NYX UK is set to deliver a thrilling month of horror this March, with a slate of premieres and special events that celebrate both genre legends and rising talents. Kicking things off on Saturday, 8 March at 9pm, the channel honours International Women’s Day with the premiere of Devanny Pinn’s "The Black Mass". This intense film delves into the 1978 sorority house attacks by serial killer Ted Bundy, offering a raw and unflinching portrayal of real-life horror from the victims' perspective. Following this, Luna Wolf’s short film "Siren" airs at 10.45pm, exploring identity and trauma through an atmospheric psychological horror lens.
The Black Mass
On Saturday, 15 March, NYX UK pays tribute to body horror pioneer David Cronenberg on his 82nd birthday with screenings of his early classics "Shivers" (9pm) and "Rabid" (11pm). Both films helped shape Cronenberg’s unique style, blending science and terror in ways that still resonate today. Earlier in the month, on Tuesday, 4 March at 9pm, the channel marks the 102nd anniversary of "Nosferatu", the iconic 1922 silent horror that laid the groundwork for vampire cinema and inspired Robert Eggers’ recent remake.
Rabid
Fans of cult horror are in for a treat with the UK TV debut of "The Chainsaw Sally Show" on Friday, 7 March at 11.30pm. This grindhouse-style series follows Sally, a small-town librarian by day and chainsaw-wielding vigilante by night. Meanwhile, Thursday nights at 7pm continue the run of "Galvaston’s Cavern of Creeps", featuring channel premieres of "Night of the Demon" and "The Cars That Ate Paris". On Tuesdays at 9pm, "Dark Rewind" with host August Kyss dives into retro horror gems like "Chopping Mall" and "Incubus".
The Chainsaw Sally Show
The premieres don’t stop there. On Thursday, 20 March at 9pm, NYX screens Diego Cohen's obsession-fuelled Mexican horror "Honeymoon", followed by Anthony DiBlasi’s chilling Clive Barker adaptation "Dread" on Friday, 21 March at 9pm. Other highlights include vampire classic "Count Yorga Vampire" (3 March, 9pm), twisted British horror "Gnaw" (6 March, 9pm), Christopher Lee’s "The Bloody Judge" (10 March, 9pm), and indie favourite "Midnight Son" (13 March, 9pm).
Dread
NYX UK’s March lineup is a must-watch for horror lovers, blending groundbreaking classics with bold new voices. Whether you’re craving visceral body horror, chilling psychological scares, or a dose of campy cult fun, the channel’s curated schedule promises a blood-soaked celebration of the genre’s past, present, and future.
1. For those who may not be familiar with your work, could you please introduce yourself and share how you began your journey in the film industry? What inspired you to pursue a career in horror?
Of course! I’m Megan Tremethick, an actress and filmmaker with a love of gothic horror, psychological horror, and dark fantasy. I’ve been incredibly lucky to work with British Horror Studio/Hex Studios, and Amicus Productions, starring in a range of indie horror films, including The Reign of Queen Ginnarra, Ghost Crew, and the upcoming In The Grip of Terror. I’m also currently directing my first feature film, Spoiling You, a psychological horror inspired by ASMR.
My journey into film began with a deep love of classic horror cinema. I was always drawn to the atmosphere, rich storytelling, and iconic performances in films from studios like Hammer Horror and Amicus.
The first films I worked on were local short films in Cornwall, when I lived there. Those early projects were such an important learning experience, giving me the chance to be on set, collaborate with filmmakers, and develop my craft as I went along. I actually first connected with the team at British Horror Studio after backing their Kickstarter for The Black Gloves, rafting some of the most exciting and ambitious indie horror projects I’ve been a part of. Getting to work alongside such a passionate, tight-knit team has been an incredible experience, and I feel so lucky to be creating films together with them.
Horror has always felt like the perfect genre for me because it’s so emotionally charged, it allows you to explore striking, dramatic characters and deep psychological themes in ways that other genres don’t. Whether it’s gothic horror with a tragic villain at its centre or something more surreal and unsettling, I love films that stay with you long after you’ve watched them.
Megan Tremethick
2. You portray Queen Ginnarra in The Reign of Queen Ginnarra, which is a captivating role. Can you walk us through your experience with this character? How did you come to land this role, and what drew you to the project?
I feel very honoured that when director and writer Lawrie Brewster was writing the script, he wrote the role with me in mind. The Reign of Queen Ginnarra is such an ambitious and unique film, and Queen Ginnarra herself is an absolutely fascinating character. She’s layered, complex, and deeply enigmatic, with so much bubbling beneath a carefully controlled, stoic surface.
When I first read the script, I didn’t know what to expect... but it wasn’t that! She’s not a typical villain, nor a straightforward antihero, there’s a mystique to her, a quiet intensity that makes her incredibly intriguing. What really stood out to me is how much she holds back, she doesn’t reveal much through words or grand expressions, but through silences, glances, and the weight of her presence. That restraint makes her even more powerful and unsettling.
I knew immediately how I wanted to approach her performance because there was already so much richness in the writing to build on. There’s a kind of unspoken history in every scene she’s in, and that’s what made stepping into her role such an incredible challenge, and an absolute joy.
3. Your makeup and costume in the film are truly striking. Can you describe the process of bringing Queen Ginnarra to life, particularly the transformation in the makeup chair? How long did it take, and what challenges did you face with such an intricate look?
Lawrie designed Queen Ginnarra’s costume, while I had the opportunity to design her makeup myself. The whole look was an absolute joy to wear, it felt dramatic, imposing, and completely fitting for a character like Ginnarra.
The costume consisted of a corset, a large hoop skirt under the gown (to maintain its massive silhouette), a structured bodice, an intricate headdress, and a ruff. I also wore 6-inch heels to make Queen Ginnarra feel more imposing. It was surprisingly easy to get into... though moving through narrow doorways was another story! There were definitely a few moments of getting caught on things, but honestly, that just added to the fun of it.
The makeup process was relatively straightforward, taking around 40 minutes to an hour, which is pretty standard. I love the process of getting into costume and makeup, as those physical transformations really help me step into a character’s headspace. With Ginnarra in particular, every element of her look, the way the costume structured my posture, the weight of the headdress, the stark contrast of her makeup, helped me inhabit her presence more fully.
Also, I’ve always had a love for gothic fashion, so getting to embody such an extravagant, regal, and eerie aesthetic was an absolute dream!
Stephen Kerr as Kronus
4. In addition to your acting career, you’ve also stepped behind the camera as a director and writer. Which of these roles did you first explore, and how has your perspective on filmmaking evolved over time? Do you have a preference for one over the other?
First came acting, then I started writing short screenplays, and eventually, I wanted to try and bring them to life. When I was around 17 or 18, I wrote a short screenplay inspired by The Woman in Black by Susan Hill, told from the perspective of Jennet Humfrye (The Woman in Black herself), and made it for a college assignment. Although it’s not available anywhere online, I’m still quite fond of it, I had a lot of fun making it, and it definitely gave me the bug for more creative control than just acting.
A few years ago, I also began writing short horror and fantasy stories, and while I do love screenwriting and work hard to improve at it, I find that prose comes more naturally to me, the words just seem to flow better from my brain onto the page.
The first full short film I directed was Slot, a giallo-inspired Lovecraftian horror. British Horror Studio very kindly collaborated with me, lending their team and vital resources to help bring it to life. Since then, I’ve directed two more short films, worked as a second-unit director on British Horror Studio feature films, and am now most of the way through filming my feature film directorial debut, Spoiling You.
Coming from an acting background has definitely influenced the way I direct. For me, the performance is the most important aspect of a shot (within reason, of course). I also edit my own films, and when choosing takes, I prioritise the actor’s best performance over the most ‘technically perfect’ shot (within reason... haha!).
In the past, whenever I was asked if I preferred acting or directing, I would never hesitate, I’d always say that acting was my first love. But the more I’ve gotten to direct, the harder it’s becoming to pick a favourite. Now, I think the perfect balance for me is getting to do both, playing unusual, exciting, and challenging roles, while also directing projects that push me creatively and help me grow. That’s how I love to spend my days!
5. Horror films often require a great deal of emotional intensity. How do you prepare mentally and physically for some of the more intense scenes in your roles, and do you have any rituals or techniques to help get into character?
For me, each role requires a different approach when preparing for emotionally intense scenes. If the character feels close to me in some way, or if I have personal experiences that I can transplant into the role, then I’ll use a more method-based approach. However, if the character feels far removed from my own experiences, I actually prefer to rely on imagination to fill in the gaps.
I personally find imaginative prep just as effective as method acting, sometimes even more so. When you fully construct a character’s world in your mind, imagining every detail of their life and emotions, it becomes almost impossible not to get completely invested in them and empathise with their perspective, no matter how extreme or detached from reality it might be.
Even with Queen Ginnarra, who has committed truly monstrous deeds, I found myself deeply feeling for her because of the tragedies that shaped her. That doesn’t justify her actions, of course, but understanding what drove her to the edge was crucial in bringing her to life in a way that felt real and compelling.
Andrew Gourlay as Elderon vs The Black Claw Guard
6. As an actress, you’ve worked in both horror and genre films. Are there particular themes or aspects of the horror genre that you are particularly drawn to, or do you enjoy exploring a wide variety of characters within it?
I definitely love to explore a wide variety of themes and characters within the horror genre. One of the things I love most about horror is how versatile and boundary-pushing it can be, there’s so much room for experimentation, whether it’s psychological horror, gothic horror, surreal horror, or something completely different.
I also love a challenge, and that often comes from asking myself, “What role would push me the furthest outside my comfort zone?” If a character feels totally different from anything I’ve played before, that’s when I know it’s something I want to try. I won’t lie, I get super nervous about those kinds of roles, but once I’ve done it, I’m always buzzing. There’s something incredibly rewarding about stepping into a character that initially feels intimidating and finding the truth within them.
At the same time, I’m always drawn to characters with depth, whether that’s a gothic antihero, a tragic villain, or someone in a more psychological, slow-burn horror setting. As long as the role has something interesting, layered, or emotionally gripping, I’m excited.
7. In your experience, what sets working in independent horror films apart from larger studio productions? Are there unique challenges or creative freedoms you’ve encountered in indie horror that you find particularly rewarding?
One of the things I love most about working in independent horror is the sheer creativity and resourcefulness that goes into making these films. While larger studio productions might have bigger budgets and more extensive resources, indie horror thrives on ambition and innovation.
On every film I’ve worked on with British Horror Studio, even though the budgets are tight, the ideas are always incredibly ambitious. That means we all have to think creatively to bring those ideas to life. Whether it’s finding inventive ways to create striking visuals, practical effects, or atmospheric set designs, there’s a real sense of problem-solving and collaboration that makes the process so rewarding.
I also love how indie horror allows for bolder, more unconventional storytelling, there’s a real freedom to take risks, experiment, and explore unique concepts that might not always make it into a studio-backed film. Because the teams are often smaller, everyone feels deeply involved in the creative process, and that makes the final result even more personal and exciting.
Megan Tremethick
8. You have a growing reputation as a filmmaker in addition to your acting. What advice would you give to aspiring actors or filmmakers looking to break into the horror genre? Are there any key lessons you’ve learned that you wish you knew earlier in your career?
My biggest advice for anyone looking to break into horror, whether as an actor or filmmaker, is simply to start creating. You don’t need a huge budget or a big studio behind you to begin telling stories. Find like-minded people, make short films, experiment, and most importantly, learn by doing. Every project, no matter how small, teaches you something valuable.
Another great way to get experience is to take on any role you can on a film set, and that may not be the role of your dreams at the start. Being involved in different aspects of filmmaking will give you a much better understanding of how films are made and help you build relationships in the industry.
Also, just watch films. A lot of them. Study classic horror films, keep up with new releases, and absorb as much storytelling as you can. Some of the best lessons come from seeing how different filmmakers approach tension, atmosphere, and character development.
One thing I really wish I’d known earlier is that while the craft of acting and filmmaking is the heart of it all, promotion is just as important. It’s not enough to create something great, you also have to do everything you can to get eyeballs on the movie! Supporting and promoting the work of your creative team, reaching out to media outlets, attending festivals, and being active on social media all play a huge role in making sure your work actually gets seen.
9. The horror genre has evolved quite a bit over the years, with a rise in psychological and supernatural horror alongside more traditional slasher films. How do you see the genre developing, and what direction would you like to see it take in the future?
I love that so many creative, bold, and unconventional horror films are being made at the moment! The genre is in such an exciting place, with filmmakers pushing boundaries and exploring more psychological, surreal, and thematically rich horror alongside the more traditional styles.
What excites me most is seeing horror continue to embrace artistic freedom. Some of the most interesting films in recent years have been ones that take risks, whether that’s blending horror with unexpected genres, using unconventional storytelling techniques, or tackling complex themes in new and unsettling ways.
I’d love to see that freedom of expression continue to grow within horror. The genre has always thrived on reinvention, and I think its future lies in allowing filmmakers to push past traditional formulas and explore ideas that feel personal, strange, and boundary-breaking.
Megan Tremethick as Queen Ginnarra and Dorian Ashbourne as Prince Raemin
10. Finally, can you share any upcoming projects or roles you’re particularly excited about? What can your fans expect from you in the near future, both in front of and behind the camera?
I’ve got an intense few months ahead... in a good way! I’m continuing my work with British Horror Studio, Hex Studios, and Amicus Productions. That includes In The Grip of Terror, the long-awaited return of Amicus Productions, directed by Lawrie Brewster and starring the legendary Academy Award nominee Jane Merrow and Laurence R. Harvey. I’m also in Black Chariot, a black-and-white neo-noir supernatural thriller featuring Laurence R. Harvey, Novarro Ramon, Dorian Ashbourne, and Sam Barclay.
The Reign of Queen Ginnarra is premiering at Romford Horror Film Festival, with two screenings, Saturday, March 1st at 8 PM and Sunday, March 2nd at 5 PM. I’ll be there alongside some of the British Horror Studio team, and we all can't wait!
Outside of Queen Ginnarra, I’m in the final stretch of filming my directorial feature debut, Spoiling You, a psychological horror film with an ASMR-inspired approach. It’s been one of the most ambitious and wild projects I’ve worked on, and I’m so eager to throw myself into post-production soon.
If you want to keep up with everything we’re doing at British Horror Studio, or even get involved in our future projects, I’d really recommend checking out our Patreon! We’re building an incredible community of horror lovers and indie filmmakers, with exclusive behind-the-scenes content, film updates, and even opportunities to be part of the process. There’s a free tier, so you don’t have to spend anything to join in!
British horror fans have something truly unsettling to look forward to with The Cellar, set for release in 2025. While the exact date remains under wraps, anticipation is already building for Jamie Langlands’ feature debut, which has made a powerful impression on the festival circuit. With over 20 international awards and nine official selections, the film is quickly establishing itself as one of the most talked-about horror releases of the year. The newly unveiled trailer offers a terrifying glimpse into what promises to be a nightmarish and deeply atmospheric experience.
The story centres on Abigail, played by Meghan Adara, a young girl who wakes up in a pitch-black underground cell with no memory of how she got there. As she struggles to escape, she is forced to confront a series of terrifying revelations about her past and the true nature of her imprisonment. Blending psychological horror with elements of existential dread, The Cellar explores trauma, fear, and the unsettling power of the unknown. Its claustrophobic setting and eerie sound design work in tandem to create a relentless sense of unease, drawing viewers into Abigail’s increasingly fractured reality.
Langlands’ vision is brought to life by a strong cast, with Neil James, Charlotte Marshall, and Mickaela Sands rounding out the ensemble. Early praise has highlighted the film’s ability to sustain tension, using minimal yet effective storytelling to keep audiences on edge. The film’s psychological depth, combined with its striking visuals, ensures that this is more than just a standard horror offering, it’s an experience that lingers well beyond the final frame.
With the trailer now available, horror enthusiasts can brace themselves for a truly unsettling journey. The Cellar is coming soon, and if the early acclaim is anything to go by, it’s set to be one of the most memorable horror films of the year.
British horror star Ayvianna Snow is set to terrify audiences once again with two chilling new films, Rumpelstiltskin and St. Patrick’s Day Massacre. Known for her commanding presence in independent horror, she continues to cement her place as one of the most exciting talents in the genre. Both films, arriving this March, promise to deliver gripping suspense, eerie atmospheres, and the kind of fear that lingers long after the credits roll.
In Rumpelstiltskin, a fresh take on the terrifying childhood tale, Ayvianna plays a deadly Succubus who lures unsuspecting men to their doom. The film follows a young woman who strikes a dangerous bargain with a sinister creature, only to realise too late that her first-born child is at stake. Director Andy Edwards, who previously worked with Ayvianna, was certain she was the perfect fit for the role, bringing an alluring yet menacing energy to the screen. The film is set to have its world premiere at the Glasgow Film Festival on 8th March, promising audiences a haunting reimagining of a well-known fable.
Meanwhile, in St. Patrick’s Day Massacre, she takes on a very different but equally unsettling role. Ayvianna plays Kendra, a college student whose night out with friends takes a deadly turn when they are lured into staying at a strange Irish tavern. As the night unfolds, a vengeful undead killer begins picking them off one by one. With Kendra’s obsessive need for cleanliness pushing her to take a late-night shower, the question looms, will this simple act seal her fate? Directed by Steve Lawson, the film promises high tension and brutal slasher thrills, set for release on 10th March.
Ayvianna Snow has spoken about her deep connection to the horror genre, describing how fear is one of the most primal human emotions, reaching places that other genres cannot. Her reputation for intense, captivating performances has solidified her as one of the most compelling figures in British horror, and with two very different but equally terrifying films on the way, her presence in the genre is stronger than ever. Whether seducing victims into the flames in Rumpelstiltskin or fighting to survive a relentless killer in St. Patrick’s Day Massacre, she is set to deliver performances that will leave horror fans breathless.
Leigh Whannell’s Wolf Man delivers a bold and unsettling reimagining of the classic werewolf myth, merging raw family drama with unnerving body horror. Set in the remote wilderness of rural Oregon, the film builds an atmosphere thick with isolation and creeping dread, grounding its supernatural terror in an intensely personal story. While it doesn’t always strike the perfect balance between horror and emotional depth, its commitment to character-driven storytelling sets it apart from more conventional monster fare.
Christopher Abbott takes centre stage as Blake Lovell, a man struggling with both his past and an inexplicable transformation. His performance is nothing short of captivating, capturing the slow and painful descent from loving father to something monstrous. The film takes its time in revealing his metamorphosis, a choice that allows for a deep emotional connection to his character, though some may find the pacing a little too patient. Opposite him, Julia Garner delivers a standout turn as his wife, Charlotte, who is forced to confront the terrifying reality of her husband’s affliction while trying to protect their daughter, played with compelling innocence by Matilda Firth.
One of Wolf Man’s greatest strengths lies in its use of practical effects, a rare feat in an era dominated by CGI. From the earliest signs of Blake’s infection to the moment of full transformation, every stage is realised with remarkable detail, making for an unnervingly tactile experience. The creature design leans into gritty realism, presenting a werewolf that feels genuinely animalistic, stripped of any unnecessary embellishments that might have lessened its impact.
Whannell’s direction is sharp and methodical, crafting an atmosphere of mounting unease. The film relies more on suspense and psychological horror than outright jump scares, with moments of shocking violence carefully placed for maximum effect. The setting plays a crucial role, with the Lovell family’s isolated farmhouse and the surrounding dense forests creating an ever-present sense of vulnerability. The body horror elements are handled with skill, striking a balance between grotesque transformation and restrained terror, making the horror feel all the more visceral.
Despite its many strengths, Wolf Man isn’t without its flaws. The slow-burn approach to Blake’s transformation, while effective in building character depth, risks frustrating audiences eager for a faster descent into horror. The story occasionally feels underdeveloped in places, particularly in its supporting characters, with figures like Derek and Grady serving little purpose beyond brief plot progression. Themes of generational trauma and the struggle to outrun one’s past are present but not fully explored, leaving a sense of untapped potential.
At its core, Wolf Man is a film that values emotional resonance as much as it does horror. It takes a familiar concept and reshapes it with modern sensibilities, resulting in a film that feels both intimate and deeply unsettling. While it doesn’t fully stick the landing, it offers enough tension, strong performances, and striking visuals to make a lasting impression.
For all its imperfections, Wolf Man is an ambitious and haunting take on the werewolf mythos. It may not stand as Whannell’s best work, but it’s a memorable and gripping entry into the genre that deserves recognition. A solid 6.5 out of 10.
Get ready to put your detective skills to the test as Invitation to a Murder is now available on UK digital platforms. This gripping whodunnit boasts a stellar ensemble cast, led by Mischa Barton (The O.C., The Sixth Sense), alongside Chris Browning (Westworld), Seamus Dever (Castle), and Bianca A. Santos (Ouija). With its blend of suspense, intrigue, and period charm, the film promises an enthralling mystery from start to finish.
The film pays homage to the golden age of detective fiction, capturing the allure of classic murder mysteries while weaving in unexpected twists that keep audiences guessing. Its atmospheric cinematography, sharp storytelling, and strong performances create a thrilling and immersive experience. Each character brings their own suspicions and hidden agendas, ensuring no one is above suspicion until the final reveal.
With its richly detailed setting and tension-filled narrative, Invitation to a Murder is the perfect watch for fans of classic whodunnits. If you’re in the mood for a night of suspense and intrigue, step into the mystery and stream it now on UK digital platforms.
The classic fairy tale gets a wickedly entertaining reinvention in Rumpelstiltskin, a bold new fantasy horror from writer-director Andy Edwards. Set to make its World Premiere at FrightFest Glasgow on 8 March 2025 before landing on digital platforms on 7 April, the film offers a gruesome and darkly humorous take on the legendary trickster. With a fearless female lead, striking visuals and gruesome special effects, Rumpelstiltskin promises a nightmarish thrill ride that lingers long after the credits roll.
Starring Hannah Baxter-Eve, Joss Carter and Adrian Bouchet, the film follows Evaline, a miller’s daughter caught in a web of deceit after her father boasts that she can spin straw into gold. When the King demands proof of this miraculous talent, she finds herself locked in a tower with no way to deliver on the promise. That is until a mysterious, masked creature appears with an offer of assistance, but his price is steep. As greed takes hold and the stakes escalate, a deal is struck that will have horrifying consequences. With the Devil himself entering the fray, the tale spirals into a chaotic and brutal fight for survival where no bargain comes without a cost.
With a mix of grotesque fantasy, razor-sharp wit and unsettling horror, Rumpelstiltskin reinvents the well-known story with a fresh and fiendishly fun approach. Packed with gnarly practical effects, a sharp script and an unpredictable descent into madness, this is no bedtime story.
Premiering at FrightFest Glasgow on 8 March before its digital release on 7 April, Rumpelstiltskin is set to leave audiences spellbound with its twisted take on a classic tale.
Independent horror fans have something new to sink their teeth into with Good Neighbours, a micro-budget sci-fi horror film now available to stream on Prime Video. Blending psychological tension with eerie sci-fi elements, the film takes the simple premise of a dinner party and transforms it into a gripping battle for survival. With a small but talented cast and an unsettling atmosphere, Good Neighbours offers a slow-burning sense of dread that builds to an intense and shocking climax.
The story follows married couple Tamesha and Luke Ellery, played by L.A Rodgers and Karl Kennedy-Williams, who extend a warm welcome to their new neighbours by inviting them over for dinner, after an awkward encounter at their front door. But their guests, played by Dani Thompson and Judson Vaughan, are not quite what they seem. As the evening unfolds, strange tensions rise, and what starts as polite conversation soon turns sinister. As the true nature of their visitors is revealed, the Ellerys find themselves trapped in a nightmare, fighting to make it through the night.
With a supporting cast including Param Patel, Caitlin Cameron, Chrissie Wunna, Hayley Bellamy, and Kayley Rainton, Good Neighbours thrives on its intimate setting and escalating paranoia. The film leans into its sci-fi horror roots, using its small-scale production to create a claustrophobic and unsettling experience that keeps audiences on edge.
Now available on Prime Video, Good Neighbours is a must-watch for fans of indie horror looking for a tense, unpredictable, and darkly compelling story.
Kraven the Hunter, directed by J. C. Chandor, marks the latest entry in Sony's Spider-Man Universe, bringing one of Marvel’s most intriguing villains to the big screen. Aaron Taylor-Johnson takes on the role of Sergei Kravinoff, a hunter-turned-vigilante battling both his fractured family and his own animalistic transformation. While the film attempts to balance a faithful adaptation of the comics with a self-contained story, it struggles to find solid footing.
At the heart of the film is Sergei’s tumultuous relationship with his father, Nikolai, played with venomous charm by Russell Crowe. A traumatic childhood incident involving a lion leaves Sergei on the brink of death, only to be saved by Calypso, a mysterious healer portrayed by Ariana DeBose. Years later, he emerges as Kraven, a brutal yet principled predator hunting down criminals while attempting to escape his father’s long shadow. His path leads to confrontations with his estranged brother Dmitri (Fred Hechinger), the menacing Rhino (Alessandro Nivola), and the hypnotic Foreigner (Christopher Abbott), all entangled in a narrative of family betrayal and moral ambiguity.
Taylor-Johnson delivers a compelling performance, capturing both Kraven’s primal ferocity and his internal struggle. His portrayal gives the character a sense of raw intensity, making Sergei feel more than just another antihero. Crowe, meanwhile, commands attention as Nikolai, exuding ruthless authority that makes their father-son dynamic one of the film’s strongest elements. DeBose’s Calypso, while serving as an emotional counterbalance, ultimately feels underdeveloped, her presence more a tool for exposition than a fully realised character.
The action sequences are fast-paced and often thrilling, with standout moments such as a buffalo stampede-turned-battle and Kraven’s clash with Rhino providing bursts of excitement. However, the film’s visual effects are inconsistent, with some rushed CGI work and choppy editing that dull the impact of key confrontations. This lack of polish becomes particularly distracting in moments that should feel grand and visceral but instead come across as unfinished.
Chandor successfully captures a grim and gritty atmosphere that suits Kraven’s world, but the script’s predictability undercuts its emotional weight. The fractured family dynamic between Sergei, Dmitri, and Nikolai, which should be the emotional core of the story, feels underexplored, and many of its revelations lack the necessary dramatic punch. Meanwhile, The Foreigner, despite being an intriguing antagonist, is frustratingly sidelined, making his eventual showdown with Kraven feel underwhelming.
For fans of the comics, Kraven the Hunter delivers a mostly faithful take on the character, staying true to his complex morality and relentless drive. However, for those unfamiliar with Kraven’s legacy, the film may feel like an odd, somewhat inaccessible addition to Sony’s Spider-Man Universe. While it avoids some of the pitfalls of previous entries, it ultimately feels more like a stepping stone than a definitive success.
In the end, Kraven the Hunter is an uneven experience. Strong performances and engaging action sequences offer glimpses of what could have been a truly compelling character study, but the film is weighed down by inconsistent pacing, a lack of narrative depth, and underwhelming visual effects. It’s a serviceable adaptation for dedicated fans but unlikely to leave a lasting impression on a wider audience. A generous 7 out of 10.
Black Mandala’s The Containment is set to deliver a chilling blend of psychological terror and demonic possession. Directed by Jack Zagha Kababie and Yossy Zagha, the film explores the horror that unfolds when a young girl becomes the target of a terrifying entity. As the malevolent force tightens its grip, her mother searches for answers, turning to doctors, exorcists, and so-called experts, but none can stop the darkness spreading within her child.
As the horror intensifies, the boundaries between reality and the supernatural begin to blur. A devout nun steps forward to confront the evil, determined to free the girl from its grasp. But as she uncovers the truth, she realises that the greatest danger does not come from the demon itself. Something far more insidious lurks beneath the surface, a force beyond the reach of prayer. With a screenplay by David Desola and Yossy Zagha, and cinematography by Antonio Riestra, The Containment promises an unsettling and immersive horror experience.
Starring Fernanda Romero, Jack Gouldbourne, Alice Coulthard, Roger Cudney, Darren Clarke, Gia Hunter, and Edmund Dehn, the film is set to leave audiences questioning the nature of true evil. Music by Edy Lan adds to the eerie atmosphere, ensuring that The Containment lingers in the mind long after the credits roll.
Rupert Russell on location with THE LAST SACRIFICE
Ahead of the UK premiere of The Last Sacrifice at FrightFest Glasgow 2025, director Rupert Russell discusses his chilling true-crime documentary. The film explores the eerie cultural forces that shaped British folk horror while investigating a gruesome and unsolved murder that continues to fascinate and disturb.
Your film is premiering in the UK at FrightFest Glasgow this year. How do you feel about that?
It is an exciting moment, especially with Glasgow being so close to Summerisle, the fictional island from The Wicker Man.
What first drew you to this project?
I only watched The Wicker Man for the first time in 2022, and to me, it did not feel like a horror film. It felt like a documentary about Britain in recent years. The madness of Summerisle was no different from the madness of the British Isles. That final moment, where Sergeant Howie begs for his life, saying, "Killing me won’t save your apples," and Lord Summerisle simply replies, "I know it will," is something I have seen reflected in daily life. When I shared these thoughts with a friend, they stopped me and said, "You do know there was a real murder that inspired all of this?"
The film centres around the unsolved murder of Charles Walton in 1945. What is the background of the case?
Charles Walton was a 74-year-old farm labourer found murdered in a field in the Cotswolds on Valentine’s Day, 1945. A pitchfork had been driven into his face, and a billhook was embedded in his throat. The scene was so gruesome that the Warwickshire police contacted Scotland Yard, which sent one of Britain’s most famous detectives, Robert Fabian. When he arrived, he described the crime as a “slaughterhouse horror.” Despite Fabian’s investigation and continued efforts by the local police, no one was ever charged with the murder.
What fascinated you about this case?
It was never about finding out who committed the crime. It was about understanding why people believed certain theories about the killer. Mysteries act as mirrors, reflecting our fears, anxieties, and cultural beliefs. When a murder goes unsolved, people fill in the gaps with their own ideas. The theories that circulated about Walton’s murder revealed something about Britain at that time. Instead of the classic horror trope of the dangerous outsider, this case introduced the idea of the hidden threat within a seemingly ordinary community.
The rural setting and superstitions surrounding Walton’s death mirror themes in films like The Wicker Man. How did these parallels shape your storytelling?
The link between fact and fiction was the most exciting part of making this film. I started by watching documentaries about real witches from the 1960s. These films were often exaggerated and theatrical, yet when I spoke to modern-day witches who had been part of them, they confirmed that they were largely accurate representations of what was happening at the time. The real events were often stranger and more shocking than the folk horror films inspired by them.
The conspiracies surrounding Walton’s murder introduced tropes that became staples of folk horror. These were not just the creations of screenwriters but were based on the speculations of police officers and amateur detectives trying to make sense of a brutal and bizarre crime.
Writer Janet Farrar (“The Witch Queen of Ireland”) being interviewed for THE LAST SACRIFICE
The media played a major role in shaping the public’s perception of ritual sacrifice and the occult in post-war Britain. Do you think this influenced the murder investigation?
Not at first. The press only picked up on the occult angle years later, after Robert Fabian wrote about it in his memoirs. His police reports from 1945 suggest that the biggest obstacle to solving the crime was the secrecy of the local villagers. He believed that in a small community like that, the killer’s identity must have been widely known. The fact that no one came forward suggested to him that the villagers either knew who had done it or understood the reason behind it and did not want the truth to come out.
What do you think is the lasting impact of the Charles Walton case, both in real-life folklore and in horror cinema?
Folk horror films of the late 1960s and early 1970s were shaped by a mix of cultural changes. Writers and filmmakers connected the Walton murder to the rise of Wicca, the counterculture movement, women’s liberation, class conflict, and the broader shifts happening in Britain at the time. These ideas all swirled together around the figure of the witch, who became a symbol of both fear and rebellion.
How would you compare British folk horror films of the ‘60s and ‘70s to the American ones that followed?
British folk horror often revolves around a member of the professional class, a teacher, doctor, or policeman, who arrives in a rural village and becomes the target of a conspiracy. The villagers, often under the influence of an aristocratic leader, are portrayed as resisting modern progress in favour of older, more sinister traditions. These films reflect a fear that the post-war social changes brought in by the Labour government might be undone, returning Britain to a feudal past.
American folk horror, by contrast, tends to feature tourists who unknowingly walk into danger. Films like An American Werewolf in London or Midsommar are about outsiders encountering a cult, rather than a clash between social classes. The fear is less about political regression and more about the dangers of extreme ideology. Given that many early American settlers were religious extremists, this fear makes a lot of sense.
What is your favourite folk horror film?
I did not know much about the genre when I started making this film, but I loved discovering it. Some of my favourites are Penda’s Fen, The Plague of the Zombies, Twins of Evil, and Demons of the Mind.
Finally, what is next for you?
I have two fiction horror films in development, as well as another archive documentary.
The Last Sacrifice will be screening at the Glasgow Film Theatre on Friday, 7 March at 3.30pm as part of Pigeon Shrine FrightFest Glasgow 2025. Rupert Russell will be attending.
Icy suspense and relentless paranoia await in Scarlet Winter, a bone-chilling thriller set to make its UK digital debut this February, courtesy of Miracle Media. Directed by award-winning filmmaker Munjal Yagnik in his feature debut, this gripping mystery has already garnered critical acclaim on the global festival circuit and promises to leave audiences questioning everything they think they know.
The story plunges into chaos from its opening moments, following Mark, played by Gregory Waits, whose ordinary life takes a horrifying turn when he awakens to a nightmare. With the lifeless body of his mistress beside him and a bloodied knife in his hand, Mark’s world collapses into panic and self-doubt. Convinced of his guilt but desperate for escape, he seeks help from his friend Richie, portrayed by Ryan Hope Travis, to dispose of the body and cover his tracks.
What begins as a desperate act of concealment soon spirals into a labyrinth of paranoia and suspicion. As Mark retraces his steps, he becomes haunted by the possibility that he has been set up, and the real killer could still be at large. With his trust eroding and those closest to him falling under suspicion, the tension mounts in a series of shocking revelations and desperate attempts to uncover the truth.
The cast delivers a powerful blend of intensity and vulnerability, with Sophie Moshofsky’s enigmatic turn as the ill-fated mistress and Ryan Hope Travis’s magnetic performance as Mark’s increasingly suspicious confidant adding layers of complexity to the tale. Yagnik’s precise direction captures the icy atmosphere of the film’s chilling narrative, with every frame amplifying the tension and unease.
Scarlet Winter is a high-stakes psychological puzzle that keeps viewers guessing until its final moments. With its UK release set for 10 February, prepare for a thriller that grips tightly and refuses to let go. This is a winter mystery you won’t want to miss.
Horror fans should prepare for a nightmarish experience with Play Dead, the latest terrifying film from director Carlos Goitia. With a screenplay by Gonzalo Mellid and Camilo Zaffora, the film throws viewers into a relentless survival story where death might not be the worst fate. Produced by Nicolás Onetti, known for his work on What the Waters Left Behind, this film promises an unflinching descent into terror.
Play Dead stars Paula Brasca, Catalina Motto, Luca Espindola, and a talented ensemble cast who bring this chilling tale to life.
The story follows Alison, played by Paula Brasca, who wakes up badly injured in a dark and cryptic basement. She quickly realises she is surrounded by corpses and must use every ounce of her wits to avoid the same fate.
With no way out, she makes the desperate choice to play dead, hoping to blend in and escape unnoticed. But as she listens to the horrors unfolding above her, she discovers a disturbing ritual is taking place. The more she learns, the clearer it becomes that she is in unimaginable danger.
Drawing inspiration from horror classics like The Texas Chainsaw Massacre, Don’t Breathe, and The Collector, Play Dead delivers a relentless mix of suspense and gruesome horror. The film’s claustrophobic setting and visceral tension make it a terrifying watch, ensuring audiences will be on edge from start to finish.
V/H/S/Beyond, the new addition to the bloodcurdling V/H/S horror anthology, arriving on Blu-ray, DVD and digital 10 February courtesy of Acorn Media International.
Synopsis:
The horror anthology features a collection of wickedly watchable new tales of terror, from a host of renowned directors. These include Jay Cheel (How to Build a Time Machine, Cursed Films), Jordan Downey (The Head Hunter, ThanksKilling), Virat Pal (Night of the Bride, Recapture), Justin Martinez (V/H/S, Southbound), Christian Long (Lady of the Manor) and Justin Long (Barbarian, Tusk), and Kate Siegel (The Haunting of Hill House, Hush) who each bring their own spooky flare to these twisted tomes. Respected filmmaker/screenwriter Mike Flanagan (The Haunting of Hill House, Doctor Sleep, Absentia) also lends his writing talents.
In Stork, directed by Jordan Downey, a special police unit are sent to a derelict house to investigate a string of baby disappearances. The team realise they are not alone in this house of horror when they discover an attic full of babies’ cradles and a sinister stork-like creature singing lullabies.
It’s quiet on set in Virat Pal’s Dream Girl, as two paparazzi sneak onto the set of the next Bollywood hit in the hope of getting some exclusive footage. However, when the lead actress reveals her famed face is in fact a mask, an electric haze of chaos and destruction ensues.
A man experiences a truly unforgettable birthday in Live and Let Die, directed by Justin Martinez. His skydiving adventure takes a terrible turn after a UFO is spotted flying around their plane and his celebrations quickly turns into a bloody disaster.
Directed by Christian Long and Justin Long, Fur Babies sees an animal rights group get more than they bargained for when they visit a doggy daycare and discover a torturous basement of terror hiding deep under the fluffy facade.
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