually becomes something far more complicated, with consequences that reshape both the crew and the Earth they eventually return to.

One of the film’s most effective qualities is its structure. The Xenophobes essentially tells two connected stories. The first half centres on the voyage itself, the uneasy reception awaiting the crew and the struggle to communicate with an alien civilisation. The second half shifts focus after the crew return home, only to discover that while twelve years have passed for them, six decades have passed on Earth.

The transition between these two halves gives the film much of its impact. It explores how rapidly societies evolve and how easily people can become disconnected from the world they once knew. As the story develops, the title gains a deeper significance. The crew set out expecting to encounter aliens, yet on their return they find themselves treated as strangers. They become the outsiders, viewed with suspicion and pressured to fit into a society that has moved on without them.

Svetlana Tulasi delivers the film’s strongest performance. My wife recognised her immediately and already follows her social media accounts because of her work as a dancer. She brings confidence and presence to Captain Ballah, creating a central character who remains engaging throughout. Even when the film stumbles, her performance provides an anchor, and she displays a natural screen charisma that helps elevate the material.

The tiny budget is impossible to overlook, though it occasionally adds an unexpected layer of charm. The interiors of the spacecraft feature furniture that often looks remarkably familiar. Crew members appear to be seated in everyday office and gaming chairs, while one particularly amusing scene makes it look as though the captain is commanding the mission from a basic wooden dining chair. Alongside sets that appear hand painted in places, these details generated more than a few smiles. There is something oddly endearing about watching filmmakers squeeze every possible use from limited resources.

The second half also benefits greatly from the story’s return to Earth. With less reliance on green screens and computer generated environments, the production is able to take advantage of real-world locations. The visual improvement is immediately noticeable. Scenes feel more authentic, more grounded and generally more convincing than much of what appears during the space-based opening chapters.

Unfortunately, the film’s weaknesses are just as easy to spot. Even by the standards of an ultra low budget production, many of the visual effects look dated. The space sequences in particular often struggle to create a sense of immersion, with effects that can pull attention away from the story rather than enhance it. It is difficult not to think about how much easier some of these scenes might have been to realise using more modern technology. As it stands, portions of the CGI feel like a product of an earlier era of digital filmmaking.

The heavy dependence on green screen work during the first half creates additional problems. Combined with the limited effects, it frequently highlights the production’s financial constraints instead of drawing viewers into the world being presented.

The running time presents another challenge. At two hours long, The Xenophobes demands patience. The ideas are strong enough to support a substantial narrative, but the pacing would likely have benefited from a tighter edit. Some scenes linger longer than necessary, and reducing the overall length could have strengthened the film considerably.

The Xenophobes is ultimately a film that benefits from the right expectations. Anyone searching for polished effects, convincing spacecraft interiors or blockbuster spectacle will almost certainly be disappointed. Those aspects are not where the film succeeds. Its strengths lie in its concepts, themes and willingness to tackle questions about fear, identity and conformity.

Viewed from that perspective, there is a great deal to admire. The central premise is engaging, the themes are thoughtfully explored and the performances help maintain interest throughout. Most importantly, the film remains committed to its ideas from beginning to end.

Svetlana Tulasi emerges as the clear standout. She carries much of the film on her shoulders and demonstrates the kind of presence that could easily translate to larger productions given the opportunity.

I enjoyed The Xenophobes. The low budget presentation will undoubtedly be a barrier for some viewers, but I grew up watching science fiction films and television series very much in this mould throughout the 1990s. Expensive effects have never been the sole measure of quality. There is genuine enjoyment to be found in noticing the inventive solutions hidden throughout the production and appreciating the effort required to bring such an ambitious concept to life.

Independent filmmakers willing to pursue large-scale science fiction ideas on extremely limited budgets deserve recognition. The Xenophobes is not polished and it does not always succeed, but its ambition, sincerity and thought-provoking ideas make it more memorable than many productions created with far greater resources.

Out Now on Prime Video - https://amzn.to/3RGFIzj

Graham Humphreys’ stunning FrightFest 2026 poster art revealed.

 

FrightFest has unveiled Graham Humphreys’ stand-out poster design for 2026 which marks the 27th anniversary of the UK’s most popular genre festival.

Graham, one of Britain’s most highly acclaimed British graphic artists and illustrators, said today: “The iconic monster stays the same, but turning the sky an apocalyptic blood red seems to hit the mood of the brutal heatwaves frying Europe this year, whilst making a hefty reference to a staple of horror movies and the favourite drink of all vampires. In a world scammed by media manipulation and the relentless march of AI, the FrightFest mascot takes a turn at puppeteering and reminds us that when we are stripped of symbols and identities, we are all clattering bags of bones alike”.

This year’s annual Bank Holiday event, the UK’s largest celebration of genre cinema, takes place at Odeon LUXE Leicester Square and Odeon LUXE West End between Thurs Aug 27 & Mon Aug 31, 2026.

The line-up of films will be announced on Thursday 16 July, 2pm UK time.

www.frightfest.co.uk | FB: /FrightFestreal | ‘X’: @frightfest | IG: @frightfestUK

PREVIEW: They Wait in Shadows (2026 Film) - Starring Jessica Hunt

 

They Wait in Shadows unfolds as a claustrophobic supernatural horror where a family home becomes the centre of something far older and far more dangerous than grief alone.

The film is directed by Sam Mason-Bell, known for Millennial Killer, and brings a tightly contained British horror setting that leans into isolation, guilt and buried history. It stars Jessica Hunt, known for The Truth Will Out, alongside Meghan Adara, known for Therapy.

The story begins with a sudden death that pulls two estranged sisters back to their isolated childhood home. Ingrid and Jenny return reluctantly, forced into proximity after years apart, each carrying unresolved tension and emotional distance that quickly resurfaces inside the house.

What starts as a strained family reunion shifts into something far more disturbing when an old Ouija board is discovered. A single decision to experiment with it cracks open a doorway to the other side, releasing malevolent forces that begin to inhabit the space around them.

As the sisters dig through the house and uncover long buried family secrets hidden within its structure, the line between memory and haunting begins to blur. The home itself becomes unstable, as if reacting to what has been disturbed.

They Wait in Shadows builds its horror from confinement and pressure, turning a personal tragedy into a supernatural collapse that refuses to stay contained.

On digital 20 July from Miracle Media

Apple TV - https://apple.co/4vWpEIy

PREVIEW: Shadows of Willow Cabin (2026 Film) - By writer-director Joe Fria

By Jon Donnis

Buried traumas take on physical form in Shadows of Willow Cabin, where unseen wounds return as something far more tangible. Actor turned writer-director Joe Fria, known for Guardians of the Galaxy: Vol. 2 and The Belko Experiment, makes his feature debut with a blend of queer romance and supernatural horror that leans into mood, intimacy and unease.

Following its UK premiere at Raindance Film Festival 2026, Shadows of Willow Cabin arrives on UK digital on 29 June 2026 via GrimmVision.

Albert (Bryan Bellomo), a closeted husband, and Devon (John Brodsky), a wounded soul, withdraw to a remote mountain cabin after a connection forms through sexually charged messages exchanged on a dating app. What begins as hesitation and curiosity gradually shifts into closeness, as the two men move towards intimacy in isolation.

The cabin itself soon becomes part of the story in a more unsettling way. The walls seem to whisper with voices that were thought to be long silenced. Reality begins to distort as the space turns hostile, drawing the pair into a supernatural loop where time fractures, ghosts appear, and repressed trauma takes on visible, terrifying shape.

As the situation tightens and survival becomes uncertain, Albert and Devon are forced to confront the secrets they have carried, both within themselves and between each other, before the cabin overwhelms them completely.

Shadows of Willow Cabin unfolds as a tense and disorientating descent into identity, survival and love pushed to its limit, set against a space where memory and fear refuse to stay buried.

Apple TV - https://apple.co/4dEdiPg

PREVIEW: Round the Decay (2026 Film) - Stars Melody Kay

Round the Decay arrives as a chilling new creature feature that digs into the buried sins of a small American town, turning a quiet return home into something far more sinister.

The film stars Melody Kay, known for Camp Nowhere and The NeverEnding Story III: Escape from Fantasia, alongside Damian Maffei, recognised for The Strangers: Prey at Night and Haunt. It is directed by Adam Newman, who builds the story around grief, memory and creeping dread.

The plot follows a grieving woman who returns to her sleepy hometown, hoping to confront her past and make sense of a tragedy that still lingers over the community. What begins as reflection soon turns into something far more dangerous when she uncovers a hidden cave.

That discovery awakens a centuries-old entity, dragging the town into a spiral of supernatural horror rooted in ancient curses and long-hidden corruption. The calm surface of the community begins to fracture as something old and hostile forces its way back into the present.

Round the Decay is set for UK digital release on 22 June and US digital release on 23 June from Seven Tales.

Apple TV - Round the Decay

PREVIEW: The Fetus (2026 Film) - Starring Bill Moseley

 

A new dark comedy horror feature arrives with a twisted premise, as pregnancy becomes the centre of a blood-soaked nightmare in this cursed tale of family terror and demonic birth.

Described as “a fascinating body-horror nightmare… delightfully demented horror comedy” by Film Threat, the film leans heavily into both gore and dark humour, building a tone that sits between unease and absurdity.

Starring Bill Moseley, known for The Devil’s Rejects and House of 1000 Corpses, and Lauren LaVera of Terrifier 2 and Terrifier 3, the film brings together a cast firmly rooted in modern horror. It is written and directed by Joe Lam in his feature debut.

The story follows Alessa, played by LaVera, who discovers her pregnancy is not behaving in any medically explainable way. Alongside her boyfriend Chris, played by Julian Curtis, she is forced to confront a reality that quickly spirals beyond control.

When the pair turn to Alessa’s estranged father Maddox, played by Moseley, they uncover something far more disturbing than expected. The pregnancy is revealed to be a satanic, bloodthirsty entity, setting off a chain of events that pushes the situation into full horror chaos.

Blending the unsettling influence of Rosemary’s Baby with sharp dark comedy, the film builds into a surreal and violent descent into panic, paranoia and body horror.

On UK digital 6 July from Miracle Media

Apple TV - https://apple.co/4vam9hp