PREVIEW: I Heart Willie (2025 Film) - Starring David Vaughn

Review by Jon Donnis

You might think you know Steamboat Willie. The whistling. The tugboat. That cheerful little mouse who kicked off a century of magic. But I Heart Willie is here to drag that image through the dirt, gut it, and leave it twitching in the dark. This isn’t a tribute. It’s a complete rewire.

Landing on UK digital from 23 June via Reel 2 Reel Films, I Heart Willie is a bold, blood-slick horror from the minds of David Vaughn and Alejandro G. Alegre. Vaughn, who also stars, brings a twisted energy to what’s essentially a myth-busting descent into madness. Alegre, fresh off They Were Witches and The Devil Told Me What to Do, directs with a flair for grim, claustrophobic terror. Together, they pull apart childhood nostalgia and sew it back together with something foul.

The story follows Daniel and Nico, a pair of YouTubers known for chasing urban legends and internet folklore. Their latest clickbait target? The disturbing tale of “Steamboat Willie” – not the animated icon, but a disfigured boy who allegedly inspired the cartoon. According to rumour, the real Willie haunts a backwoods clubhouse, luring in the curious and peeling them apart to make himself a second skin. Most people laugh it off. Daniel and Nico head straight in.

Naturally, things go sideways. Fast. What begins as a jokey, possibly haunted vlog turns into a waking nightmare of mutilation, ritual and sadism. The clubhouse isn't abandoned. Willie isn't a story. And the mouse imagery takes on a deeply unsettling life of its own.

This isn’t just a horror flick riffing on a famous name. It’s a confrontation with how we process myth, memory and the repackaging of the grotesque. It’s also just very nasty in the way proper indie horror should be, nasty and inventive and unafraid to tip into madness. Influencer culture, fame-hunting and our hunger for nostalgia all get skewered here, sometimes literally.

With its grindhouse visuals, unsettling creature design and dark humour curdling into dread, I Heart Willie might not be for the faint-hearted. But for horror fans hungry for something mean, weird and unashamedly unhinged, this could be the one to watch.

I Heart Willie hits UK digital platforms on 23 June.

Interview with Guerrilla Metropolitana by David Kempf

1. When did you first become interested in horror?

I started to be interested in horror at a very young age along with other various art forms such as drawing and music.


2. Did you always enjoy writing and directing?

Yes. I have always wanted to direct and write my own stories. I have always had a clear idea of what I did not want and from there began my search to discover what I did want. Mine is an artistic path made of images, sounds and perceptions more than narrative rationality.


3. Do you prefer directing shorts or feature length films?

I love both directing short films and feature films. Directing feature films certainly requires more commitment for obvious reasons. Everything I've done has been the result of vision and experimentation and not of dogmas and clichés. I have my own rules within my cinema on every aspect, from the artistic to the technical and executive. I am the one who decides when to transform a mistake into a virtue.


4. Is there another genre that you write and direct in?

This is a question where the answer would be quite long and perhaps not exhaustive. I am not a horror director. I am an experimental animal. My cinema contains horror but it is not horror as a whole. It has different elements that go from horror to German Expressionism to the French Nouvelle Vague, dark erotica, experimental cinema and ροrn. It is a set of languages and not something that is closed within the limits of a single genre. You can say this: that it is the extreme experimentation of the underground. My two feature films especially, have within them dozens of cinematographic languages that go beyond simple horror.


5. Are there topics you would not write about in your screenplays?

I am a filmmaker without limits. I don't give a shιt about what can't be done or said or what might offend others. I am an animal without rules and I do what I want. I am a political libertarian and an artistic libertine at the same time. If I want to show nudity, sεxual violεncε or agony it is my choice regardless of the market choices. I hate politically correct and liberal thinking. It goes against the artistic freedom of the author. If I want to show an εrεct dιck or a person being rapεd I just do it. That's why I am also a producer of my works. If I had an outsider giving me orders about what I should or shouldn't do I would tell him to go fυck himself. No one can tell me what I can or can't do. I am omnipotent inside my cinema. Whatever comes into my head becomes art to be immortalized. The rest doesn't matter a damn.

6. Do you ever edit or do ghostwriting for others?

The editing in my works is mine. I do it myself and I use a technical assistant to help me realize it materially but the vision is entirely mine. All the strength of my cinema takes shape within the editing process. As for 'ghost writing' for others, I don't give a shιt. I'm only interested in my cinema. The work of others can go to hell.


7. Do you believe the audience needs to be hooked from the first scene?

Yes and no. There are no precise formulas to apply like a mathematical calculation. It depends on the film and on many factors. I don't think that way. There are films where everything depends on the first scene and other films where it is necessary to have a gradual progression. It is never black and white. That way of thinking is for those who don't understand a thing about cinema. I think that is exactly the difference between those who see cinema as pure and simple entertainment and those who instead see it as something much deeper. The rule of being 'hooked' from the first scene is basically for mentally rεtardεd people who can only have my total contempt, so it is a problem that I don't even ask myself.


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

For the same reasons, sεx shops sell sεx toys. People like to have οrgasms. Anything that provides pleasure of one kind or another sells.


9. Why do you think that people are obsessed with being scared?

It's another way to feel alive. In any case, there would be a lot to discuss on this point and understand what is meant by 'horror'. If it's about an idiot dressed as a clown who kills people everywhere or if it's for example something much more distressing and profound. Once again it depends on the filmmaker, the film and consequently on the type of audience. A film for mediocre people will have a mediocre audience. A profound film will have a profound audience. Mediocre people who watch a profound film don't understand it and criticize it, eliminating themselves from the crowd (as it should be). In other words, a film that has a greater depth and perhaps perversiοn than the classic commercial 'popcorn' horror will have a different audience than the typical idiot with a cheeseburger in one hand and a beer in the other while burping and waiting for the next splatter scene. I feel disgust and revulsion for that type of audience that I would rather leave to other directors worthy of it. 

Horror can sometimes be a form of art and other times pure vulgarity.

10. Who inspires you?

I haven't figured it out yet.


11. What are some of your favorite horror books?

I read philosophy books that can be from the Enlightenment period to others such as Nietzsche. Horror is certainly one of the many types of reading, but not the only one. I definitely prefer Poe and Lovecraft to King, that's for sure.


12. What are your current projects?

I just finished my second feature film THE BENEFACTRESS (an exposure of cinematic freedom) which was purchased by the American label Blood Pact Films that will distribute it on DVD, Blu-ray and streaming platforms. It is my second film after DARIUSS and probably my highest and noblest artistic expression of creative and libertine freedom.. It's total insanity.


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

I am a filmmaker driven by the strength of his sexuality, a perennial εrεction in search of visual and sonic experimentation to achieve narrative οrgasm. I am an author who pays attention only and exclusively to what is his own artistic vision. The rest of the world can go fυck itself. Mine is a search for what in my eyes is the most absolute freedom and the first rule I break is my own.

PREVIEW: Saint Clare (2025 Film) - A Blood-Soaked Thriller Arrives in the UK

By Jon Donnis

London's FrightFest 2024 certainly had a highlight last year with the premiere of Saint Clare. This blood-soaked thriller didn't just have critics singing its praises; it had audience's blood pressure practically rising in real time. Now, this much-anticipated film is set for its UK release on July 21, 2025, courtesy of 101 Films.

Bella Thorne, known for her roles in Blended and Midnight Sun, really delivers here. She plays the titular lead with an intensity that's caught everyone's attention in this spiritually charged, small-town story, a blend that's been called a powerful mix, like "American Psycho meets Joan of Arc." The film itself is based on a novel by Don Roff and was expertly brought to life by award-winning Italian director Mitzi Peirone, who you might know from Braid. Peirone also teamed up with Guinevere Turner, a writer on American Psycho, to pen the screenplay. And what a cast! We're talking about Ryan Philippe from Crash, Rebecca DeMornay of Risky Business fame, Frank Whaley from Pulp Fiction, and even Bart Johnson from High School Musical. Plus, the film features an original soundtrack by Zola Jesus.

So, what's Saint Clare about? In a quiet town, a solitary young woman starts hearing voices. These voices lead her down a dark path: assassinating people with bad intentions who think they can get away with anything. But her last kill changes everything. It sucks her right down a rabbit hole, one riddled with corruption, trafficking, and twisted visions from beyond. Can Saint Clare escape unimaginable terror as her quest for retribution takes a dangerous turn, pulling her deep into an unknown hell? You'll have to watch to find out.

The buzz is real, and the reviews speak for themselves. The Good, The Bad and The Verdict called it "a highly entertaining slice of genre cinema" and raved that "Thorne’s performance is super." My Bloody Reviews noted the film "continually surprises throughout," describing it as "complex and dark," adding that Bella Thorne was "terrific as feisty, focused, kick-ass Clare." Halloween Horror and Home simply called it a "wonderful thriller" and "one of the highlights of the festival," even praising it as "an incredibly beautiful movie" and "top of my recommendations." And Mr Mayfield’s Madness went as far as saying "Bella Thorne deserves all the award consideration for the powerhouse performance," comparing the film to "one part Dexter and one part American Psycho." They even called Mitzi Peirone’s direction "a masterclass in setup and execution." 

Saint Clare arrives on UK digital 21 July 2025 (101 Films). Don't miss it!

REVIEW: The Ugly Stepsister (2025 Film) - Starring Lea Myren, Thea Sofie Loch Næss, Ane Dahl Torp, and Flo Fagerli

 

A Haunting Fairytale Turned Body Horror Masterpiece

The Ugly Stepsister, the feature debut from Norwegian writer-director Emilie Blichfeldt, is a fearless and ferocious deconstruction of beauty myths. Taking the bones of Cinderella and twisting them into a grim body horror satire, Blichfeldt strips away fantasy to expose the cruelty beneath. The result is a raw, razor-sharp tale about control, trauma and the violent cost of perfection.

From its unsettling first scene, the film sets out to disturb. Lea Myren delivers a transformative performance as Elvira, the forgotten daughter disfigured by her mother’s relentless pursuit of beauty and status. Blichfeldt refuses to look away, showing in graphic detail the invasive procedures, forced starvation and self-harm that Elvira endures. These scenes are brutal but never gratuitous. Each one reinforces the central theme: beauty is not natural, it is inflicted.

Visually, the film is as striking as it is harrowing. Fairytale finery is paired with surgical steel, and lavish ballrooms are filmed with sterile precision. The contrast between glamour and suffering is jarring and effective. Blichfeldt’s control of tone, camera and design crafts an atmosphere that feels dreamlike and dreadful at once. This is a world where sequins cling to blood and beauty masks violence.

What gives the film its edge is its dark wit. The humour is bleak but intentional, a scalpel cutting through hypocrisy. Blichfeldt satirises society’s obsession with appearance and its willingness to sacrifice women on the altar of desirability. There are no easy laughs here, only sharp observations delivered with unnerving clarity. Romance is revealed as hollow, transformation as torture, and acceptance as conditional.

The supporting cast deepens the story’s emotional resonance. Ane Dahl Torp is chilling as Rebekka, the mother whose cruelty masquerades as care. Thea Sofie Loch Næss offers a layered take on the archetypal Cinderella figure, and Flo Fagerli, as the youngest sister Alma, brings a quiet emotional weight that humanises the horror.

There are moments where the pacing falters. At just under two hours, the middle section drags slightly, repeating ideas already clearly established. A tighter edit could have heightened the film’s impact without sacrificing its mood or message.

Even so, The Ugly Stepsister remains one of the year’s most original and uncompromising films. Blichfeldt’s voice is fierce and distinct, and her debut proves she can balance shock with substance. This is not just a horror film; it is a brutal, beautiful scream against unrealistic standards and generational cycles of control.

Unflinching, provocative and painfully relevant, The Ugly Stepsister holds a mirror to our obsession with beauty and shows us what’s lurking underneath. It’s not easy viewing, but it is essential.

Rating: 9 out of 10

Available now on Digital

https://apple.co/3SKkEF6

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

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

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

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

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

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

Arriving on digital 9 June through Reel 2 Reel Films.

Apple TV - https://apple.co/45c9JM2

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

 

A Beautifully Crafted Fantasy That Struggles to Stay Afloat

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

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

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

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

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

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

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

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

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

Rating: 7 out of 10

Out now on Digital

Apple TV - https://apple.co/3F6kiFQ

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What’s next for you?

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

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

Apple TV - https://apple.co/41YEzFS

Prime Video - https://amzn.to/3HkDSPj

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

 

A Bizarre, Mythical Collision of Satire and Fantasy

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

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

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

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

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

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

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

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

Rating: 8 out of 10.

Out Now on Digital

https://amzn.to/4k065cM

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

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

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

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

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

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

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

Fantasy Adventure Mythica: Stormbound Arrives Digitally on 16 June

 

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

Director: Daniel de la Vega

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

 

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

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

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

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

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

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

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

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

 

By Jon Donnis

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

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

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

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

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

A release date has not yet been announced.

 

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

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

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

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

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

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

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

https://apple.co/445uTLd

COMPETITION: Win The House of the Devil on Blu-ray

Ti West – one of the most prominent horror filmmakers of his generation – continues to bring the fear with his wickedly entertaining horrors that include X, Pearl, MaXXXine, The Sacrament and now his lauded 2009, Satanic scare fest – The House of the Devil is the latest cult horror to get a brand-new Second Sight Films Limited Edition makeover this April.

And to celebrate we have a copy on standard Blu-ray to give away!

Synopsis:

1983, USA, we meet skint college student Samantha Hughes (Donahue), who, desperate for money, spots an ad for a mysterious babysitting job and convinces her best friend (Gerwig) to drive her to the remote house. Unbeknownst to her the job coincides with a full lunar eclipse and on arrival it dawns on her that this is no ordinary childminding gig, there’s way more to her new employer than meets the eye.

Slowly as the tension builds it becomes apparent that true terror awaits.  As the real reason she’s been hired is revealed, Samantha is confronted with unimaginable horror beyond her darkest nightmares and it could cost her everything.

The Limited Edition is presented in a stunning rigid slipcase with new artwork by Nick Charge, along with a brilliantly informative 70-page book with brand new essays. Both formats come complete with a slew of new interviews, new audio commentaries and a Making Of featurette. Please see full list below.

Time to make a move with The House of the Devil – but enter at your own risk for a truly terrifying, but devilishly delightful collector’s edition.

Pre-Order from https://amzn.to/42SS2iJ

Enter now for a chance to win.

Who has created the new artwork for the The House of the Devil Limited Edition release?

Enter now for a chance to win.

What is the name of the character played by David Pareja in The Coffee Table?

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 05-05-25

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.

COMPETITION: Win The Coffee Table on Blu-ray

Make room for The Coffee Table (aka La mesita del comedor), a wickedly original horror from Spain, helmed by Caye Casas (Killing God) who also co-wrote with Cristina Borobia (RIP). The film certainly made a big noise and had stomachs churning on its original release and is now set for pride of place in your home, as Second Sight Films announce a fantastic new Limited Edition Blu-ray release this Spring.

The Coffee Table has been described as ‘Horror film of the year… one of the most distressing nightmares of recent horror cinema’ (El Mundo, Spain) and ‘A genre-leaping marvel, a farce, a melodrama, now a tragedy, uproariously funny until it is not at all’ (Projected Figures) and is now set for a collector’s edition makeover. The set will come complete with a new audio commentary, new interviews with the director, actors and many more as well as two of Caye Casas’ short films. The stunning set is presented in a rigid slipcase with new artwork by Luke Headland and a 120-page book with new essays. It will be released on 28 April 2025 alongside a Standard Edition Blu-ray version.

And to celebrate we have a copy on standard Blu-ray to give away!

Synopsis:

David Pareja (Amigo) and Estefanía de los Santos (Jaulas) give gobsmackingly brilliant performances as Jesus and María, a couple going through a tough time in their relationship, following the recent arrival of their newborn son. The fiery pair are struggling with the pressures that a new baby brings and their bickering only amplifies on a shopping trip to buy furniture that’s about to change their lives forever.

What begins as a simple disagreement over which coffee table to buy quickly descends into a shocking and tragic event that will rip their lives apart.

The film, co-starring Josep Maria Riera, Claudia Riera and Eduardo Antuña promises an excruciatingly uncomfortable and harrowing experience, with a darker-than-dark sense of humour.

Sit down with The Coffee Table for a fantastically horrifying feature that you’ll never forget and will certainly want to make the centre piece of your collection.

Pre-Order from https://amzn.to/3YxzXEH

Enter now for a chance to win.

What is the name of the character played by David Pareja in The Coffee Table?

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 05-05-25

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.

PREVIEW: It Feeds (2025 Film) - A Supernatural Nightmare Arrives This May

 

Get ready for a chilling descent into terror as It Feeds arrives on digital platforms from 12 May. This supernatural horror, rated 15 and running 102 minutes, promises a nerve-shredding experience with a stellar cast and a sinister, gripping storyline.

The film follows Jordan and her clairvoyant mother, whose quiet home psychiatry practice takes a horrifying turn when a young girl arrives, claiming she is being hunted by a malevolent entity. As they try to uncover the truth behind her torment, they realise the creature’s hunger is growing,and time is running out before it consumes her completely.

Starring Ashley Greene (Twilight), Shawn Ashmore (X-Men), Mark Taylor (Cinderella Man), and Ellie O’Brien (Designated Survivor), It Feeds blends psychological tension with supernatural terror. Directed by horror veteran Chad Archibald (I'll Take Your Dead), the film delivers an unsettling mix of dread, suspense, and shocking twists.

Distributed by Signature Entertainment, It Feeds will be available on digital platforms from 12 May, ready to haunt audiences at home. If you’re looking for a horror film that lingers long after the credits roll, this one is not to be missed, just be sure to leave the lights on.

PREVIEW: Womb (2025 Film) - Harrowing Survival Horror Arrives on Digital This April

 

Brace yourself for an unrelenting fight for survival in Womb, a brutal and emotionally charged horror inspired by true events. Directed by Bridget Smith (Sno Babies, The Retaliators), this disturbing new film will be released on digital in the UK on 28 April, courtesy of Reel 2 Reel Films.

Set deep in the wilderness, Womb follows Hayley, a pregnant woman and recovering addict, portrayed by Taylor Hanks (The Giant), who is determined to rebuild her life. With the support of her fiancé, played by Myles Clohessy (Instinct, Blue Bloods), Hayley embarks on a peaceful getaway to a remote cabin with her soon-to-be sister-in-law, Martha (Ellen Adair – The Sinner, Homeland).

But their escape quickly unravels into a nightmare when Hayley becomes the target of a twisted killer, obsessed with abducting her unborn child. Isolated, terrified, and forced into a life-or-death struggle, Hayley must summon every ounce of strength to protect herself and her baby from the unimaginable.

Drawing on the real-world horror of foetal abduction cases, Womb goes beyond the conventions of slasher cinema to explore the terrifying psychology behind obsession, trauma, and survival. With an unflinching approach and a tense, claustrophobic atmosphere, Bridget Smith delivers a stark and chilling portrayal of a mother’s will to survive against all odds.

Critics have praised the film’s raw emotional depth and relentless pacing, with Overly Honest Reviews calling it “a chilling exploration of the darkest corners of human obsession.”

For those brave enough to face it, Womb promises a gripping, visceral experience that lingers long after the credits roll.

Womb will be available on digital platforms from 28 April 2025.

Apple TV - https://apple.co/4i6Iwgj

PREVIEW: To Thy Rest (2025 Film) - Award-Winning Supernatural Horror Arrives This April

 

Prepare for a chilling descent into madness as To Thy Rest, the award-winning supernatural horror from director Darren McStay, makes its digital debut on 21 April, released by Miracle Media.

Set against the haunting backdrop of rural Finland, this atmospheric Nordic horror follows Arther, a travelling spiritual medium, played by Rikki Chamberlain (Captain Mack), who is invited to a remote hotel for the final séance of his tour. What begins as a routine performance quickly spirals into a nightmarish experience as Arther is plagued by disturbing visions, disembodied whispers, and unexplainable encounters that blur the line between reality and illusion.

As the séance approaches, Arther delves into the hotel's murky history, uncovering dark secrets and a malevolent presence that threatens to consume him. The deeper he digs, the more he questions his sanity, until he is forced to confront the unsettling truth behind the building’s sinister past, and his own role in what is unfolding.

To Thy Rest has earned critical acclaim on the festival circuit, praised for its creeping tension, strong central performance, and evocative setting. Darren McStay’s feature weaves a slow-burning tale of psychological terror, combining elements of gothic horror with Nordic folklore to deliver a truly unsettling experience.

For horror fans seeking an atmospheric tale of isolation, possession, and paranoia, To Thy Rest promises a fear-filled journey into the unknown.

To Thy Rest will be available on digital platforms from 21 April 2025.

PREVIEW: Human Resources (2025 Film) - Award-Winning Workplace Horror Unleashed This April

 

Enter the workplace from hell with Human Resources, a gripping and sinister horror set to make its UK digital debut on 21 April via Miracle Media. The film marks the impressive feature debut of rising talent Braden Swope, who wrote, directed, edited, and produced the film at just 19 years old.

This eerie and award-winning horror follows Sam, a nervous student trying to make ends meet, played by Hugh McCrae Jr. (The Night They Came Home). Taking a job at the seemingly ordinary Brooke’s Hardware Store, Sam soon discovers something is deeply wrong behind the shopfront. When a former employee mysteriously vanishes, Sam joins forces with his jaded colleague Sarah, played by Sarah José (Runaway), to investigate the store’s hidden secrets.

What begins as curiosity quickly spirals into a nightmare, as the pair uncover a disturbing and deadly conspiracy that goes far beyond missing staff. With chilling discoveries lurking in the stockrooms and terrifying truths buried beneath the aisles, Sam and Sarah find themselves entangled in a horror that reaches far beyond what either of them could have imagined.

With themes of corporate control, paranoia, and personal responsibility, Human Resources blends psychological horror with a creeping sense of dread. Praised on the festival circuit for its unique setting and atmospheric tension, the film showcases Swope’s bold vision and knack for building suspense in the most unexpected places.

Human Resources is a terrifying reminder that some jobs come with more than just stress—sometimes, they come with consequences that can’t be clocked out of.

Human Resources is available on digital platforms from 21 April 2025.

Apple TV - https://apple.co/3Er94et